Iron Patriot #4 – Review

By: Ales Kot (story), Garry Brown (art), Jim Charalampidis (colors)

The Story: James doesn’t need back-up; he’s got family.

The Review: Despite our villain’s (he doesn’t have a name yet; Kot merely refers to him as “The Villain”) assertion last issue that he wasn’t going to explain why he was doing any of this, I pressed on anyway. As a reader, if not a citizen, I believe I have a right to know why someone would inflict a series of senseless acts of terrorism across my fictionalized country. Frankly speaking, he better have a pretty good reason, or it’s just a shallow excuse for a story, otherwise.

At this point, it’s still impossible to tell if he has any justification for what he’s doing. Probably not, really. At best, he offers a choice overstatement (“The world only responds to force.”) as well as a few cheap cracks (“You think the men you work for are your friends? They are politicians.”) in lieu of an actual explanation of his motivations. You have to say this for the man, though: he’s got personality, even if it’s more irritating than threatening.

Iron Patriot #3 – Review

By: Ales Kot (story), Garry Brown (art), Jim Charalampidis (colors)

The Story: James must decide whether the enemy of his enemy is his friend or another enemy.

The Review: There’s no denying that the cost-benefit value of comic books aren’t terrific. When you consider that movies can cost as little as little as a dollar to watch in theaters (and even less to rent or stream) and that watching a TV show is free, shelling out three to four bucks per comic is hardly making the most of your money. I can usually look past this with most comics, but every now and then I run across an issue that makes me question my entire devotion to the medium.

Iron Patriot #3 is one of those issues. At $3.99 (plus tax), it leans towards the higher end of the pricing scale, yet there’s barely a dollar’s worth of substance in the issue. Sure, the plot does take a step forward for the entire Rhodes family, but this is still rather slim material for the money you put in. At least, it leaves me with little to talk about.

Iron Patriot #2 – Review

By: Ales Kot (story), Garry Brown (art), Jim Charalampidis (colors)

The Story: Before operating your Iron Man armor, please be sure to pay close attention to the manual.

The Review: I have a strong affection for the mortals of superhero comics, by which I mean the characters who have no extraordinary powers to speak of, and who must instead rely on training and guts to keep up with their superpowered peers. Maybe that’s why, even though Iron Patriot is a thoroughly derivative character—twice over!—I still kind of like him. How can you not? Despite his shortcomings, James still fights on out of an earnest love for his country and people. That earns him a pass in almost every scenario, though he’ll need more than that to be a viable solo star.

In that sense, it’s interesting that Kot decides to strip away the trappings of the Iron Patriot armor to expose James, the mortal, with all his limitations and vulnerabilities. From one side, Kot attacks the fact that James is not at home in the armor the way Tony Stark is, trying desperately to remember how to perform the manual eject from a terse line in the manual: “If the situation requires a solution of last resort, the pilot can manually arm the suit (see section 3-A7), set up the manual ejection protocol (see section 6-D1)…” From another side, Kot also emphasizes that out of the suit, James has none of the physical might of Steve Rogers, as he’s stricken by a heart attack from decompression sickness.

Iron Patriot #1 – Review

By: Ales Kot (story), Garry Brown (art), Jim Charalampidis (colors)

The Story: Homeland security just got the ultimate bodyguard.

The Review: I never know how to feel about minority superheroes who are basically derivatives of better known (white) icons. It’s great to see the field grow more diverse, no matter how it happens, I suppose. On the other hand, it also suggests a lack of confidence or imagination—hard to say which is worse—in creating minority characters who are completely original. The eponymous star of this book has failed that test twice.

Or maybe thrice, depending on how you look at things. As the former War Machine, James Rhodes was basically Iron Man with a different paint job and bigger guns. As Iron Patriot, he’s a clear amalgam of both Iron Man and Captain America, an attempt to channel Tony Stark’s technology with Steve Rogers’ rousing nationalism. James’ choice of guise instantly doubles the pressure for him to sell the man underneath. Without Tony’s genius or Steve’s might, what is James without the armor?

Secret Avengers #1 – Review

by Ales Kot (Writer), Michael Walsh (Artist), Matthew Wilson (Colorist)

The Story: The Fury, A.I.M agents and an evil Latverian agents walk into a bar…

The Review: With the previous volume still freshly concluded, it’s a bit hard for those who rather like the continuation of regular numerical order to be happy. With many titles being launched and relaunched, some might be skeptical to see some concepts being merely tweaked with a whole new number one on the cover, especially if it’s a continuation of previous elements established prior. However, there might be some reasons why renumbering can also work.

Case in point, this new volume of Secret Avengers, while using several ideas and characters of the previous volume by Nick Spencer, is one that feels justified in its new number one. The reason is very simple: while it keeps the espionage vibe and some of the plot threads introduced in the latest arc co-written by the sole writer here, Ales Kot, it has a decidedly different tone that makes this another book altogether.

The first notable thing is the fact that Kot, in his own ways, allows for the absurdity of super heroes to resonate on the page, playing with comedy for all its worth. Using the seriousness of each situations to its advantage, the writer presents another side to allow the ambiguity of the characters, their relations and many other smaller details to present a good dose of humor without hurting the very scenes themselves. How Black Widow relaxes, what happens after Hawkeye manages to flee the A.I.M agents for a second, the type of experiments M.O.D.O.K. has been doing and many other smaller details are put in to make it a fun ride.

Secret Avengers #16 – Review

by Nick Spencer, Ales Kot (Writers), Luke Ross (Artist), Matthew Wilson (Colorist)

The Story: Mockingbird gets her revenge as the weights of all the secrets may be too much for some S.H.I.E.L.D. agents.

The Review: Everyone have some preconceptions when it comes to finales. Whenever something conclude, many people hope to see a closure on the important themes, that each threads will get resolved and that there will be big moments that leave fans satisfied of the whole ride. Some books do deliver, some exceed expectations, yet some unfortunately comes short of greatness, which is always a tad regrettable for those who followed the whole thing.

This finale is, in its own ways, a strange beast as it manages to be all of those things, providing a certain sense of closure to the war against Andrew Forson, yet also goes out of its way to provide for some ending to other aspects that don’t all work.

One of the weirdest, yet strangely moving part is the one with Mentallo, one of the ministers of A.I.M. who was particularly depressed in this arc. While the few pages he received earlier never did seem especially important or relevant to the overall conflict shown, it was a certain showcase of a man hit by depression, by a cage of his own design and that wanted out. In this issue, both Kot and Spencer gives him a finale that is bizarre, but also utterly touching, with him doing plenty to help the only actual friend he had as well as setting himself free in a fashion that is creative, yet also true to the character.

A side that is also well played, yet in a way that feels a bit more true to the roots of the book is the one with the team and Maria Hill, with the secrets and the way the game is played being too much for many present in the heli-carrier. Opening with M.O.D.O.K and finishing with a term very familiar to fans of the series, those few pages encapsulate a lot of what Spencer and then Kot made work in this series. It’s a fitting ending to the current iteration of this team, with finishes on a panel focusing on Maria Hill, one of the better character of this series.

Zero, Vol. 1 An Emergency – Review

by Ales Kot (Writer), Michael Walsh, Tradd Moore, Mateus Santolouco, Morgan Jeske, Will Tempest (Artists), Jordie Bellaire (Colorist)

There are some times in a comic’s enthusiast life when we take chances. Perhaps it’s because of good reviews, because we liked what we saw of the writer prior to reading this, because of a low price points or whichever reason is best, but we just try something new. It might turn out to be a disappointing affair, something that did sound good in terms of concept, yet the execution is somehow lacking. Taking chances doesn’t automatically mean the experience will be good.

However, there are other times when the best happen, when a certain leap of faith gets rewarded in ways that could not be anticipated in the slightest. It becomes something almost transcendental, upon which untold riches can now be seen.

The latter is how my experience with the first trade of Ales Kot’s Zero can be summarized. With but the recommendation of one of the employee where I buy my comics to base myself upon and the 9.99$ price to encourage my purchase, I went blindly and found something spectacular.

Zero is a comic about Edward Zero, a secret agent, a spy if you will, that works for an agency unoriginally called The Agency. His story, which starts in 2018 and then ends in 2038, is told in various moments throughout his carrier, with several moments in the first five issues showing just where he ends up in 2038. With the trade comprising of the first five issues which all tell a complete tale, Kot is able to bring a lot to the character of Edward Zero, about who he is and what he does.

Secret Avengers #15 – Review

by Nick Spencer, Ales Kot (Writers), Luke Ross (Artist), Matthew Wilson (Colorist)

The Story: Contracts are signed, extractions are done and the secrets in the pile of mysteries are revealed.

The Review: Everyone has its limits when it comes to patience. While not always the most impatient of man, I can sometime get anxious for things to actually reach their culminating point. In story, in cooking and in a lot of areas where anticipation is key, there is a fine line in the sand when it comes to getting the awaited results.

This is how my general appreciation of this series could be summarized, with plenty of things going on, situations being built yet the climax never came with each issues. To be able to set up a threat and build it to make it interesting takes skill, yet there is slow build and then there’s teasing, which this series has been on the verge of doing in this particular arc.

It seems, however, that it had been a stratagem on the part of Ales Kot and Nick Spencer, who goes all the way in this issue to deliver not only an exciting issue, but also plenty of twists and surprise to amplify the espionage and intrigue part of the series without sacrificing the action and particular identity of the book.

Secret Avengers #14 – Review

by Nick Spencer, Ales Kot (Writers), Butch Guice, Joe Rubinstein (Artists), Matthew Wilson (Colorist)

The Story: Mockingbird ”learns” a bit more about herself as the rest of the team are brought to their destination after being captured.

The Review: It’s always rather sad to see something that you can personally admit that it’s smartly made, yet cannot really enjoy to its fullest. You may see the quality behind the work, yet some elements present are in the way of your personal enjoyment. It may be the characters, it may be the style, perhaps even the general tone of the whole thing, yet something doesn’t connect to allow you to make the most of the book.

It is unfortunately what this issue of Secret Avengers amounts to for me, on a personal level. I can certainly see what’s good about the issue, yet there is something that simply doesn’t make this issue as good as some of the previous ones for me.

Something that I can see that is rather ingenious is the way in which Ales Kot and Nick Spencer manage to mix a certain exploration of Andrew Forson through the brainwashing scenes with Mockingbird. Pushing forth the philosophy of the character through the learning process of the manipulated agent, the nihilistic views of Forson becomes rather intriguing, as some of the previous events and some of A.I.M.’s plans becomes that much more threatening in prospect.

Secret Avengers #13 – Review

by Nick Spencer, Ales Kot (Writers), Butch Guice, Joe Rubinstein, Tom Palmer (Artists), Matthew Wilson (Colorist)

The Story: As things gets a bit more chaotic at A.I.M., Maria Hill and M.O.D.O.K. have a little chat.

The Review: Not to sound too paranoid, but I think Marvel actually knew I was getting a bit bored with this series. The themes were presented well and some of the ideas were really nice, yet there never seemed to be a character I could follow in a way that made me anticipate the next issue. I like Maria Hill, sure, but characters like Marcus Johnson and Phil Coulson weren’t exactly the most interesting people to follow to begin with.

Then came in M.O.D.O.K., the character too crazy to actually exist, yet too awesome to not to be invented. While the character had been revitalized completely by Jeff Parker in his Red Hulk story in a manner that made him an actual threat, but also an interesting utilitarian figure as well. To say I really loved the character would be an understatement, but is his inclusion enough? Does the addition of this character to the general storyline actually adds anything to the book in terms of quality?

This issue, in ways, both works and doesn’t for a good number of reasons, making the issue a bit uneven in its quality. There are several great ideas at work here, but some of them aren’t focused on enough to make the issue better than it should be.

One of the bigger problems is the constant switch between scenes, which does not leave enough room to build up situations. In this issue, the spotlight jumps from M.O.D.O.K. and Maria Hill, to Taskmaster, Mockingbird, Mentallo and Marcus Johnson, with most of them not getting nearly enough panel time to have an actual impact on the readers. Their scenes do get the point across rather effectively, but a lot of these short spurts aren’t quite enough to provide greater emphasis on their roles or anything else.

Secret Avengers #12 – Review

by Nick Spencer, Ales Kot (Writers), Butch Guice (Artist), Matthew Wilson (Colorist)

The Story: As Mockingbird tries to fake her way through a presentation, some faction within A.I.M. wishes to make a deal with S.H.I.E.L.D.

The Review: I have to admit something right now: I don’t know how to feel about co-writers. Not only do I never really know who came up with which ideas, but it always seem to me that even though it might not show which pages or concepts were thrown by which. There were instances where it was a bit obvious, like with Brubaker and Fraction on Immortal Iron Fist or the extravaganza of talents that was 52, but in a title that plays to both writers strengths, it plays as a bit of a mystery. It makes it a bit hard to see where the strengths and weaknesses comes from which sources.

With the return to the main cast and the real storyline of the book, Nick Spencer brings along Ales Kot with him to write this issue, as the scribe of Zero (best known for his short stint on Suicide Squad) collaborates with him. Does the return to the conflict against A.I.M and the new co-writer makes this comic enjoyable, though?

It’s a case of hit and miss, really, as some of the best aspects of this run are on display here, with some new high and lows showing to spice things up.

The Witching Hour #1 – Review

By: Too many to list—or even to review.  Just check out the issue.

The Story: Will you catch any of these folks speaking with the devil?

The Review: These Vertigo showcases are proof positive that there really are an endless number of ways to look at the world, or even just one thing in it.  Both Ghosts and Time Warp offered stories that dealt with actual spirits and time-travel, but just as many stories that explored spirits and time as concepts, and a few that struck at the subjects on both a literal and figurative level.  It’s pretty amazing to see what the imagination will dream up when prompted.

Take Brett Lewis’ “Mars to Stay,” which in both substance and form resembles less like anything having to do with witches and more like a hard piece of science-fiction—the hardest kind, given how Lewis doesn’t take too many liberties with the fiction to deliver science that actually falls within the realm of possibility, if you have a cynical view of the way people work.  Maybe that’s where the witchcraft lies, in the slow, creeping way that the stranded crew’s psyches break down, as if infected with a curse.  Either way, it’s an impactful, haunting tale, despite having no clear connection to magical women whatsoever (and it doesn’t hurt that you get Cliff Chiang’s starkly sharp art illustrating the whole thing).

Suicide Squad #23 – Review

By: Ales Kot (story), Rick Leonardi (pencils), Andy Owens, Derek Fridolfs, Marc Deering (inks), Brad Anderson (colors)

The Story: Two teams of crazies, but only one will make it out with pie on their face.

The Review: All too soon, we’ve come to the end of Kot’s promising run on this series.  I still don’t really understand why this had to happen, though the continuously dwindling sales probably have something to do with it.  At any rate, my mind’s made up to depart from Suicide Squad at the same time Kot does.  In just four issues, Kot has definitely established a powerful, specific voice and direction for this title, which I don’t believe anyone can emulate.

There is a very, very fine line to the tone Kot has brought to the Squad, balancing precariously on a tightrope between extreme* and excess.  Take James Jr.’s attraction with Waller, for instance.  Despite how difficult it is to believe that a sociopath like him can experience something like sentiment for anything, James’ feelings are still convincing.  Of course, choosing Waller as his object of affection is simply inspired—no other word for it—but it’s the sinister curiosity behind James’ obsession with her that seems true to his character.

Suicide Squad #22 – Review

By: Ales Kot (story), Patrick Zircher (art), Jason Keith (colors)

The Story: Las Vegas won’t feel too “Viva” after the Suicide Squad’s through with it.

The Review: It’s a rare, beautiful thing when a new writer takes over a title and immediately it seems like the two are made for each other, feeling as close to an original creation as a mainstream book can get.  That’s how I felt—and I don’t believe I was alone on this—when Kot took over Suicide Squad in #20.  So it is with no little amazement and dismay that I discover he’ll be departing in just two more months, after #24.

Convinced as I am that this is a bad move for the series—no offense to upcoming writer Matt Kindt*—I won’t indulge in useless rants or baseless accusations.  However, I do think that given how ambivalent Kot sounds in his press release, despite his attempts to sound bravely upbeat, that this was an editorial, not a creative, decision.  If so, then it remains a baffling one, because with all the critical acclaim since Kot’s takeover, what could possibly have been so offensive that the powers-in-charge would choose to send the writer packing after only two issues?*

It can’t possibly be the violence, at least not in and of itself.  Once you’ve seen Superboy-Prime rip off someone’s arm in Infinite Crisis, or Damian Wayne getting riddled with bullets and arrows as a mechanized hulk beats him to a pulp, Unknown Soldier popping off a headshot seems quite merciful by comparison.  If sheer, bloody gruesomeness was the problem, wouldn’t Swamp Thing and Animal Man have been cancelled by now?

Suicide Squad #21 – Review

By: Ales Kot (story), Patrick Zircher (art), Jason Keith (colors)

The Story: It takes a crazy to know a crazy.

The Review: It’s a confusing time to be a DC fan right around now.  In the last few months, we’ve seen a multitude of creative changes to its line of titles.*  Some of them have caused me to slap my forehead wearily in the manner of a parent experiencing his child’s latest screw-up (e.g., Green Lantern and Green Lantern Corps).  Others have left me disappointed by failing to live up to their potential (e.g., Justice League Dark and Green Arrow).

Only a few have so thoroughly impressed me that I’m willing to overlook the failings of the rest as the hazards of trying something new (as opposed to change for its own sake).  Charles Soule on Swamp Thing is one; Kot on Suicide Squad is another.  In a short time, both writers have clearly established their voices and visions for their respective titles, showing that their thought processes go far beyond a good pitch meeting.

Suicide Squad #20 – Review

By: Ales Kot (story), Patrick Zircher (art), Jason Keith (colors)

The Story: You will need to pay someone pretty well to head-shrink these folks.

The Review: It’s been ten issues since I Dropped this title, not so much from an egregious level of quality as for simply a lack of interest.  While Adam Glass had the right idea for the tone of this book, he seemed to lack a clear vision for the series and the characters never managed to take off under his pen.  For a cast criminals, each with their own psychoses, they were rather dull as a group.  Glass suffered more from a lack of inspiration than lack of talent.

So it’s pretty exciting to see what a new writer can do with the material, especially one who’s pretty new to the game.  Now, I’m sure Kot has his fans elsewhere, but as far as mainstream superhero goes, he’s definitely an unknown—so there’s always a chance you might get to witness firsthand what might be the start of a breakout run for the writer.  And from the get-go, things look very promising, as Kot displays an instinctive handle on the title’s unique qualities.