All-New X-Men #8 – Review

By: Brian Michael Bendis (Writer), David Marquez (Penciler), Marte Gracia (Colorist), VC’s Cory Petit (Letterer)

The Review: They should re-name All-New  X-Men the X-Postman – it always delivers (*cue comedic groans*). Every issue features something new and exciting to sling your way; not in some glib show-off manner that seeks to hold your attention with illogical, grandstanding curveballs but in packaging its characters’ motivations and developments in a series of brilliantly executed flourishes. The latest installment is no exception.

Bendis has often made the great decision to begin each issue by focusing on one character at a time, then expanding the book to a crescendo with a winning performance from an ensemble cast. He moves seamlessly from the personal to the public; sound reasoning indeed considering that the X-Men are comprised of such a strong cast that you can’t move for bumping into interesting individuals and the richly detailed relationships that connect them. That format is continued here, though in this issue he chucks in the proverbial kitchen sink too; as you can see from the cover, now the Avengers are getting in on the action as well.

Avengers #34 – Review

By: Brian Michael Bendis (story), Brandon Peterson,  Mike Mayhew, Jim Cheung, Leinil Yu, Mark Morales, Mike Deodato, Olivier Coipel, Terry Dodson & Walter Simonson (art), Scott Hanna & Rachel Dodson (inks), Jason Keith, Laura Martin & Paul Mounts (colors), and Cory Petit (letters)

The Story:  The Avengers work to escape the microverse after one more big fight with centaur kingpin Lord Gouzar.

The Review:  I’m a big fan of Bendis and, as such, I’ve stuck with his Avengers books for a long, long time now.  Suffice it to say, it’s been a rocky road with highs and lows.  With that said, he’s done a lot for the franchise and so I really do wish I could give a glowing review for this giant-sized farewell issue.  I mean, the sheer amount of heart he puts into his lengthy farewell letter at the end of the issue makes me really want this issue to be a great one.  But it isn’t.

Quite honestly, it’s been pretty clear for a while now that Bendis perhaps overstayed his welcome on Avengers; ideas were being recycled, certain issues felt phoned in, and this issue really only evidences that fact.  Everything just feels so derivative and phoned in that it’s hard to believe much passion and effort went into its creation from Bendis.  Given how sincere his farewell letter was, you’d figure that he’d really try to blow us away with this issue, but perhaps he just doesn’t have it in him anymore.

Daredevil #19 – Review

by Mark Waid (writer), Chris Samnee (artist), Javier Rodriguez (colorist), and Joe Caramagna (letterer)

The Story:  As Matt’s mind falls apart, he finally figures out who’s behind all the insanity.

The Review:  While it’s not always had the same amount of success, one thing I’ve loved and respected Waid for doing in this series is truly experimenting and expanding on the type of stories that can be told with Daredevil.  With guys like Miller, Bendis, and Brubaker defining the “Daredevil comic,” we got to a point where the “Daredevil comic” was by definition a gritty noir affair.  Throughout his run, Waid has tried to break free of that mold, throwing the Man Without Fear into different genres.

This month, he tosses Daredevil a bit more into the horror genre (right in time for Hallowe’en!).  It’s a subtle, toes in the water move at this point, but it’s definitely palpable, and it definitely works.  Having a main character who is just as unsure as the reader is about what is and what isn’t real makes for a turbulent read that keeps the reader engaged and just a little unsettled.  Matt’s lack of vision and his radar sense also become vulnerabilities in themselves and as things pop in and out of reality and the Spot’s power mess around with Matt’s surroundings, there is also something distinctly creepy about the way Samnee illustrations Matt’s radar-vision of the world.

Where the horror element really kicks in though his with returning villain, the Spot, now new and improved with a distinctly horror-movie appearance.  Waid and Samnee do a great job of emphasizing the creepier aspects of the villain’s powers, leading to some really great panels.  There’s just something naturally disturbing about scores of disembodied hands reaching out to grasp Matt from black portals.  I don’t know what it is, but it just gives me the heebie-jeebies.  The ending of the issue is also great – it’s completely ridiculous, visually, but is a classic sort of “muhuhaha” horror moment.

All this being said, I’ll admit: I have an axe to grind with this issue.  I thought Waid’s use of Foggy this month was nothing less than deplorable.  What Waid has Foggy do this month is complete and utter betrayal of Matt.  That, in itself, runs completely contrary to who Foggy Nelson is.  I don’t care that Foggy thought he was doing it for Matt’s own good or that he was drunk – it’s a massive betrayal and, as such, it cuts to the core of Foggy’s character and it, well, it just isn’t Foggy.  Frankly, we’ve seen Matt in direr straits than this during Bendis and Brubaker’s runs and never once did Foggy even think of betraying Matt in this manner.  Foggy’s actions this month are really out of the blue and make the character difficult to like and genuinely irritating, which is a very bad look for Foggy and one which he was never meant to have.  Given what he and Matt have been through and who Foggy is, it also makes little sense.

Journey into Mystery #626 – Review

by Kieron Gillen (writer), Doug Braithwaite (pencils), Ulises Arreola & Andy Troy (colors), and Clayton Cowles (letters)

The Story: Loki cuts a deal with the biggest, toughest demon in limbo before seeking the aid of a very shiny resident of Asgard.

What’s Good:  One thing I’ve really appreciated about Kieron Gillen’s Journey into Mystery has been it’s pacing.  Each issue is a full experience, seeing Loki get himself into a scrape, cut a deal with a megapower or two, and achieve an objective.  Each issue then leaves us with a prelude for next month’s issue, showing where Loki’s going to be heading to next.  It’s a really great format that makes each issue comprehensive and satisfying, while also leaving the reader desperately wanting the next installment.  It’s a fine balance, and Gillen rides it well.

Meanwhile, Loki remains as endearing as ever as we once again watch his machinations unfold as he constantly seems one step ahead of the big boys of the Nine Realms.  Gillen makes it easy to see suggestions of how exactly Loki is manipulating the great powers he runs up against, Surtur in this case, yet that the big demon seems unaware of any foul play ends up forging a kind of link between Loki and the reader and makes us all the more attached.  Loki’s escape route was also a really nice touch of comedy and mischief.  Similarly, it’s just so easy to root for Loki as he runs from a vengeful Hel-Wolf or dodges giant demon swords, as the character manages to be crafty and lovable, but also vulnerable.  As witty and smart as Loki is, Gillen is aware of his physical fragility and how most readers will react to a kid in danger.

Meanwhile, Doug Braithwaite is as epic and generally awesome as ever and despite the extra colorist, there’s really not any noticeable difference from previous months.  I remain impressed at how Braithwaite is able to produce detailed, impressive work like this month after month without any delays.

Also, that ending…  Wow.  Just wow.  It’s as though Gillen sat back and thinks to himself each month “how can I make Kid Loki more awesome?”

New Avengers #14 – Review

by Brian Michael Bendis (writer), Mike Deodato (art), Rain Beredo (colors), and Joe Caramagna (letters)

The Story: The New Avengers race to defend New York against Sin’s attack while Mockingbird tests her newly gained powers.

What’s Good:  When he puts his mind to it, Brian Bendis is capable of truly fantastic, intimate character-work, and that’s exactly what we get this month with Mockingbird.  The issue is divided up between a monologue by Bobbi and scenes of her and her comrades battling those pesky Nazi robot suits.

The best thing I can say about this issue is that even if you never gave much of a crap about Bobbi Morse, you will come to love her over the course of this issue.  Bendis captures her voice perfectly and makes her so innately likable, both adorable and heroic, that it’s impossible not to like her, want to hang out with her, and root for her.  She comes across as completely and utterly human, with a multi-faceted, fully realized personality complete with humour, doubt, and, of course, heroism.  She just comes across as being so real, which is no small feat in superhero comics.   Funnily enough, she even manages to make light of the fact that up until now, she’s not been the most interesting Avenger and has frequently been put in the background by Bendis.

Well, not anymore, apparently.  The scenes of her kicking ass are almost as much fun as her monologue.  There’s such joy and exaltation in her discovering and exploring her new powers.  It’s uplifting to see her jump twenty feet in the air and blow shit up with her fists.  It’s empowering and you can’t help but root for her and feel good for her.  Frankly, it’s issues like this that turn otherwise unremarkable characters into fan favourites.

Better still, this close-up work with Bobbi makes the most of Fear Itself.  Essentially, Mockingbird decides to make the events of Fear Itself as a means to make the most of this second chance at life.  Basically, seeing Avengers Tower crumble and the world in flames, but finding herself also newly empowered, Fear Itself has become her mission and an event by which she hopes to define herself as a superhero.  That’s a really, really cool idea and a great use of an event tie-in, one that keeps the explosive “big” stuff more personal.

Avengers #14 – Review

by Brian Michael Bendis (writer), John Romita Jr. (pencils), Klaus Janson (inks), Dean White (colors), and Cory Petit (letters)

The Story: “The Red Hulk…proved himself an Avenger.”

The Review:  As far as issue structure goes, this is a bit of a weird one.  We start out with the same talking heads format that found such success last month, then we end up with a near wordless action scene.  Bendis seems to be attempting to flirt with both of these formats, and it feels a little haphazard.

Which is a shame, because taken on their own merits, both sides are pretty solid.  The talking heads continues to bring an intimacy and humanity to the superhero community, which serve to highlight the gravity and devastation of the events of Fear Itself.  The action scenes are pretty damned awesome as well, as you’d expect a Thing-on-Steroids vs. Red Hulk battle to be.  More than that, Bendis manages to convey Red Hulk’s heroism through his actions alone and there is emotion attached to a battle that is, by and large, a regular old megapowered throwdown.

A major event of destruction happens this issue as well.  I can’t say much more than that, but suffice it to say that I have mixed feelings.  On the one hand, Romita’s grand artwork and Bendis’ tone sells this particular catastrophe well in both its scale and importance.  It again hammers home just how bad things are right now amidst the madness of Fear Itself.  On the other hand, it also feels kind of familiar.  Granted, this exact event hasn’t happened before to my knowledge, but we’ve come pretty close before and seen similar things happen.

I was also not a fan of “evil Ben’s” dialogue.  Bendis seems to, for reasons unknown, set Ben apart from most of the rest of his Worthy brethren.  He doesn’t speak that incomprehensible Asgardian monster language and, in fact, not only does he speak only English, he speaks colloquially.  In other words, he’s just evil Ben, which is a bit lame and completely at odds with what other writers have been doing, including Matt Fraction himself.

Avengers #3 – Review

by Brian Michael Bendis (writer), John Romita Jr. (pencils), Klaus Janson (inks), Dean White (colors), and Cory Petit (letters)

The Story: The Avengers battle Apocalypse and his horsemen as the broken timestream causes mayhem.

What’s Good: After complaining about the mediocrity of this title for the last two months, I admit that I was fully prepared to voice some variation of the same concerns this month.  I’m happily able to report that, much to my surprise, that’s far from the case.

I think a big part of this is due to the book’s no longer being so self-conscious about headlining the Heroic Age or moving past Dark Reign.  Status quo, rosters, and pondering the past are all shuffled to the side.  We’re also no longer mired in the ambiguities of Bendis’ ideas relating to time travel or the “broken” timestream.  In the place of all this muck is a barrel-full of fun, as this issue smashes you in the face with a fist-full of Marvel insanity.

And really, this insanity seems key to the book’s identity.  The brawl with Apocalypse and his Four Horsemen is awesome and a really cool throwback and reminder of the late 80s and early 90s.  Mix this together with Apocalypse’s cheesy, old-school villain dialogue and the whole conflict is an absolute blast.  It makes the Avengers completely unlike anything else offered by the Avengers-line of titles.  This issue is such a concentrated dose of camp and nostalgia that it ends up being truly unique.

Along with this newly-found identity are the beginnings of the team dynamic and synergy that were sorely lacking in the first two issues.  Spider-Man and Iron Man of all people have something of a bonding experience that feels almost inexplicably resonant, perhaps because this title has thus far been starved of this sort of meaningful interplay between team members.  Meanwhile, Spider-Woman and Spider-Man rekindle their spark and Noh-Varr and his ongoing attempts at humanity add another source of comedy.  Surprisingly integral as well is Maria Hill, who acts as the glue that holds the team together and provides narrative direction.  Her constant snark added a great deal of colour to the issue and catered well to the voice Bendis does so well.

Shadowland #1 – Review

by Andy Diggle (writer), Billy Tan (pencils), Batt (inks), Christina Strain & Guru EFX (colors), and Joe Caramagna (letters)

The Story: Bullseye takes on a newer, nastier Daredevil while the Avengers grow increasingly concerned about that weird castle in the middle of Hell’s Kitchen.

What’s Good: As the first issue of an event, one could look at this issue as being a series of great choices by Diggle.  First and foremost is that it isn’t overburdened by a plethora of characters.  It certainly still feels like a Daredevil book, but has the Avengers, Luke Cage and Iron Fist in particular, be just enough or a presence to make things feel different and a little bit bigger.

Then there’s the central role that Bullseye has in this first issue.  I can’t think of a better way of showing how much Matt has changed than having him fight the guy he’s fought a million times.  It’s a wonderful choice by Diggle, who also writes a really great, crazy Bullseye.  It’s clear the dynamic has shifted when readers immediately get the feeling that Bullseye has insanely bitten off more than he can chew by challenging Daredevil.  It’s also quite the turn to see the “hero” be accompanied by a horde of faceless goons, ganging up on the lone villain.  This, of course, was no doubt what Diggle was going for.

That’s really the strongest point of this issue; there’s no doubt, during this issue and particularly at its end, that the Daredevil of Shadowland is a very, very different Daredevil.  He’s mean, he’s isolationist, and he’s darker than ever.  This, of course, is tied into another great choice by Diggle: debuting the new outfit this month, which looks absolutely fantastic and is a great representation of Matt’s shift in mentality.

But really, the best choices Diggle makes in this issue are related to pacing.  There’s no question that he hits the ground running, but we’re also not overwhelmed by breakneck plot progression and chaotic happenstance.  The plot is simple and straightforward, but filled with great action and status quo defining moments.

Then there’s the last page.  Whoa.  It’s the sort of cliffhanger that you suspect is coming, but can’t actually believe Diggle went for until you flip the page.  Just whoa.  It’s a major character death that gets Shadowland off to an explosive start while hammering home that this is a whole new DD.

I was also very much surprised by Billy Tan’s artwork, which was really solid stuff.  I thought his work was ill-suited to Daredevil after his work on the List one-shot, but this definitely worked.  His style is detailed, but seems a little grittier and Ron Garney-esque.  Strain’s work on colours also helps a lot, as she goes for darker hues with lots of reds and dark blues.

Avengers #2 – Review

by Brian Michael Bendis (writer), John Romita Jr. (pencils), Klaus Janson (inks), Dean White (colors), and Cory Petit (letters)

The Story: The Avengers attempt to build a time machine with disastrous result and Wonder Man decides that it’s time for action.

What’s Good: This issue is a definite improvement.  Unlike last month’s unfortunate misstep, this issue has a solid structure and feels far more cohesive and organic in its plot developments and narrative progression as many of the growing pains begin to ease out.

I think a lot of this greater cohesion comes from this issue’s really spelling out the niche for this particular Avengers title.  Free from Dark Reign aftermath and such, the book is allowed to do what it was intended to do, which is delve into the high level, almost cosmic styled adventures reminiscent of classic Avengers comics.  Things are quickly gaining that wacky feel that lets you know that you’re getting increasingly distanced from street level, which is a refreshing shift from Marvel’s direction over the past while.  There’s a greater sense of camp and escapism and the book is finding its identity.

I found myself intrigued most of all by Wonder Man’s sudden, violent involvement.  It’s a promising development and I appreciated the Avengers’ fear of Simon becoming another Sentry or Scarlet Witch type debacle.  Wonder Man himself may serve as an opportunity for the Avengers to prove Simon himself wrong; that the Avengers can avoid repeating the mistakes of old, preventing rather than causing destruction.

Romita also shows improvement.  His art feels a lot more fun and comfortable with itself and while Maria Hill still looks weird as hell, there are, overall, far fewer oddities.

New Avengers Finale #1 – Review

by Brian Michael Bendis (writer), Bryan Hitch & Stuart Immonen (pencils), Butch Guice, Andrew Currie, & Karl Story (inks), Paul Mounts, Justin Ponsor, & Rain Beredo (colors), and Chris Eliopoulos (letters)

The Story: With Siege ended, the New Avengers turn the tables, as they become the hunters and the Hood becomes the hunted.

What’s Good: Consider this book the pay-off for years of seeing the New Avengers in hiding, down and out, or generally getting their asses kicked.  This issue is cathartic both for long-time readers of New Avengers and the characters themselves.

It’s really refreshing to see the New Avengers in a position of power and to see their former pursuers running from them for a change.  It’s great to see this team so empowered and certainly, they deserve it.  As a result, this book is a very lively, feel-good affair.  The New Avengers are hell-bent on ensuring that payback is indeed a bitch for the Hood and Madame Masque.

What ensues is a book full of gleeful camaraderie where the New Avengers are the hunters.  It’s an extended book where everything, finally, feels like it’s working the way it’s meant to.  The New Avengers are once again a big force, and one to be afraid of if you’re a bad guy.  If there’s one issue this week that encapsulates the Heroic Age and is the direct opposite of everything Dark Reign was, this is it.

The action is solid and the book ends with a fabulous montage that is both reflective and highly nostalgic.  Despite the series’ relaunch next month, this ending montage was just poignant enough to make me believe this to be a true finale, and one that’s merited.  Truly, a new page is turned.

Siege #4 – Review

by Brian Michael Bendis (writer), Olivier Coipel (pencils), Mark Morales (inks), Laura Martin (colors), and Chris Eliopoulos (letters)

The Story: The battle with the Void concludes, leading to the dawning of a new chapter for the Marvel Universe.  Oh, and two major characters die.

What’s Good: The majority of this book is one gigantic fight with the Void.  This big stuff and the sense of scale are pretty dwarfing, as is the sheer number of heroes involved.  That being said, amidst all the battling, Bendis is very particular in how he uses his heroes and who lands what blow.  If it wasn’t clear before, it is now: Siege is an Avengers book more than anything else.  As our heroes team up on the multi-armed Void, you get a kind of nostalgic feel as you realize that we’re basically seeing another classic scenario where the Avengers team up against a big monster.  And what a team-up it is.  Bendis goes for the always fun “everything but the kitchen sink” dynamic, as the Avengers throw themselves at the former Sentry.

That being said, what’ll get most people talking are the two major deaths.  While one is fairly expected, the other really is something of a surprise, especially given the character in question’s natural ability to get out of scrapes.  What’s even better is the way in which the character goes out.  I couldn’t have imagined it being done any better, as he/she does so purely because he/she acts entirely contrary to his/her pattern of behaviour.  For a brief moment, he/she makes a stand and becomes perhaps the most heroic figure in this entire book.  It’s a major moment of redemption for the character.

On the art, this is some more amazing work from Coipel.  The explosions are jaw-dropping, the burial of the dead character above (a cremation in the Sun) is touching, and the Void looks truly terrifying.  As far as being a big-time artist, Coipel has most certainly gone far above and beyond earning his stripes.

The best thing about the issue though is its end and where it leaves the Marvel Universe.  It truly feels like a fresh beginning and will surely leave Marvel fans excited for what’s to come.  Oh, and Steve Rogers ends up in a very, very interesting position.

Dark Avengers #14 – Review

by Brian Michael Bendis (writer), Mike Deodato (art), Rain Beredo (colors), and Cory Petit (letters)

The Story: Victoria Hand deals with dissension in the ranks and the Void makes his presence known.

What’s Good: This issue is a solid issue largely because it’s based entirely on perhaps the two best things to come out of Dark Avengers: Victoria Hand and the Osborn/Sentry relationship.

While Hand has spent much of the series in the background, verging on blandness at times, Bendis has made huge strides with the character in the past few issues.  She has become more brazen and empowered and we’ve really gotten know her on a more individual and personal level.  That trend continues here, as her relationship with Osborn becomes a major focus, with her almost achieving a kind of parental role over the disgruntled and desperate HAMMER director.

It’s great to see someone stand up to Norman, sure, but the care and concern Hand expresses actually made me feel bad for Osborn.  I had to remind myself that he’s still the bad guy.  That’s the mark of a great character in Hand and Bendis is really ensuring that she sticks around in the Marvel Universe post-Dark Reign.

The Sentry/Osborn stuff is great once again if only because one really, really gets the sense that Osborn has bitten off more than he can chew and the blade truly is over his head.  Negotiating the Void is not the cakewalk that manipulating Bob was.  Still, Osborn’s frustration-fueled bravery was enjoyable and, when seeing him directly confront a rampaging and all-powerful Void, I had to again remind myself that Osborn was not a good guy.

Mike Deodato throughout all this provides some absolutely fantastic artwork.  His depictions of the apocalyptic environment wrought by the Void truly are hellish.  Deodato simply does some great work in his massive drawings of urban landscapes and it’s really stunning stuff, as are his illustrations of a souped up Sentry.

New Avengers #61 – Review

by Brian Michael Bendis (writer), Stuart Immonen (pencils), Daniel Acuna (art & colors), Wade von Grawbadger (inks), Dave McCaig (colors), and Albert Deschesne (letters)

The Story: The Avengers find themselves embattled against the Hood’s newly Norm stone-powered goons.

What’s Good: This issue is essentially divided into two separate, but parallel stories as the two Captain Americas battle the Corrupter and Living Laser while Spider-Woman and Spider-Man team up against Mandrill and Griffin.  All told, both sides are enjoyable and lead to an easy, readable book.

Spider-Man in particular is a joy to read.  It’s always a pleasure in New Avengers when Bendis is able to give him any form of extended attention.  The Spider-Man/Spider-Woman is certainly a surprisingly fun one.  Bendis exploits the gender dynamics, the similarity of their aliases (and surprising lack of actual similarities in abilities), and the opposition of Jessica Drew’s dour demeanor with Parker’s signature wackiness.  It makes for really fun reading, with Spider-Woman making for a very, very enjoyable straight-man.  Bendis’ use of Jessica’s Skrull detector as a kind of comic device certainly got a laugh out of me.

The Hood’s goons also show a kind of self-awareness that I appreciated.  They’re typical villains, and it’s weirdly fun to seem them trucking on, well aware of their being typical and their poor success rate.

On art, I really enjoyed both Immonen and Acuna’s work.  Both clearly have a field day with these D-list villains, giving them a campy, Technicolor sort of feel.  Immonen’s over-the-top drawings of the Corrupter are a definite highlight and his cartoonish sensibilities give the characters and actions a kind of fun vitality.  Acuna’s painted artwork is gorgeous, and does a lot to legitimize these relative no-namers.  The final splash, one of Mandrill and Spider-Woman, makes the ridiculous baboon actually appear horrifying.

Siege: The Cabal #1 – Review

by Brian Michael Bendis (writer), Michael Lark (pencils), Stefano Gaudiano (inks), Matt Hollingsworth (colors), and Chris Eliopoulos (letters)

The Story: The Cabal implodes and lines are drawn.

What’s Good: The issue’s strongest point is its characterization.  Dr. Doom is written well by Bendis.  He’s the same absurd bad guy who insists on referring to himself in the third person. but, as usual, Doom backs all that egotism up in a big way.  In this issue, his self-righteousness and arrogance actually make him feel somewhat jarring as a character, unrealistic even, yet Bendis’ display of Doom’s power validates it.  Doom feels like he doesn’t belong because he doesn’t; he functions on a different level from Osborn.  He’s the all powerful, cackling old school villain while Osborn is something more convoluted and modern and Bendis’ depiction of this collision is well-played.

Speaking of Osborn, Bendis does a fantastic job on him as well.  Compared to Doom, Osborn actually sounds realistic; a scary thing, when Bendis essentially cements this month that Osborn’s sanity is bound to implode any day now.  The fact that Osborn’s fear of the Asgardians is based largely on advice from the Green freaking Goblin is evidence of that, and it also makes for a fantastically written conversation.

Overall though, this issues functions just as it should, truly feeling like the beginning of a slow collapse, as Norman’s finally confronted by limitations to his power. Publically, he’s reminded that he isn’t the President of the United States.  Privately, he’s bitten off more than he can chew with Doom.  And he seems to be in denial on both these points.  In probably the most beautiful bit of dialogue in the issue, he accosts Doom for making a “huge, dumb, arrogant mistake.”  When I first read that line, I thought Osborn was speaking of himself and apologizing to Victor.

Art-wise, there’s absolutely nothing to complain here.  With his signature dark, scratchy feel, Lark ably captures the action and the tense conversations with ease.  It’s a good looking book, and I couldn’t expect much more.

What’s Not So Good: For the start of Marvel’s last major event for the foreseeable future, I expected the start to have a bit more of a bang to it.  A character death perhaps, or at least a major event that leaves some sort of irreparable damage.  That I didn’t get either was a bit disappointing.

And it’s not like Bendis didn’t have his opportunities, he just seemed hell-bent on holding himself back.  Take for example the attack on Avenger’s Tower, which basically sparks off the Siege event.  There’s a beautiful illustration by Michael Lark that makes it look as though the Tower itself is on the verge of collapse, as though it were being eaten away.  I loved the idea of the Tower being destroyed.  I mean, damn, that is a way to start an event!  Of course, a couple pages later, and Norman’s back in his office and the Tower is just fine.

Well, at least Bendis can fulfill the promises Marvel has laid out in its ads and solicitations for this issue by revealing his secret partner, right?  Of course not.  Instead, we just get some glowy, vaguely humanoid shape letting loose with a couple of energy blasts with no major hint as to his/her/its identity. Great…

Bendis puts all the characters where he wants them and does what he needs to do to get an event started, but he just doesn’t bother to shoot any higher.

Conclusion: It’s an entertaining issue with very solid character work, but it could’ve been more.

Grade: B –

-Alex Evans

Dark Avengers #9 – Review

By Brian Michael Bendis (Writer), Mike Deodato (Art), and Rain Beredo (Colors)

Some Thoughts Before The Review: With Utopia out of the way, I fully expect Dark Avengers to get back to being a favorite of mine. With a kick-ass cover and the promise of a guest appearance from Jonathan Hickman’s Secret Warriors, it’s a pretty safe bet that Dark Avengers #9 will deliver.

The Story: Ares discovers that his son, Phobos, isn’t exactly heading off to school during the day. Meanwhile, something strange is going on at Avengers Tower while some of the Dark Avengers chat it up about funny heroes.

What’s Good And What’s Not So Good: Before I really get into the review, I have to first toss out a quick suggestion: Do yourself a favor and try to ignore the cool image on the cover of Dark Avengers #9. While Ares goes on a little rampage and some stuff is destroyed, Brian Michael Bendis (I almost want to say, “as usual”) opts to let dialogue do almost all of the work in the latest issue of Dark Avengers. Is this a bad thing? Turns out, it’s not at all.

Bendis’ decision to let words bring resolution to an explosive situation works extremely well because of how the scene plays out. It gives the characters involved a little extra depth and goes a long way towards humanizing a character that, most recently, has been little more than muscle in superhero battles. I do, however, have one major issue with the dialogue in regards to how Phobos is portrayed. Bendis handles him as though he is a normal kid afraid of his father. While that works as far as what’s happening is concerned, Bendis’ take on Phobos seems to go against what Jonathan Hickman is doing with the character. It’s hard to really call what Bendis does a negative, but it is something that must be mentioned.

So the Ares/Fury/Phobos scene is pretty great. Thankfully, the rest of the book doesn’t disappoint. The exchange at Avengers Tower is something really close to hilarious, and the weird stuff happening left me thinking “WTF!?” in a good way. In short, it’s clear that the series is back on track and I really couldn’t be much happier. That said, I do wish that the Dark Avengers would stop being stuck as the supporting characters in their own series. I buy Dark Avengers to read about the Dark Avengers damnit…

The artwork in Dark Avengers #9 is, as expected, moody, gritty, and impressive all around. The unfortunate thing is that there really isn’t a whole lot of ways for Mike Deodato and Rain Beredo to show off given the script. The characters look good and the emotion on display certainly works, but it’s clear that neither artist is really being put to the test.

Conclusion: Dark Avengers fans… it’s safe to come back to the series now.

Grade: B+

-Kyle Posluszny