Age of Ultron #10 – Review

By: Alex Maleev, Bryan Hitch & Paul Neary, Butch Guice, Brandon Peterson, Carlos Pacheco & Roger Benet w/ Tom Palmer, David Marquez, Joe Quesada (Artists), Paul Mounts & Richard Isanove (Color Artists), VC’s Cory Petit (Letterer)

Review: I finished Naughty Dog’s PS3 magnum opus The Last of Us last night. It was terrific. I won’t spoil anything for my fellow gamers out there but suffice it to say that it’s got a pretty unexpected ending, far more ambiguous and open to interpretation than many of the potential finales fans suggested. Crowning the entertaining and tension-fueled hours that led up to that point, the ending managed to tie everything off neatly; it faithfully resolved its protagonists’ journeys and was bold enough to make like there won’t ever be a sequel – like it counted – even though such a thing is inevitable because money. That, my friends, is how it’s done. You do not do it like Age of Ultron #10.

 And why not? Because this issue winds up feeling more like a slap in the face than a fulfilling denouement. Even viewed on its own merits this is a troubled comic.

Age of Ultron #9 – Review

By: Brian Michael Bendis (Writer), Brandon Peterson (Artist), Carlos Pacheco (Penciler), Roger Bonet (Inker), Paul Mounts, Jose Villarrubia (Color Artists), VC’s Cory Petit (Letterer)

The Review: I’ll say this: Wolverine’s lucky that Doc Brown ain’t an Avenger. He’d have a few harsh words for the hairy canuck right about now, least of which would be “Great Scott!” Then again, perhaps it’s for the best. All Marty ever gave back was a “Gee, Doc!” as he gurned a weary frown; Wolverine would probably have gutted him from top to bottom with a “Stick that in your Flux Capacitor!” Either way, the Space-Time Continuum would still be stretched to breaking point…as may be your levels of patience and willing sense of disbelief at this point.

Age of Ultron #8 – Review

By: Brian Michael Bendis (Writer), Brandon Peterson (Artist), Paul Mounts (Color Artist), VC’s Cory Petit (Letterer)

Review: How crazy is Age of Ultron #8? “It’s insane. It’s—it’s a fantasia of insanity,” according to future/alternate Tony Stark. I’d say that’s pretty conservative. R Kelly would call it “crazier than a fish with titties.” Amanda Bynes would just do this. Though as good as those descriptions are, do any of them really do justice to the image of Morgana Le Fey flying into battle backed up an army of Dragon-riding Asgardian Doom-Bots!?!? Nah, not really. This ish is bugnuts.

Age of Ultron #7 – Review

By: Brian Michael Bendis (Writer), Brandon Peterson, Carlos Pacheco (Artist/Penciler), Paul Mounts, Jose Villarrubia (Color Artists), Roger Martinez (Inker), VC’s Cory Petit (Letterer)

Review: Regular WCBR readers will know that I’ve been a staunch supporter of Age Of Ultron. Amidst the general criticisms that it’s been sluggishly paced or too low on action and characterisation, I’ve instead found it to be a well-plotted and atmospheric success that’s offered a welcome change in tone to the more overt histrionics of other Marvel event books. It’s been bleak but beautiful, the hypothetical death rattle of the Marvel Universe. But everything that’s occurred in those first six issues has really just been a set-up; a teaser playing up the eventual reveal of what happens when the past is definitively altered in a final act of desperation by the heroes of the present. With Ultron retroactively defeated, what exciting new world has Bendis created for us? If the Rabbit never existed, what now rests in the Magician’s hat? Well, it’s just the Magician’s hand. And he’s giving you the finger.

Age of Ultron #6 Review

By: Brian Michael Bendis (Writer), Brandon Peterson, Carlos Pacheco (Artist/Penciler), Roger Martinez (Inker), Paul Mounts, Jose Villarrubia (Colorist), VC’s Cory Petit (Letterer)

The Review: If you’ve read every issue of Age of Ultron up to this point you’ve probably been in one of two camps. You may have been growing increasingly impatient with Bendis’ glacial pacing, begrudgingly putting down your $3.99 week after week hoping each time that this will be issue to get things moving. Alternatively you’ve enjoyed it every step of the way, have withstood the downbeat and malevolent mood and savoured a Marvel event book that’s employed more substance than style. Either way it’s been a bumpy, expensive ride with few signs pointing to how, if at all, its outcome will impact on the wider Marvel Universe. Age of Ultron #6 signals the beginning of the end of this journey, and it might just have managed to keep everyone happy into the bargain.

It covers quite a lot of ground. Ostensibly it’s the natural progression from last month’s cliffhanger; Nick Fury and a handful of the more powerful Avengers head into the future to confront Ultron while Wolverine goes into the past to kill Hank Pym (thereby circumventing the whole Ultron problem in the first place). Admirably, this issue really jumps into both storylines head first and there’s immediate outcomes presented on each front. And when I say outcomes…I mean deaths.

You could probably have guessed that Fury’s camp would suffer the most casualties. The dude almost drops his team straight into the meat grinder after all as they move from the Savage Land direct to New York (even time-travelling genocidal robots want a piece of the Big Apple it seems).  Now a gleaming technopolis devoid of human life, the city offers nothing but an ambush from thousands of flying Ultron heads and the Avengers are pretty much sitting ducks. They are, after all, just drifting in the wind thanks to Storm’s weather powers, and that can’t allow for much manoeuvrability. They get slapped around some and a major character literally loses his head – we may see a few Avengers captured and brought before a gloating Ultron before the series is up, but otherwise it looks like this particular plan has gone wronger than corduroy.

Avengers #31 – Review

By: Brian Michael Bendis (writer), Brandon Peterson & Mike Mayhew (art), Jason Keith (colors), and Cory Petit (letters)

The Story:  In the day after the Phoenix calamity, a lost Avenger triggers her emergency beacon.

The Review:  This review is a tough one to write due to the fact that I could easily come at it from two different angles, one positive and the other negative.  Let’s do the former first.

On the one hand, I really enjoyed the feeling of “the morning after.”  After all the AvX craziness, Bendis does a good job of giving the feeling of a new day having dawned and our heroes relaxing in their own unique ways, finally able to unwind and release tension.  As a reader, reading this, I sort of shared that and reading this issue felt like letting out a giant sigh and getting comfy in readiness for the next thing.  And hey, there’s a Wolverine beer joke, which is always good.  I will also say that Mike Mayhew’s art during these portions also suit that tone perfectly.  His photo-realistic, almost painterly style has that natural lack of tension, that grandiose, relaxed tone that matches Bendis’ script.

Ultimate Comics: The Ultimates #6 – Review

By: Jonathan Hickman (writer), Brandon Peterson and Esad Ribis (artists), John Rauch and Edgar Delgado (colors)

The Story: The Ultimates take a collective breath and say, “Oh, f#@&!”

The Review: Goodness, I really love the concept of the Ultimates. I really think it’s fascinating to watch these imperfect men and women try to live up to the impossible ideals they define themselves by; it’s equally fascinating to watch the world react to these super-people in such a realistic manner. Obviously, this was not the interpretation in Jeph Loeb era, but I choose to ignore that run. Besides, Jonathan Hickman has really returned this book to its philosophical roots, and I’m delighted.

This issue opens on a conversation between Nick Fury and the retired Steve Rogers, discussing all the disasters that have taken place in the last five issues. The outlook is grim. Someone has set off a nuclear bomb just off the coast of Uganda; Southeast Asia has been taken over by mutant supremacists; and Reed Richards has conquered 200 square miles of Europe, destroyed Asgard, and now commands forces that far surpass those of SHIELD and the entire US Military combined. In the face of this, Fury asks Rogers to return as Captain America. But here’s the interesting thing: he’s not asking Captain America the super-soldier, because—let’s face it—there’s not a hell of a lot even Captain America could do about this. Instead, Fury is asking for the help of Captain America the political symbol, to reassure the public and to support Fury’s plans. The conversation displays a great understanding of who these characters are, and what values drive them.

The conflict of realism versus idealism is the driving force of this issue. From Stark facing the superrich he suspects of nuking Uganda, to the Braddocks coping with Captain Britain’s catatonic state, to even Falcon confronting his former colleague Reed Richards, the characters are forced to reconcile the way they would like the world to be, and the way the world is. It’s a powerful theme, and well explored. However, because Hickman is taking his time to explore these themes, it also means this is the second issue in a row with everyone just sitting and talking about what has happened. I’m fine with that, given the enormity of what has passed, but characters need to start being active again soon.

Uncanny X-Men #4 – Review

by Kieron Gillen (writing), Brandon Peterson (art), Justin Ponsor (colors), and Joe Caramagna (letters)

The Story: The Phalanx returns and the X-Men race to stop its rapid consumption.

The Review:  What a strange issue… I really don’t mean that in a bad way at all.  In fact, I wish more ongoing series did this.  Uncanny X-Men #4 is something a one-shot, and Gillen really makes the most of the opportunity, using the done-in-one format to tell a rather different kind of story with a very different focus.  It’s told from the perspective of a member of the Phalanx, marooned on Earth, and the result is a surprisingly intimate comic.

Gillen’s goal with this comic is to make the unrelatable relatable and to make something utterly alien, and generally construed as evil, into something sympathetic.  That’s no easy feat, yet Gillen does accomplish it.  The Phalanx becomes comprehensible.  It’s logic is still completely at odds with humanity, but that there is a logic operating is clear.  More than that though, while Gillen never shies away from just how different, and thus how opposed, the Phalanx is to humanity, he does a great job of giving it legitimate emotions, feelings of loneliness and affection that are surprising.

Really, Gillen boils the Phalanx down into something that is simply incompatible with humanity.  It feels and it loves, but simply put, what it sees as good and affectionate, humanity sees as murderously destructive. The result is something of a bizarre story that ends up being somewhat chilling.  At the heart of Gillen’s script is an entity that simply doesn’t want to be alone, while also wanting to express its affection, but its means are repugnant.  What you end up with then, is an isolated freak, killing out of love and loneliness, wracked by his conscious, but flailing about lost.  It’s thoroughly unsettling, but Gillen crafts a comic where you actually understand the incomprehensible and feel legitimate sympathy for a creature that commits mass murder while garnering that sympathy.  It’s a morally challenging comic, to be sure.

Of course, the downside to all of this is that in delving into these complexities, Gillen does end up being guilty of overwriting the book a bit.  There is a LOT of narration, so much so that it does slow the book down at some points.  At times, that’s acceptable – it gives the book an ominous tone – but that pace is constant, irrespective of when that ominous tone should be at the forefront or not.  I think Gillen’s biggest crime with all this narration is that he does fall prey on a few occasions of telling rather than showing.  I realize a great deal of characterization was necessary in an issue like this to establish the required intimacy, but Gillen should’ve allowed the art to do a little more of the talking.  I don’t think the reader needed quite so much hand-holding.

X-Men: Legacy #211 – Review

Mike Carey (Writer), Scot Eaton (Present Day Penciler), Jon Dell, Andrew Hennessy, Dave Meikis (Present Day Inkers), Frank D’Armata (Present Day Colorist), Brandon Peterson (Flashback Art), and John Rauch (Flashback Colors)

As some of you readers may know by now, I have been really enjoying the X-Men: Legacy storyline and, in a lot of ways, consider it to be one of the strongest books to spin out of the Divided We Stand lineup. The story of Professor Xavier’s shattered mind has been an excellent combination of strong writing, storytelling, and artwork. This retooled series continues to impress (while confusing a bit) as it kicks off it’s second arc.

This issue follows a structure similar to the previous issues with jumps between the present, the Mindscape, and the past. Xavier tries to piece together bits and pieces of his past, sometimes using other methods in the process. Also, we find Xavier is being hunted by some group, which creates an intriguing dynamic for future issues to work with. Sebastian Shaw gets some time in the spotlight as we learn a bit more about the mysterious machine that started a reaction in the previous issue. One thing that’s been consistent with this series is how well Mike Carey has paced it. The story never lingers – it’s always on the move and I find that to be very satisfying.

As has been the case since Xavier took front and center in this X-Men book, Carey does a great job moving things along while still keeping the reader in the dark about the various forces working against or around Xavier. While I do wish we were given a little more information regarding some characters that show up, as well as some what’s being referenced in flashback and Mindscape sequences (Wikipedia came in handy), I find myself drawn into this story regardless of the information gaps. The whole book has an almost noir-like feel to it and Carey makes the reader want to piece together the puzzle as bad as Xavier does.

The story is greatly complimented by the artwork, which absolutely nails the tone of Xavier’s desperate search for information. The various Mindscape sequences are sufficiently surreal, thanks to a mix of the bizarre and the mysterious moods conveyed by the coloring and art teams. The shadowy, moody artwork of the present day sequences create a feeling that serves to remind the reader that this is a tale far removed from the usual superhero fair. Both teams deserve praise for the work here, as this is a visually impressive book.

This is a worthy book all around and I definitely look forward to what Carey has up his sleeve for future installments. While I wish some things were explained a little better, I never once felt completely lost, which says a lot about the way the story is presented. I have a feeling someone with a deep knowledge of Xavier’s history will find even more to like with this story than I did. Check this series out if you are looking for a different type of X-Men story. (Grade: B)

– Kyle Posluszny

X-Men: Divided We Stand Book 1 #1 – Review

By Mike Carey, Matt Fraction, Craig Kyle, Christopher Yost, Skottie Young (writers), Brandon Peterson, Jamie McKelvie, Sana Takeda, Skottie Young (pencils/art)

I honestly do not understand the point of this mini-series. X-Men: Divided We Stand is an anthology of short stories that showcase a number of C-List mutants who’ve been put out to pasture following the events of the Messiah Complex. One of the stories isn’t even about one of the mutants, either. I just don’t know, maybe I’m missing the point.

I mean, do people really care about an eight page story where Cannonball gets into a bar room brawl? Or how about a story where Scalphunter’s become a cook and Nightcrawler comes to lecture him about history and art? A lot of these stories are completely soulless and feel forced when it comes to playing to its audiences’ sympathies. It’s as if Marvel came up to these writers and asked, “Hey, wanna make a quick $200? Write me an 8 page story and we’ll make a ton of money because this’ll be a #1 issue.” I almost feel insulted.

It’s a shame, too, because there’s some diverse talent here in the forms of Jamie McKelvie, Skottie Young, and Sana Takeda that just feels wasted. In fact, I found it kind of funny that Scottie Young, who drew and wrote a chapter, himself, had the strongest story, yet the worst art!  All the other stories felt contrived, too cliche, and too filler.

Ultimately, we don’t need a book like this. We don’t need to see what the lesser X-Men characters are doing during their time off. There’s a reason why New X-Men was canceled: It sucked and so did the characters. This issue does little to prove otherwise. (Grade: D)

– J. Montes

FIRST LOOK: X-Men: Divided We Stand Book 1 – #1

COVER BY: BRANDON PETERSON
WRITER: MIKE CAREY
MATT FRACTION
CRAIG KYLE
CHRISTOPHER YOST
SKOTTIE YOUNG
PENCILS: BRANDON PETERSON
JAMIE MCKELVIE
SANA TAKEDA
SKOTTIE YOUNG
LETTERED BY: DAVE SHARPE

THE STORY:
In the wake of Messiah CompleX, there are no X-Men. But where does that leave the mutants that WERE X-Men? Some of the industry’s hottest creators bring you stories of your favorite mutants. Mike Carey (X-MEN, ULTIMATE FF) and Brandon Peterson (ULTIMATE EXTINCTION) bring you a tale of Cannonball and Husk. Matt Fraction (PUNISHER: WAR JOURNAL, IRON FIST) and Jamie McKelvie (Suburban Glamour, Phonogram) tell a story about Nightcrawler. Craig Kyle & Christ Yost (X-FORCE) and Sana Takeda (Drain) take you to Wakanda for a tale of Storm, Black Panther and Neznho. And Skottie Young (NEW X-MEN) writes and draws a story about your favorite New X-Man Anole.

Rated T+…$3.99
IN STORES: April 16, 2008