X-Men Legacy #14 – Review

Simon Spurrier (Writer), Tan Eng Huat, Craig Yeung (Artists), José Villarrubia (Colorist)

The Story: For a big strategist and mastermind, Peter Wisdom sure seems to be easily manipulated by David…

The Review: Great ideas don’t necessarily make great comics. As much as concepts can bring some interest in a particular title, they need to be executed well in order for quality to be in on the whole thing.

X-Men Legacy could very well be one of the poster child of such a saying, as it has some really fascinating ideas revolving around the whole notion of what mutants are and what they could do, as well as the flaw behind the very idea that is the X-Men. The sheer notion that David Haller, the son of Charles Xavier, a powerful yet absolutely unstable mutant could helm a title of his one was something that seemed unrealistic, yet it still manage after a dozen issues to keep on going.

From what can be seen, the reason for the continuation of a title that seems to be that the main direction of the title is simply full of potential: what if Charles Xavier methods of unification between mutants and the rest of humanity were wrong? The very notion that building a small army that would use violence in order to protect mankind from mutantkind with bad intentions do come as somewhat trite as we see what David is trying to do. As Spurrier tries r push the idea through the character of David, we get some very interesting insight on what it could mean to be a mutant in the Marvel universe.

Knight and Squire #6 – Review

By: Paul Cornell (writer), Jimmy Broxton (artist), Guy Major (colors)

The Story: An American Joker in London.

The Review: It’s almost a sure thing no one knew what to expect going into this series, and certainly as it’s gone on, it’s become even more unpredictable.  As it turns out, Knight and Squire aren’t simply Batman and Robin with charming accents.  For a while, their style and philosophy toward crime-busting has come off so lighthearted, they came fairly close to parody.  But this issue proves they are more than up to the job of taking down the big-name villains.

Regardless of which Dynamic Duo you’re talking about, sooner or later, it had to come down to this: a face-off with the Joker.  I don’t think many of us anticipated the original to show up (how does an infamous psychotic manage to bop his way across the pond anyhow?), but Cornell uses him to show not only what K&S are made of, but the overall philosophy of the British culture.

A lot of praise has to be given to our heroes for stepping up to the plate despite confronting a foe with far greater malice and danger than they’re used to—in comparison to a resurrected Richard III, anyway.  Especially admirable is Beryl’s design of a clever trap for the Joker in spite of her grief over her beau’s murder—it’s one of the best amidst a lot of examples in this issue of what the Brits lack in outright boldness, they make up for with formidable resilience.

Nowhere is that more evident than in Jarvis Poker’s subtle baiting of his former idol even in the death throes of his disease.  How fitting he ends up being the character that learns the most by the story’s end.  After all, he reflects the side of Britons that admires American independence, only to learn that a nation as big as America can afford it, while the citizens of an island nation must learn to get along—even heroes and villains.  The source of their indefatigable civility is the same thing, which allows them to overcome challenges: in Jarvis’ words, “Sacrifice.”

Captain Britain And MI:13 #12 – Review

By Paul Cornell (Writer), Leonard Kirk (Pencils), Jay Leisten (Inks), and Brian Reber (Colors)

Some Thoughts Before The Review: A story about Dracula attempting to take over Great Britain could easily come across as silly unless the tension and drama manages to set the tone both early and often. Fortunately, Paul Cornell is aware of that fact. He proves it by using the story to both raise the stakes of his series as a whole and create opportunities to add more depth to his already compelling cast.

The Story: Captive under the power of Dracula, Spitfire is escorted around the vampire base by her son. She learns some things about Dracula’s grand plan and the preparations that he has made in order to carry it out. Meanwhile, Captain Britain and the rest of the MI:13 team try to find “the head” that may help them combat Drac’s plans.

What’s Good: Simply put, Paul Cornell is writing one hell of a vampire story. It puts the dense mythology about Dracula and his minions to very good use. In addition, the distinctly British flavor of Cornell’s writing keeps things from becoming too serious thanks to a healthy dose of dry humor and clever wit. As for the artwork, Leonard Kirk and his team continues to make sure Captain Britain is as much fun to look at as it is to read. The action hits hard, most of the vampire-related imagery is downright haunting, and each panel is filled with an impressive amount of detail.

What’s Not So Good: My only real complaint about Captain Britain and MI:13 #12 is that a few scenes come across as visually confusing. Either the action is a bit to cluttered or the perspective used for the scene makes things look a bit off. While it is a minor complaint (and some may not find it distracting), I figured it was still worth a mention.

Conclusion: I really can’t recommend Captain Britain enough. The writing is damn near perfect, the artwork is always pleasing, and the stories are a brilliant mix of insane and intelligent. It’s just good stuff all around.

Grade:  B+

-Kyle Posluszny

Ultimate Human #3 (of 4) – Review

By Warren Ellis (writer), Cary Nord (pencils), Dave Stewart (colors)

Now here’s an issue that caught me completely off-guard! You’d think with covers featuring Hulk and Iron Man we’d get a non-stop action ride full of pummeling. I mean, that’s why Cary Nord was brought on board – because his action is so dynamic, right? Well, toss all those preconceived notions out the window, because Warren Ellis gives us an issue that’s filled with tons of dialogue and all set indoors. The story begins so off-base that after the fifth page, I closed the book just to make sure I was reading the correct title!

Eventually, the story comes together and begins to make sense, but it only starts hitting you the last third of the book. Everything from that point on is very political and even confusing. Why? Because we’re put in England and while we understand that they’re up to their own superhuman project, it makes little sense on how it’s going to intersect with what Tony Stark and Bruce Banner have done. It’s only near the end that Ellis pieces together the puzzle (in brilliant fashion, no less), and gives us one heck of a pay off.

And poor Cary Nord. This must have been one of the toughest assignments he’s ever had as a penciler. Drawing 22 pages of people talking, and trying to keep it interesting must have been brutal. He succeeds with his task, for the most part. My only issue is that he made these government office spaces a tad too sterile. They’re devoid of life, as if no one’s ever lived there. And what’s with the dark laboratory that looks like a prison? This is a big funded experiment we’re talking about here – not the dark ages!

Anyway, if you’ve been following this series like me, be ready for a nice surprise with this issue. I love how unconventional it is – yet, it works. If this series were a TV show (because that’s what it feels like), this episode would be nominated for an Emmy (or something). Very cool. (Grade: A-)

– J. Montes