Winter Soldier #18 – Review

By: Jason Latour (Writer), Nic Klein (Artist/Colorist)

The Story: Tesla Tarasova tells us her life story and how she views her training, her life mission and the world in general.

The Review: It’s not fair. Really, parts of me are right now enraged after reading this issue. Having finished analyzing the various elements that compose this story, I can only come to a single conclusion: it’s not fair.

Do not misinterpret this, as this statement is only my vision of a harsh truth, a thought on the fact that this title will be over soon, as it has been cancelled. How can a title that has grown to become so amazing be cancelled like this?*

Winter Soldier #17 – Review

By: Jason Latour (Writer), Nic Klein (Artist/Colorist)

The Story: Bucky gets to know a little bit more about his target, Tesla Tarasova, as he prepares to right his wrong with her.

The Review: Let me be very clear right off the bat on this one: this issue wasn’t as good as the others and it is due to several little facts. While this is a strong way to start of a review, let me clarify that this is by no mean a bad issue, but it is merely a rather weak one when compared to the previous two by the same creative team.

Winter Soldier #16 – Review

By: Jason Latour (Writer), Nic Klein (Artist/Colorist)

The Story: Bucky tries to find Father Hammer, one of the commanding officers from his time as the brainwashed Winter Soldier.

The Review: Jason Latour continues to write up the continuous adventure of James Buchanan Barnes, a character created by Jack Kirby but brought back and modernized by Ed Brubaker. Writing a character that has been really developed and deepened by another writer is tough, but it is doubly so when writing exactly that character’s title. Some writers may do an error once or twice with the characters if he is in a team book, but that kind of leniency is not available in the titular book of said character. Still, Latour managed to write a pretty smart issue last time, so does he keep the same level of quality?

Winter Soldier #6 – Review

By: Ed Brubaker (writer), Michael Lark (penciler), Stefano Gaudiano & Brian Thies (inkers), Bettie Breitweiser (colorist), and Joe Caramagna (letterer)

The Story: So….where the heck is that third sleeper agent?!

The Review:  Between Michael Lark’s dark, moody artwork and Ed Brubaker’s tight narration, I was really struck by how much this issue felt like an issue of Brubaker’s Criminal.  Naturally, that’s a very good thing.  It makes for beaten down characters lost in existential crisis and a general whirlwind of desperation and things constantly going from bad to worse.  In other words, Criminal is noir and so this comic is superhero noir.

Much of this issue is spent establishing new villain, and third sleeper agent, Leo Novokov.  Once again, Winter Soldier succeeds where Brubaker’s Captain America has faltered as of late, as in one issue, we have a very well-established, compelling villain with an interesting backstory and a clear trajectory from sympathetic figure to cold-blooded killer.  Brubaker manages this through a sequence of street-level flashbacks narrated by Leo, a sort of Jason Bourne meets Criminal mash-up.  It’s fantastic watching Leo slowly struggling to figure out who he is, only to have events kick in to dictate to him the answer.  The end result is a character, and a plot, loaded with pathos and ice in the veins.

Captain America and Bucky #625 – Review

By: James Asmus and Ed Brubaker (story), James Asmus (script), Francesco Francavilla (artist)

The Story: The first replacement Bucky, the one who took over with the replacement Cap in 1945, is an old man now, telling stories on the veteran circuit, when something from the past comes back to haunt him. Assemble the real Cap, the original Human Torch and the grandson of the first replacement Cap, each one with his own link to the mystery. The sleuthing is on.

The Review: I happen to be reading One Hundred Years of Solitude right now, with its cycling, psychological time, so what I noticed about this story right away is how much time is a subjective, psychological element. Between sentences and within sentences, the narrative toggled between time periods which blended past and present in a way that seemed almost surreal. It was quite a cool literary effect. I was drawn to replacement Bucky right away by the kind of humility, pain and uncertainty that oozes from his narrative and his memories. As an aside, this is also one of those rare books where there are actually a lot of words to read, mostly dialogue and all of it effective and natural. This makes the book experience longer, which, in this age, seems to be more value to me.

All-Winners Squad: Band of Heroes #1

By: Paul Jenkins (writer), Carmine Di Giandomenico (artist), Bill Rosemann & Alejandro Arbona (editors)

The Story: This story is split between the events of December 1944, in German territory, and modern-day USA. The characters in 1944 are a squad of superhero soldiers led by Captain America, and in the present, a 93-year-old man and his granddaughter.

The Review: Jenkins offered some fine writing in this first issue of an 8-issue limited series. I was dropped right into the confusion of a running WWII battle, nuanced with gritty, low-powered, wartime superheroing. I think Jenkins did a better-than-fair job of catching some of the peculiar word choices of the time, which helped the art create a feeling of authenticity. And while it would have made the read easier if he’d provided slightly more text on the dramatis personae, I accepted that if his goal was to create in the reader a sense of the chaos of a pitched urban battle, one way to contribute to that is to give the reader less information. I enjoyed the modern setting less, partly because we shift from action and a sequence of micro-cliff-hangers to a sedate character piece. Now, the change in focus isn’t a problem in, but that I felt Jenkins didn’t succeed so much in the establishment of authenticity. The focus on wartime comic books in the beginning seemed to be a bit too meta-fictional for me, and the dialogue felt less honest as the level of exposition-through-dialogue increased. That being said, I think the scenes were effective in connecting the WWII era to the present.

Seige #2 – Review

By: Brian Michael Bendis (writer), Olivier Coipel (penciller), Mark Morales (inker), Laura Martin (colorist)

The Story: Osborn has managed to start his war with Asgard pretty well. He’s got Thor down, the Asgardians are on the ropes and things look good, until Ares clues in that Osborn wasn’t entirely truthful. Divine blood is thicker than water and Osborn’s got to pay. But then, Ares has a problem: Sentry.

What’s Good: Coipel is always a treat to watch. My comic reading experience here slowed waaaay down, just to admire the beautiful pencils, inks and colors. Steve Rogers has a very definite look under Coipel’s inks. Ares, with or without helmet, is an awe-inspiring figure. The Sentry’s motion is so fast as to disappear in some panels in a style that reminds me a lot of Gene Colan’s art. The other artist that Coipel really reminds me of is Paul Smith, especially Wolverine. While Daken stalks Thor in Broxton, he looks so much like his dad did under Paul Smith in the Uncanny X-Men or in the X-Men-Alpha Flight miniseries. And for the fans of more gruesome content, you may wish to check out this issue if you want to see what Wolverine and Ares look like from the inside. I won’t explain – it’s worth the look…

The events Bendis has set in motion are a big deal. That’s good for a story and I’ll give you some examples of stuff that matters. Sentry is now a bad ass. Not only can I tolerate his presence, I actually like this brutal punisher that Osborn has on a leash. Captain America and Bucky are sorting themselves out, for the long run. They are each deciding who they will be. Osborn seems to be coming closer and closer to a comeuppance. Ares fights Sentry and it ain’t pretty. Steve rallies the divided troops. For a lot of reasons, this series is showing that it matters; events in this book will affect the rest of the MU.

Captain America: Reborn #4 – Review

by Ed Brubaker (writer), Bryan Hitch & Butch Guice (art), Paul Mounts (colors), and Joe Caramagna (letters)

The Story: Welcome back Steve Rogers….maybe?  Sort of?

What’s Good: Over the course of my reviews of Reborn, I’ve repeatedly stated that the comic is better the more it focuses on Rogers, as I’ve thus far found most of the present day portions to be relatively dry.  This month bucks that trend, as while much of the comic is in the present, I nonetheless found myself interested.  This is largely thanks to Brubaker bringing in the villains.

With Doom, Red Skull, and their henchman stomping about, getting their way, and generally acting like the cackling, arrogant villains that they are, these present day portions have a vitality that they’ve lacked through much of Reborn.  It’s always fun to see some of the Marvel Universe’s bad guy power players in the same room at once and Skull and Doom have long been two of the most bombastic of the lot.  Better still, their direct involvement in Reborn provides the miniseries with the specific, pointed adversaries needed to add fuel to the narrative’s conflict; they’re more tightly linked and unique to this struggle over Rogers, as opposed to Osborn, who is everybody’s bad guy these days.

Meanwhile, Rogers’ portions continue to be strong, channeling that sense of torment and entrapment that’s worked so well thus far.  Though it’s still scaled back from, say, issue 2, that doesn’t mean that what’s here isn’t enjoyable.

Overall, this feels just as a blockbuster, widescreen mainstream comic should.  It’s got action, it’s big, it’s loud, and it has those diabolical villains, all of it leading to a great ending that’s sure to leave you hankering for issue five.

Hitch and Guice’s work on art once again works fairly well, magically channeling much of the style and spirit of the late 80s, early 90s while nonetheless retaining that layer of modern gloss and polish.  The Cap flashback scenes are especially fantastic, with one rainy WWII-era scene being an absolutely gorgeous reflection of the misery it’s meant to reflect.

What’s Not So Good: Despite this being and generally good-looking book, I couldn’t help but feel the artwork to be a little inconsistent in style and execution.  Several panels look to be drawn by different hands, and it can be a little weird.  With the art already meant to shift to accommodate the flashbacks, these inconsistencies only help the make the book feel a little chaotic at times in terms of style.

I also felt that while the villains were great, the scenes with Richards, Pym, and Vision felt a bit weaker.  They’re just not as interesting as they could’ve been and barring one hypothesis by Richards, it just perpetually feels like they’re one step behind the comic and the reader.

Conclusion: Despite its underwhelming start, Brubaker has really turned Reborn around.

Grade: B+

-Alex Evans

 

New Avengers #58 – Review

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

The Story: It’s New Avengers vs. Dark Avengers as Luke Cage goes under the knife.

What’s Good: Well, there’s a bunch of action in the comic, and that’s never a bad thing.  However, what’s best about that action is that for once, it’s not the New Avengers desperately trying to survive.   It’s great to see the team actually get the upper hand and kick some ass for once.  As a New Avengers reader, it’s almost a cathartic experience seeing them fight the Dark Avengers on equal terms.

Best of all though is that the comic has more or less moved past groaning and stumbling Avengers and the awfully ambiguous “power drainer” plot device.  As a result, the comic feels like it’s back in working order.  Everything feels fairly sensible and logical again, and the comic has gone back to clicking along at a brisk pace.

While the comic is mostly about the action, we do get some solid character moments.  The chase sequence between Ms. Marvel and Iron Patriot is a lot of fun and very beautifully illustrated by Immonen.  Danvers comes across great, but through her, Bendis also legitimizes the New Avengers in Dark Reign: they’re an actual team, whereas the Dark Avengers lack that cooperative, organized dynamic.  Indeed, the good guys still have something over the bad guys.  Meanwhile, Night Nurse and Jessica also receive solid treatment, with Jessica’s scenes in particular carrying the necessary emotional weight, while also addressing a logical difficulty regarding her current status.

On art, Immonen’s art certainly is a lot of fun in a “comfort food” sort of way.  It’s accessible and very “Saturday-morning,” but his heavier inks also get across the Dark Reign vibe.

What’s Not So Good: Despite my enjoyment of Immonen’s art, I still am not sold on his being the artist on New Avengers.  His work just doesn’t have that blockbuster, modern Marvel feel, and thus in some ways, it almost reduces the book’s importance.  The fact that the Night Nurse looks a bit more like a “Lady of the Night” doesn’t help either.

Probably the biggest problem with this comic is how little characterization there is of the actual team.  Other than those admittedly cool moments with Ms. Marvel and Jessica, it almost feels like the New Avengers are still too large a team, even with Cage unconscious and Wolverine gone.  Outside of being present in group shots, every character is reduced to getting one punch in during the battle and perhaps one line of action-banter.  Spider-Woman doesn’t even get the latter.  In other words, other than Ms. Marvel, has a significant presence or any room to shine.

If it were an issue of page count, it’d be forgivable, but keep in mind that the Night Nurse gets two pages of characterization and dialogue.  Why such a tertiary character that we may never see again should get such preferential treatment to the actual team members who share the comic’s name-sake, I have no idea.  Pile in a bunch of Hood and Osborn, and most of the characters we should be hearing from lose their voices.

Conclusion: A fun action comic that turns the tables on what we normally get from New Avengers.

Grade: B –

-Alex Evans

 

Captain America: Reborn #3

by Ed Brubaker (writer), Bryan Hitch & Butch Guice (art), Paul Mounts (colors), and Joe Caramagna (letters)

The Story: Bucky and Falcon battle the Thunderbolts, Cap’s glass coffin is exhumed, an old “friend” returns, and Cap battles skrulls in space… again.

What’s Good: From the haunting first page, to the contents of Cap’s coffin, the time traveling plot of this miniseries is once again handled surprisingly well, maintaining a surreal feel throughout.  I especially liked Cap’s method of getting a message to his friends in the present day, which was a definite “why didn’t I think of that” moment.  Once again, it’s great when Cap “breaks character” and discusses his time traveling dilemma with a person from his past, as there’s always this intangible sense of excitement when he does.

Seeing Cap having to re-experience his battles in the Kree-Skrull War was also rather neat, and had a totally different effect from last month’s tragic reiteration of Cap’s origins.  This really did feel like a 70s-era space-based Avengers comic repackaged under a modern lens, and it felt utterly bizarre.  The clash of a past comic under modern artwork was jarring, which I suppose was appropriate, given that this miniseries is about a wrongful collision of past and present.

Though I suppose it was inevitable, the ending of this month’s issue still had a definite impact.  Seeing the return of an old character, one that I’m sure I’m not the only fan of, is never a bad thing.  I’m also all in favour of the character’s new appearance.  It’s very 60s sci-fi, as though it lept off the pages of Brubaker’s Incognito.

Art-wise, you get more of the high-standard you’d expect from Hitch and Guice: an incredible level of detail, excellent shading, and an impossible work-ethic.  I especially enjoyed the team’s depictions of high-altitude flight, which were bright, rosy, and gorgeous.  Hitch and Guise also let loose with the splashes and double-page spreads this month, making some truly iconic work, here.  One particular spread of Namor will certainly elicit its fair share of reader profanities.

What’s Not So Good: Unfortunately, this month’s issue takes a step back from much of what made last month’s such a step up in quality.  The present day portions are still less engaging than Steve’s scenes, but while last month chose to focus more on Rogers, this month spends more time with his present-day friends.  As a result, the issue just feels a bit more bland.

And when we do get Steve, there just isn’t the same level of introspection.  The sense of loss, tragedy, and helplessness just isn’t as poignant.  Instead of the monologues regarding his torment that made #2 so great, we instead just get a barrage of admittedly impressive spreads and splashes.  Brubaker seems to have decided to go heavier on the action side with Steve this month, and the result is a lot lighter.  There just isn’t the same level of gravitas and emotional weight, making the entire comic suffer.

Also, readers of that monthly comic will be quick to notice that Brubaker’s Thunderbolts sound nothing like Diggle’s.  For instance, Ghost sounds like the leader of the team, which is just downright wrong.

Finally, while Hitch and Guice’s artwork is unbelievable, their panel layouts are not.  For some reason, they’ve gone totally wild with the wide panels (widescreen shots) this month.  It’s an almost non-stop barrage that’s repetitive, uninspired, and just annoying.

Conclusion: Fairly good and still better than issue #1, but a step down from last month.

Grade: B –

-Alex Evans

Batman and Robin #3 – Review

By Grant Morrison (writer), Frank Quitely (artist), Alex Sinclair (colorist)

The Story: Dick Grayson, the new Batman, is still trying to cement his positionas the Dark Knight, as Gotham doesn’t buy him. Meanwhile, Robin has taken off on his own. As the dynamic duo go their separate ways, Professor Pyg and his band of sadistic circus psychopaths, continue their savagery and brutality across Gotham.

What’s Good: Everything. From the brilliant opening splash page to the brilliant closing splash page. The art and story are vivid as events spill over, panel after panel, page after page. It’s a great ride. Since I really want to talk about the story, I won’t take any time at all to talk about Quitely’s art (with Sinclair’s brilliant colors), other than to say it is absolutely stunning. I found myself stuck on most pages, trying to figure what those two had done to create such dramatic, evocative images.

On the story side, Dick is obviously the core of this coming-of-age drama. The struggle of the son assuming the mantle of the father is as old as the hills, but Morrison makes it feel new here. He disguises it. The old tropes are hidden by the capes and nighttime chases and the surging, chaotic action, but at its core, this is still the story of a boy replacing his father and becoming a father himself. He doesn’t complete the journey here. No one would. Morrison trusts us to be patient with him. But Dick travels along his arc, and comes closer to discovering who he really has to be to feel right in the long cape and behind the dour mask.

There are obviously a lot of of parallels between Bucky Barnes and Dick Grayson, but as much as I loved Bucky as Captain America, there is something more emotional in Batman and Robin. I think it has to do with precisely Damian and Dick’s new role as guardian. Dick would be a great dad for any child. He’s mature and ready for it, but to take on his own father’s role, while taking on the upbringing of his father’s true-blood son…. There’s something very poignant and conflict-ridden in that triangle that makes Batman and Robin more visceral than Bucky’s socialization in Captain America. And Damian and Dick are on parallel arcs themselves. Damian has everything to prove to Dick, and vice-versa. Both travel along their respective roads and even cross for a while.

What’s Not So Good: There is little to complain about with this book. The villains are so horrific, psychotic, sociopathic, creepy, they are at the edge of suspension of disbelief. Their sheer disfunctionality had me wondering at times how such behavior could hold together a criminal group. Morrison takes some risks here, and for me, there’s a bit of creaking in the story around the sociopathy. An inch further and Morrison’s villains would have come off as caricatures, but he uses his artistic licence for the sake of drama.

Conclusion: What a stellar book! Absolutely brilliant. $2.99 is cheap for what Morrison and Quitely deliver. Buy this book now.

Grade: A

-DS Arsenault

Captain America: Reborn #2 – Review

by Ed Brubaker (writer), Bryan Hitch (art), Butch Guice (art), Paul Mounts (colors), and Joe Caramagna (letters)

The Story: Looking for answers, Cap is forced to relive his most painful moment as he stumbles through time.  Meanwhile, Bucky Cap and Black Widow meet Norman.

What’s Good: It was hard not to groan at “Steve Rogers: Lost in Time” last month; the concept is cringe-inducing.  Yet this month, Brubaker actually making the most of the concept, manages to pull attention away from the lameness of the concept by focusing on the torturous nature of Steve’s current time-hopping existence, as he is forced to relive a particularly awful moment of his life.  Brubaker successfully puts across Steve as imprisoned and tormented by his past, managing to turn a cheesy concept into effective emotional drama.  Those who found last month a little slow will also be happy to know that this month also brings the action, Dark Reign-style and WWII-style.

Brubaker also gives the initially hair-brained “lost in time” concept some much needed nuance and some even bigger questions.  Steve goes through the old “I can’t change anything without risking the future” time travel dilemma. However, it’s effective in that this difficulty grows to be the lock on Steve’s jailcell, forcing him to not only endure a horrid event from his life again, but allow it. The divide between Steve’s narration and Steve’s physical presence only augments this effect.  Also, the question of Steve being unconsciously in control of his time jumps is also intriguing to say the least.

As is probably expected, Hitch’s art is a thing of beauty, hyper-detailed as we’ve come to expect from him. What’s most impressive is how the art shifts in style between depictions of Steve’s WWII past and the current day Dark Reign.  Of course, this is thanks in no small part to Paul Mounts’ work on colors.  Where the WWII bits are brighter and colored in earth tones, the present day is all shadows, blues, and blacks.  Hitch and his team do a better job of depicting the mood of Dark Reign than a hundred tie-ins could ever hope to.  The art alone creates Dark Reign as a very distinctive, and very malevolent, time.

What’s Not So Good: Perhaps it’s only fitting that a book about Steve Rogers’ return leads to the “lost in time” portions featuring Steve Rogers being head and shoulders above the rest of the book.  Whether it’s Rogers’ narration or the emotional impact of his entrapment and suffering, it’s just far more enjoyable than the present day segments.  While the Dark Reign segments aren’t at all bad, the Steve Rogers bits are simply so good that I found myself often just turning pages waiting for another Rogers scene.

Conclusion: Cap fans can rest easy; this might just end up being pretty good.  An action-packed, emotional ride and hopefully a sign of things to come.

Grade: B+

-Alex Evans

Agents of Atlas #4 – Review

by Jeff Parker (writer), Gabriel Hardman & Clayton Henry (pencils and inks), Jana Schirmer & Elizabeth Breitweiser (colors), and Nate Piekos (letters)

The Story: Atlas battles Captain America and Bob & company take a trip into Bucky’s mind.  In 1958, the mystery of the ghost pilot comes to its conclusion as the team travels “the Dragon’s corridor.”

The Good: The art is absolutely amazing.  This is a beautiful comic and also one of the most distinct looking books being put out by Marvel.  The 1958 portions look like a comic pulled out of a time machine while the modern portions look slick and bright with a grain of old school sensibility.  Both sides look completely opposite from each other, and yet both completely succeed.  Cap’s “dream sequences” are also really spiffy and introduce yet a third art-style into the issue.

The resolution of the mystery of the ghost pilot is nothing less than a gut-punch.  It’s a really satisfying surprise that’ll make you slap your forehead for not having seen it coming.  Really clever work here by Parker.   I also continue to enjoy Parker’s depiction of the Suwan/Jimmy relationship in 1958.  It comes off as cliché, but this is obviously a self-conscious throwback to classic, sensationalist comics (at one point, as damsel in distress, she’s literally being tied to a tree).  I also love how distinct and well-defined every member of the team is, and this month is no different; Bob’s aloof “eccentricity” is particularly well-highlighted and Ken’s regretting his attack on Cap was a nice touch.

A special mention must also go to how well Parker juggled the modern day and the 1958 sides of the issue.  At one point, the two sides of the comic even fuse, with the modern day Jimmy and Ken entering a 1958 scene we just saw in order to watch themselves; Parker is clearly not satisfied with a simple “Side A/Side B” dynamic and my mind was blown.

The Not So Good: Agents of Atlas is one of the most unique titles put out by Marvel.  Unfortunately, this also means the comic ends up in the somewhat awkward position of being an indie comic in the middle of the Marvel Universe.  The characters just seem to belong somewhere else.  This wouldn’t be a big deal if they were placed on the outskirts of the Marvel Universe, like Punisher MAX or perhaps Ghost Rider, but of course, without any big names on the team, this is not conducive to sales.  As a result, Agents of Atlas has “Dark Reign” slapped on its cover, Captain America showing up, and a showdown with the Avengers next month.

It doesn’t work and this may very well be the most awkward Dark Reign tie-in on the shelves today, which is a crying shame, as it’s a good comic.

Captain America’s reasons for attacking Atlas are still weak at best.  Sure it “makes sense,” but it doesn’t have anything at all personal behind it.  Furthermore, Cap is written terribly in this issue, coming across as an incredibly bland and even bumbling character.  Cap fighting Atlas just looks absurd and it isn’t convincing.  Atlas is just doesn’t fit in the central Marvel Universe, and as a result, you get unintentional comedy like Captain America getting sucked up by a flying saucer’s tractor beam or Cap whining about a “Day the Earth Stood Still-esque” robot’s arms hugging him too tightly.  It just looks ridiculous and doesn’t work in the slightest.

The Bottom-Line: The 1958 side of the issue is lots of fun, but the modern day portion is a laughable mess.   That said, this is still a relatively enjoyable issue in an incredibly unique title and the art is more gorgeous than ever.  That said, considering how bad Cap was, I’m really not looking forward to the battle with the Avengers next issue.

Grade:  C+

-Alex Evans

Avengers/Invaders #6 (of 12) – Review

By Alex Ross (Plot), Jim Krueger (Plot & Script), Steve Sadowski & Patrick Berkenkotter (Pencils), and InLight Studios (Colors)

Some Thoughts Before The Review: I’m going to be honest here and just admit that the only thing that made me purchase this issue is the fact that I already own the first five. I figured I might as well at least finish out what I presume to be the first trade volume before dropping the series. While visually impressive at times and interesting enough, the overall plot has yet to hook me in any serious way. Also, I can’t shake the feeling that nothing of consequence is ultimately going to come out of Avengers/Invaders, despite reports that it will have an impact on Marvel continuity. With all that said,  somehow, I still hold a small bit of hope that the halfway point will prove to be a turning point for the series.

The Story: Dr. Strange and the rest of the underground New Avengers find the past and present versions of Paul Anselm, the regular soldier pulled into the time travel, in an effort to sort out what exactly caused the time disruption. Meanwhile on the S.H.I.E.L.D. helicarrier, where the Mighty Avengers are trying to take control of the situation, Human Torch of the Invaders begins a Life Model Decoy revolt over the nature of the L.M.D.’s.

What’s Good: As a student of philosophy, I’d be lying if I acted like I didn’t enjoy the concepts thrown around regarding the nature of S.H.I.E.L.D.’s Life Model Decoys. It brought an interesting (if somewhat throwaway) dimension to the superhero battle. Also compelling is the way the plot is really starting to tie into the death of Captain America and touch upon some of the inherent (though generic) problems/consequences of time-travel. As for the visuals, they continue to feature a nice level of detail and solid direction.

What’s Not So Good: As with the other issues in the series, Avengers/Invaders #6 suffers because it never really brings the various ideas together in a way that forms a well-rounded package. The emotional drama feels a bit heavy handed, and it occasionally falls a bit flat. On top of that, the philosophical crusade of the Human Torch, while interesting, feels like nothing more than a distracting addition to the overall plot. Also, there is still very little indication that anything of consequence will result from this storyline. I expected something relevant to the current state of the Marvel universe to have happened by now. Disappointingly, that is not the case.

Conclusion: The problem with the series falls on the idea that far too many characters are in play to make a single chapter feel satisfying. It really drags the entire project down and makes the plot move at an extremely slow pace, despite characters expressing the urgency of the situation. That is why I am going to consider this latest chapter to be my jumping off point. As for Avengers/Invaders #6? It is entertaining and decent enough to look at, but far from a must read. As such, it is worth picking up if you have stuck around this long, but I doubt many will feel the need to see this series to its end.

Grade: C

-Kyle Posluszny

Captain America #41 – Review

By Ed Brubaker (writer), Steve Epting (artist), Rick Magyar (ink assists), Frank D’Armata (colors)

I never expected the downfall of the Red Skull’s empire to happen like this, but the theme rings obvious and true. Bad guys cannot be trusted… even amongst themselves. It’s the classic tale of “you reap what you sow” and the Red Skull’s belittlement of his comrades and his daughter has finally come back to bite him in the behind. Now it’s just a matter of the good guys cleaning up the mess. The Skull’s house is crumbling down, but there may still be a surprise or two left.

You know that first page on all of Marvel’s books that catches the reader up with previous events? Great idea. I’m all for it. But unless I’m jumping on a series that I’ve never read, I generally skip that page. In this issue, it’s probably best that you read that opening page before proceeding further, because you might find yourself a bit disoriented with Bucky and the Falcon’s whereabouts. Just an FYI.

From there, the story is bombarded with a stunning turn of events – nothing that’ll make you gasp like previous issues – just the kind of stuff that’ll make you say to yourself, “Wow, I was wondering when this was going to happen.” Well now it happens. I gotta admit though, Dr. Faustus’ scenes makes me wonder what he’s got up his sleeve. He hasn’t hung around this long for nothing.

Steve Epting does great job storytelling wise, slowly building up the tension in the later pages before hitting a grandslam with the last page. However, it still confuses me how his Black Widow has long hair while in the rest of the Marvel Universe her hair is short. This absolutely drives me nuts! Otherwise, this issue does a fantastic job of setting up the conclusion by moving very quickly to put the pieces into play without feeling forced. I can’t wait to see how this finishes.

Bucky betting with Euros. That’s pretty funny. (Grade: A-)

– J. Montes

Avengers/Invaders #3 – Review

By Alex Ross, Jim Kreuger, (Plot) Steve Sadowski, (Pencils) and InLight Studios (Color)

Three issues in and I have to admit that I’m starting to feel as though this series is completely unnecessary. The latest issue of Avengers/Invaders firmly establishes where this story fits in the Marvel Universe time line and as a because no other books seem to knowledge its existence it lacks tension. Unless Jim Kreuger and Alex Ross have some large twist planned, there just doesn’t seem to be enough story to support this series for 12 issues. However, with all that said, issue #3 is still an enjoyable read thanks to some fun moments with Namor and nice looking artwork by Steve Sadowski.

There are four main plot elements at work here and, to be honest, it makes this a pretty fast read. The first involves Invaders Namor coming face to face with his future self while visiting what amounts to the ruins of Atlantis. The second storyline thread at work involves the New Avengers’ plan to free Invaders Captain America by using some Dr. Strange magic. The third features the one lone soldier to get caught up in the time travel having a talk with his future self. It’s a touching highlight thanks to some poignant dialogue and complementary artwork. The final thread involves Bucky breaking Invaders Captain America out of his cell on the SHIELD helicarrier. While I have no real complaints about the overall story, it feels like things barely move at all due to the bloated ensemble cast. Each plot thread gets some time, but not much happens in any of them. If things progress like this, maybe the series can sustain 12 issues just by inching forward bit by bit, though I hope that is not what winds up happening.

The writing in this issue is serviceable, but only really shines when the WWII soldier is talking to himself. The characters are written well, but it seems as though the writers enjoy bringing certain characters down a notch. In the first issue, the Thunderbolts were quickly dismantled and then late in this one a key character just comes across as plain stupid. It just lessens things as opposed to heightening, and that irritates me. Also, every line of Spider-Man dialogue is some attempt at wit or humor and while I understand that is a staple of the character, Spidey just comes across as “that guy” dying for some attention. With the exception of the soldiers’ talk, the writing here is average at best.

I honestly think I would be harder on this series if I didn’t enjoy Steve Sadowski’s pencils as much as I do. He does some great work with the characters and scenes in this issue, in particular the stuff involving the two Namors. While a few of the smaller panels feel a bit rushed, I can easily forgive when everything else looks so nice. I do wish the coloring job was a bit better, as it actually has a negative effect on the quality of the pencil work from time to time.

The Avengers/Invaders series is weighed down by the very concept that it hinges on and, as a result, very little comes across as truly memorable. There is some good dialogue from time to time, the artwork is impressive, and it is fun seeing two versions of the same character interact, but as a whole there is nothing here that makes me truly care about what is happening. If you really need a “heroes out of time” fix, you would be better off investing in the excellent series The Twelve. (Grade: C)

– Kyle Posluszny

A Second Opinion

Wow, I actually enjoyed this issue more than the previous two. The nods given to current Marvel continuity are a definite plus. I was actually surprised to see Namor visit Atlantis, given how not too many read last year’s excellent Namor: Revolutions mini-series. But having young Namor beat down old Namor? C’mon now! We also finally get a small connection to Secret Invasion, but despite all these connections to Marvel continuity, this book, like the Invaders themselves, is horribly displaced.

No other Marvel title acknowledges the events taking place in this book and because of that, it feels like a hollow read. Making this series a sprawling 12 issue “epic” is a horrible decision that might have been better served as its own event for 2009. But hey, that’s just my opinion.

As a stand alone issue, I enjoyed what I read, but I do agree with Kyle in that there’s just too many characters and too little happening. This is the same problem that’s plaguing Kreuger and Ross’ Project Superpowers title (but on a much worse degree). Their next project really needs to be scaled down. Enough with the huge casts of characters and just work on telling a story, guys. (Grade: C+)

– J. Montes

Captain America #38 – Review

By Ed Brubaker (writer), Steve Epting (pencils, inks), Ink Perkins (inks), Frank D’Armata (colors)

After seeing Sharon Carter stumble upon a burned, but fully thriving Steve Rogers last issue, I thought that Ed Brubaker would let this mystery play out for another issue or so. Many people thought this new guy was a clone or the real deal, but anyone who’d spent some time doing some research on Captain America would figure out who this person is with minimal effort. My hat goes off to Brubaker for doing his homework and throwing this twist into the story. Because the person behind this incarnation has a storied past and Brubaker wastes no time revealing who he is or the part he originally played in the Marvel Universe. This is Captain America… just not the one you were expecting.

This issue stands out as a bit of an oddity. Don’t get me wrong, the writing is still top notch and the ending is definitely on point, but for perhaps the first time in many, many issues, I didn’t gasp at the issue’s cliffhanger. The story, while progressing methodically as it always does, reads very quickly – and I don’t know how I feel about that. Other than the fantastic backstory that was explained in the first few pages of the book, we’re given little to no progression in the actual story. Yes, it’s great to see Bucky progressing along with his new role, and sure, Doctor Faustus’ new Captain America is being groomed to eventually face off against Bucky (I appreciate the historical irony behind it all, too), but as far as Bucky and The Falcon’s investigation is concerned, they’re not really any closer to getting their hands on the Red Skull than they were last issue. One could say the bonding moments between Bucky and The Falcon is where the real progression is taking place, and I’ll give them that. But that’s just not what I wanted to see in this issue. Then there’s Sharon Carter, who while discovering the mystery of this new Steve Rogers, has taken yet another step back by being subdued by Doctor Faustus. The nod Brubaker throws to the Third Reich is very clever, however. Scary stuff.

In a nutshell, most of this issue feels like a retread of events we’ve been seeing for months now. It’s like a dog chasing its tail. Or maybe I’m just getting a little impatient. Whatever the case may be, there’s no slighting the excellent storytelling by Steve Epting or the story arc as a whole. It’s still firing on all thrusters and I’m still dying to see what happens next, but it’s really time for this story to pick up steam. (Grade: B)

– J. Montes

Captain America #37 – Review

By Ed Brubaker (writer), Steve Epting (art), Frank D’Armata (colors)

Captain America #37 begins Act 3 of Ed Brubaker and Steve Epting’s now epic storyline. I think it’s safe to say that this entire run will go down as the best Captain America story of all time. While this issue’s ending is no where near shocking as last month’s offering, it’s definitely going to leave you with another “What the hell is going on!?” kind of feeling. Brubaker has really mastered how to slowly unravel a plot, giving us just enough story to keep us coming back month after month.

Titled “The Man Who Bought America”, this first installment delves more into the Red Skull’s plan and his motivations. Of course, we all know the primer for his motivation was the defeat of his Nazi Party during World War II to Allied (but more specifically, American) Forces. After years of losing to the hands of Captain America, Red Skull now has free reign to do as he pleases. With his supporting cast, it seems like he’s finally hatched a perfect plan to destroy America… by crippling her infrastructure. It’s a well-contructed plan, too, and Brubaker deserves a lot of credit for burning this plot slowly enough to where it almost coincides with what’s been going on in the real world. It’s scary, scary stuff.

I’m also enjoying the fact that Bucky isn’t superhuman. He’s just an average guy who happens to have very good military training and a bionic arm. The fact that we’re shown how much time he spends conditioning himself with Cap’s shield proves exactly why he’s fit for the role. He cares about Cap’s legacy and he’ll spare no expense to honor it. And what about the person Sharon ran into at the end of last issue? It’s exactly who you think it is, but something seems very off.

Lastly, Steve Epting returns to art duties this issue. To be honest, I can’t say that I missed him. If that isn’t saying something about Butch Guice’s fill-in work, I don’t know what is. Either way, it’s great to have Epting back where he belongs. His art, as always, flows in harmony with Brubaker’s script. Though I have to say I miss some of the day lit outdoor scenes of the last couple of issues. It was nice seeing some bright colors in this book. Now we’re back to the moody and muted earth tones again. (Grade: B+)

– J. Montes

FIRST LOOK: Captain America #37

COVER BY: JACKSON GUICE
WRITER: ED BRUBAKER
PENCILS: STEVE EPTING
JACKSON GUICE
INKS: STEVE EPTING
COLORED BY: FRANK D’ARMATA
LETTERED BY: VC – JOE CARAMAGNA

ACT THREE OF “THE EPIC THE DEATH OF CAPTAIN AMERICA” STORY BEGINS!

If you haven’t been reading Captain America, we’ll, you’re probably dismissing the best comic Marvel is publishing right now. Act Two ended with probably the most shocking moment since Cap’s death. On sale April 16th, issue #37 begins Act Three. I don’t know about the rest of you guys, but I can’t wait to read this sucker! Here’s Marvel’s little summary of what we’ll be reading this upcoming week along with a six page preview!

With a new Cap now established, things go from bad to worse as the Red Skull makes an unexpected move for the very soul of America! And what was it that Sharon Carter saw at the end of the last issue? Act Three – The Man Who Bought America – begins here! By the most popular Cap team in years – Brubaker and Epting!

Click on the images below to enlarge!

Captain America #35 – Review

By Ed Brubaker (writer), Butch Guice (pencils & inks), Mike Perkins (inks), Frank D’Armata (colors)

There’s something off about this issue. Butch Guice is filling in on penciling duties, and he does a wonderful job aping Steve Epting. But it’s not his art, it’s Frank D’Armata’s colors. From since I can remember (of this current Captain America run), the books have always been colored in a very dark, muted fashion. But from the opening pages of this issue, the colors are vibrant and full of life. Granted, most of this issue takes place in broad daylight, but it’s great to see this book looking brighter.

That said, the story’s still completely dark. With the open assault on protesters by SHIELD agents last issue, Red Skull advances his plan by getting the senate to outsource its Washington DC security to a private security group (or mercs if you will), owned by his Kronos Corporation. With Tony Stark tied up in political scandal, Captain America and Black Widow are on their own as they try to dig deeper into the Red Skull’s conspiracy to overtake the country. With riots brewing outside the nation’s capital, time is running out. And the ending of this issue will shock you.

I know I sound like an old record, but Ed Brubaker has done it again: Captain America #35 is enthralling, intense, and politically charged. Seeing Bucky kicking butt as Captain America is so much fun, too. I actually caught myself smiling when he took out a bunch of guys with his shield throwing. Butch Guice does an excellent job filling in. In fact, I didn’t even know he was on art chores until I read the credits. This book is phenomenal. (Grade: A+)

– J. Montes

Captain America #34 – Review

By: Ed Brubaker (Writer), Steve Epting (Pencils)

It’s no secret that Captain America is one of the best comics being published today. In Captain America #34, Ed Brubaker cleverly finds a way to incorporate America’s faltering economy into his Red Skull storyline while Cap finally makes his triumphant return. Yes, people have had some reservations on this new Cap and his brandishing of firearms, but Brubaker gives us a very logical explanation for it. And it’s honestly, it makes perfect sense when you consider the person behind the suit.

Steve Epting’s art continues to get better with each issue. The darker overtones of the story are conveyed by the mood he brings with his use of shadows. It adds a lot of grittiness and realism to the story. My only qualm is the inconsistencies I’ve seen with Black Widow. Now, I’m not sure who’s fault it is, but in the Avengers books she has very short hair, while this book has always featured her with longer hair down to her shoulders. Marvel editors: I’m looking at you. There’s also a “Lost” easter egg in the book. Did you catch it? I know it’s advertising, and I’ll admit I was distracted by it, but it was actually kind of cool to see.

This issue is phenomenal. Everything we’ve been reading since Captain America’s death has been leading up to this issue and it pays off in a big way. And while it’s Cap’s turn to shine once again, this is probably one of the darkest days of the Marvel Universe since Steve Roger’s death last year. (Grade: A+)

– J. Montes