Elektra #1 – Review

By: W. Haden Blackman (story), Michael Del Mundo (art) Marco D’Alfonso (colors)

The Story: So, wait—you don’t want Elektra to kill somebody?

The Review: Now that I’m on something of a hot streak where Marvel titles are concerned, I might as well go for broke and pursue another series featuring an unusual suspect. Of all the solo characters I’ve picked up in recent weeks, I probably have the most familiarity with the assassin by virtue of her guest spot on
Daredevil #35. It’s not much to go by, but it was enough to get me interested in her cool, confidently amoral aura, so close to that Secret Six flavor I haven’t tasted in so long.*

In a lot of the Marvel #1s I’ve read, the protagonists are at an uncertain juncture of their lives, and Elektra is no different. What separates her from the others is that she knows exactly who she is, an “assassin,” and she also knows why: “…I could not bear how foolish I felt every time I spared someone who was determined to kill me.” She’s come to the point where she accepts herself and her beastly past (as concisely summarized by Blackman) completely. She’s a killer with Zen. Even when the direction of her life is unclear, she knows what she has to do.

Superior Foes of Spider-Man #9 – Review

by Nick Spencer (Writer), Steve Lieber, Rich Ellis (Artists), Rachelle Rosenberg (Colorist)

The Story: It’s Boomerang versus Bullseye. Who will emerge victorious?

The Review: There is a certain trend that has been going around for a good number of years in the comic market, one that has changed the very way books are written and sold. For a good period of times, arcs and long saga were varying in their lengths, with creators having a certain control over the whole thing. Cue the arrival of the trade paperbacks, hardcover’s and the overall collection of storylines. With them came the popular expression ”written for the trade”, indicating a story that has been created specifically to be collected in one single book, leading to decompression sometimes and a general presentation that creators had to recreate as to get work. Long gone was the approach that made such epics like Walter Simonson’s Thor and other such work.

However, with a more open approach nowadays for creators, there is a certain resurgence of complete stories in a single issue, more stream-lined stories and experimentation more akin to the past of the market. One of the books that is clearly part of the new wave is Superior Foes of Spider-Man, with Nick Spencer and Steve Lieber simply making the story progress with each issue, the book being an evolving arc instead of a series of stories leading to a massive progression made step by step.

This issue, in itself, is a wonderful example of why that is a good thing, with plenty of the plot threads moving forward, yet without sacrificing what makes the title fun to begin with. Continuing the adventures of Boomerang, a loser super-villain, and the rest of his crew, the title entertain not only through its vision of what it means to be a lower-class villain in the Marvel universe, but also through its emphasis on showing them as people and not just as antagonists.

Daredevil #27 – Review

By: Mark Waid (story), Chris Samnee (art), Javier Rodriguez (colors)

The Story: Bullseye learns to hear no evil, speak no evil, and see no evil.

The Review: You know, until Daredevil joined the New Avengers just a few years ago, I hadn’t realized how much of an untethered lone wolf he was in the Marvel Universe.  Pretty much every other superhero on the planet has been part of the X-Men or the Avengers one way or another, yet Daredevil remained a man unto himself.  That doesn’t mean, of course, that he never made super-buddies before, and those friendships have only grown stronger with his Avenger status.

It makes perfect sense to me that if you have other friends with superpowers, you’d rely on them for help during a personal crisis, even if your pride as a vigilante has to take a backseat.  While you certainly wouldn’t want Daredevil to use his pals as a crutch all the time, under these circumstances—by which I mean he’s one beat-up man trying to protect all his loved ones against a gang of formidable enemies—asking his most trusted “agents” to keep an eye on home while he takes cares of unfinished business is just smart.

Thus in the end, despite the best-laid plans and meticulous attention to detail, despite having no choice but to focus on his endgoal, Bullseye remains “a hitman, not a mastermind.”  Even trapped in his own incapable body, our villain thinks only in terms of targets, centering upon one object.  While people like Foggy, Milla, and Kirsten naturally fall within range of Bullseye’s sight, he fails to see beyond his usual scope and this, more than anything, leads to his downfall.

That doesn’t mean that Daredevil didn’t have something to do with his archnemesis’ downfall, however.  His opponents continue to challenge him to the very end, and in his weary state, he has no physical advantages left.  That leaves him with only two weapons: his ability to improvise and his always-get-back-up attitude.  These are not cheap tricks Waid has written for our fearless hero; all the pieces have already been set in place for Daredevil to put to use, from his telescopic club to the drums of radioactive substance in Bullseye’s warehouse.

It’s really no one’s fault that our villains don’t see their problems coming, other than their own, of course.  Terrible as Bullseye’s ultimate fate in this issue is, you can’t say it’s undeserved.  Now a broken man, deprived of his movement and most his senses, he believes that he’s already hit rock bottom and thus has nothing left to lose.  What happens to him at the end of the issue proves him wrong in the cruelest way, stripping him of everything, leaving him a “living brain in a flesh-and-bone coffin.”

It’s not a perfect issue, however.  Bullseye’s labored explanation of how he formed his master-plot against Daredevil is largely redundant, as we’ve known much of it for a while.  It’s one of those climactic monologues villains are always so fond of having right before they slide down the path to defeat, and between that and his arrogant tunnel-vision, he winds up losing much of the credibility he’s built up during this arc.

Samnee faithfully drives up the suspense that Waid encourages, preventing you from seeing Daredevil’s own tricks before they’re sprung, giving them maximum impact.  I do have to say, however, that Samnee gives himself a good start by fudging things a little bit.  On the opening page, when one of Matt’s employees enters his office, you see a silhouette of someone (suggesting one of Bullseye’s henchmen) who later turns out to be Iron Fist.  But this silhouette had a sai in his hands, which disappears once Iron Fist is revealed.  I see this as a bit of a cheat, but a minor flaw against Samnee’s otherwise strong work.

Conclusion: A very strong conclusion to a gripping arc and an even more gripping storyline, though overall, it doesn’t quite capitalize on all the potential drama it could have.

Grade: B+

– Minhquan Nguyen

Some Musings: – I love how those two therapists at Milla’s asylum are giving Matt crap for being trouble to his wife.  As if they didn’t look at Black Widow wheeling Milla around and didn’t immediately sense trouble.

Daredevil #26 – Review

By: Mark Waid (story), Chris Samnee (art), Javier Rodriguez (colors)

The Story: To defeat his opponent, Daredevil will need to make a change of heart.

The Review: I imagine that for any person, one of the lowest moments of his life has to be the moment when he runs away from a problem.  Wrapped up in that decision are all the feelings which eat away at your dignity: humiliation, cowardice, inferiority, etc.  Under those conditions, the maxim, “Discretion is the better part of valor,” proves to be of little comfort.  It’s hard to tell if survival is worth the cost of your peace of mind.

Matt is certainly learning that lesson in this issue.  His complete ownage at the hands of Ikari last month leaves him on edge and downright paranoid.  Everything, from the buzz of his cellphone to the appearance of strangers, visibly sets off his nerves: he’s jumpy and sweaty; he’s constantly looking over his shoulder; even his physicality has been affected, leaving him clumsy and unbalanced.  In short, he has become the opposite of his persona.

Daredevil: End Of Days #4 – Review

By: Brian Michael Bendis, David Mack (Writers), Klaus Janson, Bill Sienkiewicz, Alex Maleev (Artists), Matt Hollingsworth (Colorist)

The Story: Ben Urich continues his investigation with the discovery of Bullseye’s dead body and an encounter with a very special case in prison.

The Review: Daredevil: End of Days could become one of the quintessential Daredevil stories. Full of moments that shows just where the key players in the ongoing saga of the Man Without Fear could turn up, it is essentially boiling down the Bendis, Miller and Brubaker eras of the book, two eras that are loved and cherished by fans.

Of course, since it is cowritten by Bendis, there are plenty of references to what has come before and other easter eggs in the storytelling methods. It is clear by reading that series so far that both Bendis and Mack are aficionados of Citizen Kane, Orson Welles’ masterpiece, incorporating its basic structure for the plot of the limited series. They just had to replace ‘’Rosebud’’ with ‘’Mapone’’ and there you go.

PunisherMAX #13 – Review

by Jason Aaron (script), Steve Dillon (art), Matt Hollingsworth (colors), and Cory Petit (letters)

The Story: Stuck in a cell, Frank contemplates his past life with his wife and kids, realizing that family life and prison life might not be so far apart.

The Review:  Since coming back from its hiatus, Jason Aaron and Steve Dillon has truly found its voice, finding a perfect tone that has made it one of the best reads out of Marvel.  This month’s issue does nothing at all to buck that trend.

A heavily introspective issue, this issue leans heavily upon narration/monologue from Frank.  It’s the sort of gritty sincerity that Aaron excels at and is a joy to read.  If you were one of the readers who lamented the lack of Frank in Aaron’s run up this point, this is the kind of issue that ought to make you happy.

One of the strongest portions of this month’s book is a moment where Aaron robs Frank of his Punisher mystique.  It’s a process that’s painful to watch and heavily internal.  Frank ends up looking old and vulnerable and feels almost naked without the Punisher rep scaring off the crooks.  It’s a heavy moment that makes this arc feel legitimately dangerous for the main character, a feat not easily accomplished in Marvel comics.

Other than this, however, most of the issue is spent in flashback.  It’s cool enough seeing Frank’s family life, but more than that, Aaron and Dillon make it horrifically mundane or, rather, they make it clear just how antithetical it is to what Frank is.  Things feel repetitive and Aaron and Dillon do a fantastic job showing how Frank doesn’t fit in with average life and how it deadens him.  In fact, it’s here that Dillon’s artwork most excels, as he draws younger Frank with a completely dead-eyed expression throughout that is fairly disturbing.

PunisherMAX #11 – Review

by Jason Aaron (writer), Steve Dillon (art), Matt Hollingsworth (colors), and Cory Petit (letters)

The Story: At long last, Frank and Bullseye go one on one in a fight to the death.

The Review: I’ve read a lot of people, including other reviewers, really taking this series to task and frankly, I just don’t get it.  All right, there were a couple of issues that were weaker, but unless you’re reading a different comic than I am, PunisherMAX #11 is goddamned amazing.  It sees Jason Aaron both nail what Garth Ennis was going for in his Punisher work, while also truly establishing a creative voice all his own.  Issues like this one are everything you want out of a Punisher MAX book.  If you don’t like it then, quite frankly, you don’t like the franchise.

There’s so much to love here, but let’s start with the main event: the big brawl between Punisher and Bullseye.  Put simply, this was the best one on one fight scene I’ve read in a comic in quite some time.  It was insanely intense, personal, and goddamned savage.  It’s indescribably brutal, barely managing to skate past slapstick, instead managing to be just violent enough to challenge suspension of disbelief without breaking it.  The fight is crazed, wince-inducing, sickening, and I think I already said “intense,” but I’ll say it again to hammer that home.  Jason Aaron pulls out all the stops here.  You get construction tools, you get chemical weapons… You get it all.  At one point, Bullseye even uses his own vomit in a scene that is, quite honestly, one of the most disgusting things that I’ve ever seen in a Marvel comic.  It’s the sort of fight that pulls you the reader into it, managing to put you on the edge of your seat.  It’s also the kind of fight that, blow by blow, tells an actual story.  It’s a fight with a physical narrative, with a tempo and various chapters.

PunisherMAX #10 – Review

by Jason Aaron (writer), Steve Dillon (art), Matt Hollingsworth (colors), and Cory Petit (letters)

The Story: Frank reaches new levels, now working with chemical weapons, while Bullseye finally reaches an epiphany.

The Review: After finishing this comic, I was completely shocked to discover that we’ve not seen an issue of PunisherMAX since July.  I knew it’d been a while, October perhaps, but July? I think that’s a testament to how solid this book is.  Despite the fact that it picks up in the middle of an arc, there’s none of the detachment and disorientation you can feel from a series that’s shown up so late.  And that’s not because of any recap page or anything like that.  Rather, it’s due to Jason Aaron’s expert and gradual plotting and pacing.  Whatever the case, diving back into PunisherMAX with this issue feels like the series wasn’t late at all.  It’s quite the phenomenon.

Perhaps it’s fitting then that this return issue is one of the finest issues of Jason Aaron’s run thus far.  The focus is, of course, on Bullseye and, as always, Aaron’s Bullseye is absolute, psychotic gold.  His obsession with Frank is both unsettling and compelling and his nonchalant violence is stunning.  There’s a portion where he holds a monologue on Frank’s history while seemingly unconsciously brutalizing a gang of hoods that is all kinds of awesome.  Furthermore, that monologue is a great one.  It’s a fantastic contemplation of Frank’s history and a fascinating reading of the Punisher story, one that’s probably dogged at the minds of long-time Punisher MAX fans, particularly those of Garth Ennis’ run.  Bullseye’s epiphany that comes as a result is logical and hugely important.

Meanwhile, Frank himself is handled very well.  Aaron has been attempting to show a deterioration in Frank as he loses his boundaries and limitations, but nowhere has the rung more true than this month.  Here, we see that there are truly no depths to which Frank will sink in order to get the job done.  Truly, Aaron demonstrates that Frank is willing to become the monster that society hates and fears if that’s what he believes to be the best way to get the baddies.  His praying on society’s fear of terrorists and his use of chemical warfare are both hugely unsettling, even a little sickening.  In other words, it’s everything a Punisher MAX comic should be, a comic pushes the envelope of not only a comic’s content, but also the nature of its characters.

Shadowland #2 – Review

by Andy Diggle (writer), Billy Tan (pencils), Victor Olazaba (inks), Christina Strain (colors), and Joe Caramagna (letters)

The Story: Luke Cage and Iron Fist try to talk to Daredevil and the Kingpin gets a little demonic help.

What’s Good: This issue tries to expand on the characters involved in Shadowland in an attempt to expand the book into a true event, rather than just a bi-weekly Daredevil.  Certainly, it’s great to see the Kingpin back again and looking to play a big role.  Diggle writes the character’s voice very well and fully capture that suave, Wilson Fisk tone.  I like the idea of Fisk teaming up with heroes for his own benefit; I’ve always enjoyed it when villains find themselves teamed with heroes, as it leads to a lot of dysfunction and distrust.  In this case, it also highlights the dark position that Daredevil currently occupies.  I look forward to seeing where this goes and Kingpin’s presence is definitely a strong point.

Another additional character that works very well, in at least the little time we get with him this month, is Ghost Rider.  The build-up to his entrance is fantastic, and totally misleads you until you see that leather boot.  Diggle cleverly makes Ghost Rider sound like some magical Japanese warrior for good, so when Ghost Rider shows up with his gruff dialogue, it’s a surprising touch of comedy.   His dynamic with Fisk is also really fun for this reason; the Kingpin attempts to speak in the stilted tone he expects a demon to converse in, while Ghost Rider talks like an average guy.  It’s great stuff and Billy Tan draws the character really, really well.

Punishermax #9 – Review

by Jason Aaron (writer), Steve Dillon (art), Matt Hollingsworth (colors), and Cory Petit (letters)

The Story: The Punisher comes face to face with Bullseye, who wants to see Frank in action.

What’s Good: This issue only cemented the fact that Jason Aaron’s Bullseye is my favourite take on the character in recent memory.  He’s simply hypnotic.

In his carefully orchestrated cat-and-mouse game with Frank Castle, the character comes across as brilliantly intelligent, in spite of his casual, off-the-cuff demeanor.  His sheer ruthlessness and complete lack of consideration for human life is also highlighted this issue, as he happily sends a group of men to their deaths just so that he can see the Punisher in action.

What comes as a result is an utterly bizarre sort of romance.  Bullseye is so connected to violence and murder that he seems to fall in love with Frank, and this only leads the issue down even more an even more disturbing track.  Apparently bloodshed and murder are what arouse Bullseye, and the only way he can consummate a relationship, or express his love, is to kill the target of his affections, in this case, Frank.  It’s a completely weird sort of love that suits the character to a tee and gives the Bullseye/Frank conflict a new layer.

Still, so much of what makes Bullseye so awesome this issue is how carefree he is and how completely comfortable he is with his own insanity.  In an awesome conversation he has with Fisk’s ousted wife this month, Bullseye reveals more about his psychology than we’ve ever seen before.  But what is most fascinating about the character is that he is shown to believe that his mindset, psychology, and development are completely natural, a set of logic and emotions that are shared by the rest of humanity.  To Bullseye, he’s just an average person, easy to relate to and understand.  It’s deftly played dialogue by Aaron that plays with your expectations and leaves you with a character that feels like he belongs to a different species.

I also cannot overstate how good Steve Dillon’s work is this month.  On the one hand, this is just another Dillon book and he doesn’t deviate from his style.  Where he excels this month, however, is in his work on Bullseye’s facial expressions, which is absolutely stunning.  I had forgotten that Dillon was capable of such subtlety.  Bullseye’s quick mood changes are amazing, but what most stuck with me were his dreamy expressions of glee and serenity.

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.

Punishermax #8 – Review

by Jason Aaron (writer), Steve Dillon (art), Matt Hollingsworth (colors), and Cory Petit (letters)

The Story: Bullseye attempts to relive the origin of the Punisher, Frank interrogates Fisk’s dirty cop, and the Kingpin has marital issues.

What’s Good: I think it’s become something of a concern among many readers how little the Punisher is actually in this comic, let alone developed.  That’s somewhat adjusted this month, with the focus being equally split between Bullseye, Frank, and the Kingpin.  What results is a beautifully structured issue with a perfect ending that brilliantly parallels all three characters.   It’s a clear testament to Aaron’s skill how the three very different characters are able to flow into each other like this.

I’d say Bullseye has the strongest outing, if only because Aaron’s creativity has allowed for one of the creepiest, yet physically unassuming, characters I’ve read in a while.  I don’t think I’ve ever imagined Bullseye as a family man and when he perversely kidnaps a family this month, it’s a skin-crawling good time.  He just seems so damned happy throughout the issue and I love how he converses with them and engages in family activities with them as though absolutely nothing is wrong, completing ignoring that they’re all bound, gagged, and crying.  It’s truly demented stuff.

Speaking of demented, we get another glorious torture scene from Aaron as the Punisher goes medieval on Fisk’s NYPD cronie.  This is the sort of scene that demonstrates the understanding Aaron has of the MAX imprint:  where most comics or films would turn the camera away, Aaron keeps it focused on the action just a little bit more and let’s us see more than we’d like. Aaron also continues to build Frank’s continuing decline, this time in morality.  In many way’s, his situation this month sort of seems Dark Reign-like:  in a world completely owned by the bad guys, he finds himself crossing his previously established moral lines.  Why not indulge himself and shoot a cop in vengeance when the whole police force belongs to Fisk?  When the world’s bonkers, it’s already bonkers inhabitants are liable to get a little bit nastier.

Punishermax #7 – Review

by Jason Aaron (writer), Steve Dillon (art), Matt Hollingsworth (colors), and Cory Petit (letters)

The Story: Bullseye tries to become the man he’s hunting as he tightens the noose on Frank.

What’s Good: Jason Aaron really dives in head first this month in creating his own unique, MAX version of Bullseye and the character truly sings.   He’s completely manic and gleeful in his sadism.  There’s this childish joy that Bullseye takes in his grisly work that’s a lot of fun to read.  Yet, beneath it all lurks a cold, calculating animal.  Bullseye is a character who is mostly smiles, but that smile can disappear very quickly.  It’s hard to determine which side of Bullseye is more terrifying: the wacky psychopath or the ice cold, brutal murderer beneath.  Either way, he’s delightfully creepy.

One of the problems that I’ve had with this series is Aaron’s occasional fumbling with comedy.   This month, Aaron’s character work with Bullseye proves to be the perfect vehicle for the Punisher’s brand of black comedy without disrupting the books tone.  Instead of overly long gross-out sequences, it’s Bullseye’s dialogue that brings the laughs.  From the absurdity of his interrogation questions to his eccentric methods, Bullseye definitely elicits laughs.  Better still, it’s comedy that feels organic and spontaneous.

Though our time spent with Frank is more limited, Aaron again makes the most out of the character’s time with Dr. William Bayer.  The scene is rife with a sense of heavy tragedy which brings a clear focus on Frank’s deterioration.  Aaron also continues to intrigue with the suggestion that Frank’s original motivation for donning the infamous t-shirt has long since eroded into what is now an existential void.

Steve Dillon does really well with Bullseye.  Dillon makes the character look intimidating, despite his small stature.  Dillon also does a great job on Bullseye’s facial expressions.  Most of the time, Bullseye carries an expression of madcap good humor completely incongruous with his surroundings, but is able to turn on a dime to a more serious expression of violence and menace.  The quick shifts to this latter look make for a scary character.

Dark Avengers #16 – Review

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

The Story: The aftermath of Siege is explored and the fates of the Dark Avengers cast are glimpsed.

What’s No So Good: Yes, I am reversing our usual review format, but why I’m doing so will soon be abundantly clear.

The first half of this issue just isn’t particularly inspired.  Don’t get me wrong, it’s not at all bad or underwhelming, it’s just a bit by the numbers.  A couple of pages of Siege replay, Moonstone and Hawkeye make a futile escape attempt, and Daken goes Jason Bourne.  It’s decent action, but it’s the sort of ho-hum aftermath stuff that writes itself.  The mediocrity is such that I can’t even find a great number of words to write about it.

Mike Deodato also takes on a completely different approach this month, going for a brighter, more “digitally painted” feel.  For the most part, this works out really well and delivers a polished, epic feel, but there are points where you’ll be lamenting the lack of defined lines that comes with this style.  Also, I’m not a fan of Deodato’s take on Phobos, who looks like a cherubic five year old under his hand.

What’s Good: The second half of the issue is a completely different beast that is so strong it completely wipes away any and all memories of the mediocre first half.

The major shift starts with a scene between Thor and Phobos, as Thor informs the boy of his father’s death.  It’s tragic, and yet there’s also a “passing of the torch” sort of feel.  The conversational dynamic is superb, as Phobos’ dialogue is so uncompromising that while Thor sounds elevating and lofty in his praise of Ares, Phobos essentially deadpans him.  The God of Fear manages to look and sound like both a wounded, realist adult and a frustrated, torn child, with the latter being deeper below the surface.

Punishermax #6 – Review

by Jason Aaron (writer), Steve Dillon (art), Matt Hollingsworth (colors), and Cory Petit (letters)

The Story: We’re introduced to the Marvel MAX version of Bullseye, as he begins his hunt for Frank Castle.

What’s Good: This issue sees Jason Aaron’s continuity-free take on Bullseye and overall, it’s successful.  Aaron has a good handle on the character’s distinct voice, which is intelligent, detached, psychopathic, and mildly humorous.  Bullseye sounds oddly affable and never over the top.  It’s easy to write an intelligent serial killer like Bullseye in an over-the-top or scenery chewing sort of way, and I’m glad that Aaron steered clear from this route.  Bullseye seems more real because of this, but still colorful enough to make for a compelling villain.

The strongest portion of this issue, however, is a conversation between a wounded Frank Castle and his doctor, who happens to be an old friend from Vietnam.  It offers Aaron a chance to once again attempt to get into Frank’s head.  There are wonderful touches of rueful retrospective and references to Frank’s age that have proven before to be useful tools for writing the Punisher.  The conversation ends up feeling heavy and meaningful.  I enjoyed how Aaron explored Frank’s erasure of identity and humanity.  These are familiar themes for a Punisher comic and have been explored before, yet Aaron makes it all just emotionally significant and hard-bitten enough to make you forget that.

Steve Dillon’s art is, as usual, a perfect fit for the Punisher.   His action scene at the issue’s end is rife with desperation and tension, yet the entire book nonetheless carries that hint of light-hearted wackiness that inhabits all of Dillon’s work.  Everything looks good here and I enjoyed his take on Bullseye as well, from those devious, intelligent eyes to the little scars surrounding Bullseye’s infamous forehead scar, which were a really nice touch.

Punishermax #5 – Review

by Jason Aaron (writer), Steve Dillon (art), Matt Hollingsworth (colors), and Cory Petit (letters)

The Story: The Punisher and the Mennonite’s battle comes to its brutal end while Fisk and Rigoletto lock horns.

What’s Good: This may very well be the best issue of Jason Aaron’s Punishermax series thus far.  It gives you everything you could possibly want in a Punisher comic or a MAX comic.

As might be expected, the action is something too ugly and brutal to really be called “action” in the conventional sense.  The violence is absolutely unflinching and in a way, I respect Aaron for his willingness to live up to the MAX promise.  Horses are decimated and there are innards aplenty and a child meets a gruesome end.  In both cases, the bloodshed is shown to the reader upfront, without any cutaway.  After all, this is a MAX comic and any such thing would be an act of self-censorship.  Aaron does not shy away from any of it and Steve Dillon certainly obliges him.

A real star this month though is Aaron’s take on the classic Frank Castle monologues.  Those who have grumbled about the lack of focus on Frank should be satisfied this month, as Aaron’s textboxes fully encapsulate everything that is awesome about Castle.  We get that badass fanaticism and refusal to die, we get the gruesome, almost over-the-top descriptions of pain and injury, and we even get that sense of poignant personal tragedy integral to the character; essentially, Aaron touches upon every good thing that can be done with a Frank Castle monologue textbox.  Through them, Castle feels fully realized, with various aspects of his voice from the Ennis MAX days being visited.

And then there’s Fisk.  Aaron’s take on the villain is more unforgiving than ever, as he almost seems to chastise the reader for ever having sympathized or rooted for him.  There is a significant emotional shift, or self-realization, in this issue that is very well-done.  Fisk’s coldly and objectively calculated response to his son’s being held hostage is stunning, and his words of comfort to his grieving wife after the ordeal are absolutely chilling.  Much like Castle, Fisk also receives some great internal monologues this month, touching on his history while suggesting his ideals of fatherhood, valued up until this point, are a facade.  It’s stuff that’s as brutal and real as the physical violence on the page.

As a small point, I also really loved the ending of the brawl between the Punisher and the Mennonite.  The conclusion of the fight is just perfect in that the brutal acts of violence that lead to it are strangely metaphorical.  The Mennonite’s downfall in the fight parallels his downfall in life while the Punisher’s final weapon is essentially a physical manifestation of his own trauma.  It’s just so strange to see brief acts of over-the-top violence be so directly referential to points of emotion or character.

It also bears being mentioned that Steve Dillon does an amazing job on this issue given that the book is completely and utterly devoid of humor.  Usually Dillon seems a bit out of sorts without at least a little slapstick or crudeness, but he succeeds this month without either.

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.

Dark Avengers #11 – Review

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

The Story: As the Avengers find themselves subjected to the whims of Molecule Man, Victoria Hand scrambles.

What’s Good: As Hand takes center-stage this month, we finally get a three-dimensional character out of her.  It’s very interesting to see how her motivations largely stem out of an uncompromising sense of integrity mixed with a desire to do as much as good as possible.  Hopefully this is a seed that will come back to bite Norman.  Either way, it’s always great to get to know a character as an individual, let alone one who’d been little more than scenery up until this point.  Having Hand become more developed will undoubtedly add more to the series.

Meanwhile, in the present, Hand is thrust into a central leadership position, and we see just how awkward, uncomfortable, and perhaps even unprepared and flustered she is in such a role.  Victoria Hand finally feels and looks human and almost likable.

Molecule Man is the other central figure this month and he’s definitely creepy, particularly thanks to Bendis’ godlike portrayal of his ill-defined Silver Age power set.  I also really liked how Bendis wrote his voice.  While not openly bonkers, there’s just something off about his dialogue.  Bendis is clearly trying to convey the character’s complete social ineptitude, isolation, and consequent difficulty conversing with others.  It’s very subtle, but that makes it all the more skillfully executed.

Greg Horn also does a fantastic job illustrating the “dream sequences” this month, with his hazy, softer, painted feel contrasting beautifully and suddenly with the usual heavy, dark, muscled fare that Deodato brings.

What’s Not So Good: Nothing really wowed me about this issue.  I think that that’s largely due to the book spending an incredible amount of time with Molecule Man as the main character weaving the text together.  Probably not a good call when we’re unattached to the character.  Also, while his voice is good, his “I want to be left alone” rhetoric does repeat.  This would normally be just fine, but when he’s holding together the entire issue, it gets a little dry.

Also, outside of Hand’s scenes, the structure of this month’s issue is so apparent that it creaks.  Every member of the team gets one scene where they feel the power of Molecule Man.  It’s a really uninventive way of getting a new villain’s power across and it also makes the latter half of the issue feel more like a series of skits or vignettes than a single coherent book.  As each Avenger is visited, I can almost feel Bendis ticking off boxes.  Of course, page-count concerns also reduce the length of each scene, sometimes to a single page, so it’s not like any of them particularly resonate either.

Furthermore, was it really necessary to see Sentry get pulverized again?  It’s getting ridiculous how the most uber-powerful character in the Avengers-line has been turned into a complete bitch throughout Dark Reign thanks to the writer’s inability to figure out what to do with him.  It’s not like anyone would take anything resembling a death for the character seriously at this point anyway.

As a final note, I mentioned this last month, but Deodato really does love to draw scantily clad women.  For the second month in a row, the needless skimpiness annoys.  As does seeing page after page of naked bodybuilder Norman Osborn.

Conclusion: It’s cool getting to know Victoria, but outside of some neat work by Horn, the rest of the book is a bit of a wash.

Grade: C+

–Alex Evans

 

Dark Avengers #10 – Review

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

The Story: The Avengers go to a small town in Colorado to investigate a string of mysterious disappearances.

What’s Good: Apparently Dark Avengers is a horror comic this month.  It’s surprising, but nonetheless very effective.  Using an abandoned small town with a very bizarre fixation on dinosaurs of all things, Bendis crafts an issue loaded with a heavy atmosphere that is all creepiness.  There are some genuinely unsettling moments, all the moreso due to how we’re kept totally in the dark.

I also found this month’s book to be really strong as far as characterization and team dynamic are concerned.  It was one of those issues where every member clearly has his or her social role on the team, several them having very defined moments.  Hawkeye has become weirdly likable as the guy whose intelligence clashes with his dumb impulses, Daken is the frustrated rabble-rouser, Moonstone is utterly untrustworthy, and the newly medicated Venom is pure comedy.  Honestly, Venom made me laugh in a way I didn’t think possible in Dark Avengers.

Going along with the horror theme, the team dynamic also generates its own mystery.  Something’s obviously funny with Osborn and Moonstone clearly has her own agenda.  Both are certainly intriguing

Mike Deodato’s art is meanwhile nothing short of perfect.  Everything is shadowy without any sacrifice of detail.  In fact, everything is about as close to photo-realistic and detailed as a comic can get without out of control lightboxing.  The last double-page spread in particular is amazing. and Deodato’s depictions of the Sentry never fail to wow.  Also, Deodato’s drawings of Venom’s facial expressions while masked only added to the hilarity of the character

What’s Not So Good: Overall, this is a very good issue, but there are always the little things.  For starters, I’m pretty tired of seeing the Sentry get his ass kicked.  The Sentry is so powerful that in order for any narrative or conflict to transpire, he needs to be taken off the board.  This has become glaringly obvious and increasingly irritating.

I also did find myself wondering why the two girls at the beginning of the issue had to be so scantily clad.  They’re hot, we get it, but aren’t they also just supposed to be average girls?  It’s a little over the top, but I guess it’s also sadly typical of the modern comic.  There’s also an early lettering error regarding the two characters that sees their line’s switched up.

Finally, I suspect the issue’s ending was supposed to pass for a cliffhanger of impressive proportions.  Unfortunately, it’ll probably garner nothing more than a “huh?” from most readers.

Conclusion: Despite my minor quibbles, it’s actually a very strong issue of Dark Avengers.  It’s not quite as good as last month, but it’s pretty much all you can hope for out of a Dark Avengers comic.

Grade: B+

-Alex Evans

Dark Reign: The List – Secret Warriors

By Jonathan Hickman (Writer), Ed McGuiness (Pencils), Tom Palmer (Inks), and Chris Sotomayor (Colors).

Some Thoughts Before The Review: I’m utterly confused by Marvel’s decision to release Dark Reign: The List – Secret Warriors before the Secret Warriors issue it’s supposed to take place after. I guess I can understand why Marvel would want to release one List book a week, but if there’s another in the pipeline for next week, why not just release that and hold off on the Secret Warriors one-shot until the monthly series is in synch with it? The mind…it boggles.

The Story: Nick Fury and Norman Osborn must put aside their differences for the greater good in order to bring down a federal employee that could cause trouble for them both…and the country.

What’s Good: The best thing about Dark Reign: The List – Secret Warriors is that it delivers all the excellent espionage action and awesome character work you’ve come to expect from the Jonathan Hickman series. Simply put, Hickman doesn’t skimp at all. From the introduction of the Leviathan organization and the dialogue between Osborn and Fury to the brutal interrogation of Seth Waters (the shady federal employee) and the use of Ares, Hickman’s script is top-notch. It successfully drives the Secret Warriors plot forward while functioning as an effective one-shot story at the same time. Now it doesn’t necessarily read like a true one and done (it definitely helps to have some familiarity with the Secret Warriors series), but it tells a satisfying Nick Fury story regardless. And, as you should know by now, nobody writes Nick Fury, or his stories, better than Jonathan Hickman at this point in time.

What’s Not So Good: Dark Reign: The List – Secret Warriors has two major problems that it never manages to completely overcome. The first problem is that the story, while entertaining and easy enough to follow, gets off on the wrong foot right from the start because it’s supposed to be telling about events that happen after a comic that has yet to come out. While reading the one-shot, the lingering feeling that I missed something never quite went away. Now I realize that I didn’t actually miss anything, but it’s frustrating to feel as though you missed a crucial event that set up whatever it is that you’re reading about.

The second problem is more of an issue than the first. I’m an Ed McGuiness fan, but the second problem with The List – Secret Warriors is that McGuiness’ art style just doesn’t fit the tone of the story Hickman tells. While Tom Palmer’s inks and Chris Sotomayor’s colors are moody enough, McGuiness’ exaggerated, slightly cartoony style just doesn’t feel right at any point. From the goofy, bug-eyed expressions of shock to the ‘roided up characters, the artwork just doesn’t work like it should. With all that said however, if you ignore the style, the artwork does a fine job of telling the story and executing the action of the script. So it’s not all bad.

Conclusion: Art and release schedule issues aside, Dark Reign: The List – Secret Warriors is worth checking out. Hickman’s script is very cool and the seeds planted for the future will be worth keeping an eye on.

Grade: C+

-Kyle Posluszny

Dark Reign: Sinister Spider-Man #4 – Review

By Brian Reed (Writer), Chris Bachalo w/ Rob Disalvo (Pencils), Townsend, Disalvo, Sibal, Irwin, Wang, & Mendoza (Inks), and Bachalo w/Fabela & Mossa (Colors)

Some Thoughts Before The Review: The storyline is a bit basic and the way the artwork is divided up tends to be annoying, but those issues haven’t stopped me from enjoying the hell out of the Sinister Spider-Man mini-series.

The Story: Mayor Jameson’s Big Apple Festival is in big trouble. The Redeemer’s there, the two rivals gangs are there, and, worst of all, Bullseye and Wolverine’s kid are there as well. Does that mean Spider-Man is in trouble as well? You better believe it.

What’s Good: Now that’s more like it! Sinister Spider-Man #4 manages to recapture everything that made the first issue of the mini-series so great. It’s funny as hell, the manic artwork kicks ass, and the story finishes in a way that’s so crazy it actually winds up being quite satisfying.

Brian Reed’s hilarious script elevates a fairly generic bad guy acting like a good guy story into something more. What makes it work so well is that Reed writes Mac Gargan (A.K.A. Sinister Spider-Man) as an asshole through and through. A funny, likeable asshole, but an asshole nonetheless. By doing so, Reed’s able to make you root for Gargan while loving every bit of chaos that erupts as a result of what he’s done throughout the mini-series. It must be said, however, that Reed’s script wouldn’t work nearly as well if the artist handling the craziest parts of it didn’t completely embrace the writers vision. Thankfully, Chris Bachalo does.

Right from the opening “What the **** is this **** all about?” splash page (that features, among other things, flying panties, gangsters, a poodle, and corn dogs), Bachalo establishes that the Sinister Spider-Man series is going to finish on one heck of a high note. Now I’m well aware that Bachalo’s kinetic style isn’t for everyone, but it’s hard to argue how fitting it is for the story being told and the action that takes place. I never thought I’d see both corn dogs and a “yap dog” being used as projectile weapons, yet there they are. The few pages Rob Disalvo contributes are solid as expected, though I can’t help but wonder why Marvel didn’t just give Bachalo another week or two to finish the book. It’s not like the whole Dark Reign thing is ending next week.

What’s Not So Good: The only real big negative about Sinister Spider-Man #4 is that occasionally Chris Bachalo’s artwork is too hectic. There’s a lot of stuff going on and sometimes it doesn’t come together all that well on the page. And that’s either due to small panel size or the amount of action being crammed into a scene.

Conclusion: Sinister Spider-Man #4 rocks pretty hard. Be sure to pick up the inevitable trade if you haven’t been following the Dark Reign mini-series.

Grade: B+

-Kyle Posluszny

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

Daredevil #500 – Review

by Ed Brubaker (writer), Ann Nocenti (second feature writer), Michael Lark, Stefano Gaudiano, Klaus Janson, Chris Samnee, and Paul Azaceta (art), David Aja (second feature art), Matt Hollingsworth (colors), and Chris Eliopoulos (letters)

The Story: Battles with the Hand and bad guys aplenty sees Matt Murdock finding himself in a role in which he never imagined himself.

What’s Good: Daredevil #500 succeeds where other landmark, giant-sized issues have failed in that it actually has a thrilling, must-read main feature.

The main feature is a kinetic thriller with electrifying action scenes coming one after another at a breathless pace.  The pages fly by and it is definitely a very, very fun read.  After the blandness found in Captain America #600, I almost feel that Daredevil #500 shouldn’t be allowed to be this exciting.

That’s not to say that it’s mindless, however.  Daredevil’s fight with the Owl in particular is brutal, thanks in part to its emotional savagery and DD’s final act this is definitely not for the faint of heart.

Of course, I can’t go without commending the cliffhanger that Brubaker ends his run on.  It really is a case of leaving the reader dying to know what happens next.  It’s so unexpected, it has Matt making a complete 180. Although Brubaker could be condemned, he nevertheless manages to pull it off through making Matt’s change of heart logical; making him grow out of his self-loathing.  It’s a natural choice and Brubaker successfully injects the sense of tragedy always present in Daredevil.

Ann Nocenti’s back-up story is absolutely, pitch-perfect fantastic. Brooding, cerebral, and at times downright surreal. It’s simply amazing work.  After taking a beating from Bullseye, Daredevil finds himself recovered by a retired boxer, Larry, and a schoolgirl, Gina.  The dynamic here is fascinating and both Larry and Gina are uncomfortably interesting characters.

On the one hand, Larry and Gina reflect different aspects of superhero voyeurism.  Larry’s the backseat driver, full of criticism, while Gina is the bloodhound, in it purely for the violence.  Yet, the genius is that despite this seeming division between DD and these two viewers, in their surreal dialogue, they almost seem to be parts of himself, Gina the off-kilter Id and Larry the curmudgeonly superego.

Aja’s art meanwhile is beautifully realized and thoroughly imaginative.  There are some truly inspiring images here, from DD’s fall through a cloud of balloons, to DD preparing to leave Larry’s bar, pausing at the doorway before breaking out into a run.  It’s very dark, yet oddly beautiful, poetic even, and that’s how DD should be.

What’s Not So Good: For the main feature, with so many fight scenes, some of them were just too quick and as a result, too easy.  Essentially, one side just totally steamrolls the other in a thoroughly non-competitive two page brawl.  Lady Bullseye in particular is far too much of a pushover.

Also, though I loved it for its mood, I at times found Aja’s stylized work to be a little too barren detail-wise.

My only real complaint about Daredevil #500 however is the package itself, which is absolutely brimming with filler.  Along with these two stories, you also get a preview of Diggle’s Dark Reign: the List entry, a pin-up gallery, a reprint of Frank Miller’s Daredevil #191, and a cover gallery.  The galleries offer some cool pictures, but  I can’t think of anyone who wouldn’t prefer another story instead.

The Dark Reign: the List preview is even more offensive.  It’s pure advertisement, but it dwells right smack in the middle of the book, not at the end.  What’s worse, Dark Reign and Norman Osborn feel completely out of place in this book, as does Billy Tan’s slick, bright artwork.

Miller’s reprint is, well, a reprint.  A fantastic issue, yes, but also one that I’ve read before and have in a trade.

Conclusion: A very good main feature and an absolutely fantastic back-up in a book that would reach an A, were it not for all the damn filler.

Grade: B+

-Alex Evans

Uncanny X-Men #514 (Utopia) – Review

By Matt Fraction (Writer), Terry Dodson (Pencils), Rachel Dodson (Inks), and Justin Ponsor (Colors)

Some Thoughts Before The Review: Utopia has been pretty weak so far. While it hasn’t been awful, it certainly feels like it’s getting in the way of better things. Dark Avengers was on a roll prior to Utopia, and Uncanny X-Men finally seemed like it was getting back on the right track.

The Story: The Dark X-Men deal with Simon Trask’s new bio-mechanical Sentinels while Cyclops begins to put his offensive plan into action.

What’s Good & What’s Not So Good: This may sound a bit strange, but the biggest problem with Uncanny X-Men #514 is the big Utopia banner that’s plastered on the cover. It’s an unfortunate piece of baggage for a comic that’s, at a basic level, pretty fun (albeit somewhat average). The action scenes are cool, the artwork is solid, and the writing is pretty sharp. While that’s all well and good, I expect more out of an issue of a crossover. A lot more. Especially when it’s an issue of a crossover that’s been as heavily hyped as Utopia.

See, the thing is, the latest chapter of Utopia makes something painfully obvious: that there was really no need for the crossover in the first place. Why? Because Utopia is an “X” story through and through. When the mutants are taking front and center, everything just works much better. It is great? No. But, with that said, it’s still pretty decent. As for the Dark Avengers? They are really just taking up space, getting in the way, and, unfortunately, helping to sell books.

Had Uncanny #514 been part of a regular “X” arc (because that’s how it reads), I would have less of a problem with it. Sure, I might have complained about how all of Terry Dodson’s females have the same face, brought up the storytelling issues (which I’ll get to), or mentioned that some of Cyclops’ dramatic lines are a bit lame, but as a whole, I would have been satisfied with what it delivers knowing that Utopia is the “X” story being told. Unfortunately though, the latest issue of Uncanny is not just a regular issue. It’s stuck being part of an ill-timed crossover between the Dark Avengers and the X-Men. Therefore, it has to be judged as part of something that’s, according to Marvel, something of high quality and importance. So judge I shall… By asking a few questions about Uncanny X-Men #514…

-Why is there no mention of Beast and Xavier (I thought they were important), yet pages (3) dedicated to a pointless scuffle between Bullseye and Wolverine’s kid?!

-Those people in the hospital completely turned to robots after their eyes lit up?! I can handle comic book logic but it seems a bit silly to me…

-Why is Iceman so intimidated by the Dark X-Men!? And by that same token, why does Cyclops see them as such a challenge?!

-According to the back page, there’s only two chapters of Utopia left. Why do I get the sense that things are being rushed along?!

-Why does Wolverine emerge from the water like he’s some sea creature?!

-Did anything of importance happen in regards to Utopia? At all?

Conclusion: Uncanny X-Men #514 is a pretty decent “X” comic if you can ignore the whole Utopia nonsense. I certainly wish I could…

Grade: C-

-Kyle Posluszny

Dark Wolverine #76 Review

By Daniel Way & Marjorie Liu (writers), Giuseppe Camuncoli (artist), Onoford Catacchio (inker), Marte Gracia (colorist)

Having now read two issues of Dark Wolverine, I can safely say that I find Daken to be an interesting character, but not for any of the reasons Marvel wants me to care about.  Specifically, I’m not terribly interested in the overplayed father/son dynamic between him and Wolverine, and I think it’s absurd to believe a man possessing bone claws could pose any kind of serious  threat (honestly, for the kinds of fights Daken gets into, why doen’t his claws ever break!?).  It’s the measure of this man that intrigues me though; there is an air of lethal ambiguity surrounding Daken, a sense that even amongst the scum comprising the Dark Avengers, Daken is the real threat to be feared.  If Marvel’s going to pursue this storyline, that is exactly the right tone to convey and I’m surprised to be finding it in such an unlikely title as this.

Part two of “The Prince” finds Daken between a rock and a hard place, manipulating his teammates on the Avengers even as he approaches the Fantastic Four to request help in taking down Norman Osborn.  Is Daken making a power play to control the Avengers, or trying to escape their corrupting influence over him? That tense uncertainty is the energy that propels Way and Liu’s scripts, although I hope to see this story become something more than a game of Machiavellian maneuvers. Special mention must be made of Giuseppe Camuncoli, who has fast become my favorite artists this year. His work has the kind of style and aggression that you’d expect to find in anime, and I think it is incredibly appropriate on this book. I’m not entirely sold on Gracia’s colors though. The heavily bold patches of color support the anime appearance, but it can be distracting at times.

I’ve never read any of Daken’s early appearances in the pages of Wolverine: Origins and I’ll keep it that way because I suspect the less I know about him the more I’ll like him. Like just about everything else under the “Dark Reign” banner right now, Dark Wolverine is a one trick pony that cannot possibly last.  Having just said that, I  think Daken is nonetheless an intriguing character and if the creative team can step up their game and do something more with him, I think there is potential to be found here.

Grade: C+

-Tony Rakittke