Thor: Defining Moments Review

by J. Michael Straczynski (writer), Marko Djurdjevic (pencils & inks), Danny Miki & Allen Martinez (inks), Christina Strain (colors), and Joe  Sabino (letters)

The Story: Bill’s final fate is determined while Sif and the Warriors Three battle the doombots.

What’s Good: If you approach this book as just another 22-page issue of JMS’ run on Thor, it really is pretty solid and is consistent with the series’ quality as of late, at least as far as the writing is concerned.  It’s also got a couple of moments that’ll have you saying “hell yeah.”

Chief among these scenes is one involving a very angry and very naked Volstagg that is a perfect combination of comedy and pure awesome.  It is, of course, that same combination that defines the character himself.  The sequence is outrageously badass, but maintains Volstagg’s characteristic charm.  Oh, and Hogun and Fandral are absolutely on fire this month with the fat jokes.

Most readers are probably coming to this issue most concerned about the fate of Bill.  At first, it’s hard not to be a little disappointed.  That said, if you expected him to scream “I HAVE THE POWER,” turn into a god, and battle Doom, you’ll be sorely disappointed, but really, such an ending would be just a little stupid.

Instead, Bill’s ending is the best he can manage by just being Bill, and so Straczynski maintains the integrity of the character and his sub-plot.  Make no mistake, he is a hero and, ultimately, he is accepted as an Asgardian, but he does so without abandoning his humble roots or acquiring superhuman powers.  Bill’s tale has always been about being a mortal, a little guy in a world suddenly populated by the very large.  Bill’s fate is only so poignant because JMS retains this theme; Bill remains that little guy, but even so, he manages become a hero among the biggest of the bigs.

Meanwhile, JMS leaves us hanging regarding Kelda.  I think we all suspected she was more powerful than she let on, and now we’re going to see that in action.

What’s Not So Good: It’s hard not to be a little underwhelmed by this issue.  JMS’ run has had such an epic quality, that it’s hard not to expect his final issue to be grander.  What we get isn’t really any sort of massive flourish or cataclysmic ending.  Rather, we just get another solid JMS issue that simply lives up to the quality of his previous issues, no more and no less.   This final issue really has no feeling of closure and though the cover may say “finale,” that’s not what we’ve gotten.  That said, the issue also didn’t contain the sort of “hot potato” landmark shift in status quo that writers often leave off their runs with.  Ultimately, this feels like the last issue of a story arc, but certainly not the last issue of a run.

Finally, this may be the worst looking issue of Thor that Djurdjevic has drawn.  While the art is by no means unbearable, it’s weak by the standards Djurdjevic and Coipel have set for the series.  It reeks of an artist desperately trying to make a deadline.  The level of detail continually falters, with many of the more zoomed out shots and smaller panels suffering a great deal.  There are also a few panels where Donald Blake looks like a substantially younger version of himself.  Having three different inkers on the book also certainly didn’t help, making the book feel even messier with its details even more in question.  It makes the book feel sloppy, chaotic even.

Conclusion: It’s a strong issue of Thor, but it’s not the “finale” it claims itself to be.

Grade: B

-Alex Evans

 

Dark Avengers #6 – Review

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

The Story: Atlantean terrorists are battled while Norman finally begins to show chinks in his armor.

What’s Good: This comic is becoming increasingly cerebral.  In this issue, the team is perhaps more volatile than ever.  The dialogues between Victoria and Moonstone and later Osborn/Moonstone are key examples of Bendis dialogue at its best, with a quick back and forth that serves as a means for one character to frustrate the other.

The high-point in this issue is once again Norman’s relationship to the Sentry.  I’ve never been a Sentry fan, but the fact that this series has made me interested in him is quite the accomplishment.  Norman/Sentry scenes are always gold, and this month’s is nothing but straight manipulation.  Increasingly, Bob and Norman are paralleled;  there is the Green Goblin and there is the Void, and neither can be suppressed. Speaking of which, seeing “the Void” in action is quite the thrill.

The issue also does a great job throughout its length of showing Norman’s mental fraying at the seams.   Bendis does a great job of subtly making Osborn appear as a man who is fighting a losing battle to maintain control.  And while the issue’s ending is perhaps a tad predictable and a long-time coming, it still manages to have an “oh snap” effect.

Finally, it’s great to see Victoria Hand actually do something in this comic, as she’s felt like a strange non-presence thus far.  I also like Moonstone’s development as the destabilizing element of the team.

Deodato’s art is of course, up to its usual standard.  Marvel fans know what to expect here: a clinic in the super-detailed “modern comic” look.  Of course once again, Deodato makes it look all the better by making the visuals dark and heavily shadowed, which perfectly compiments the  mood of the book.

What’s Not-So-Good: The battle with the Atlantean terrorists is pretty underwhelming and anticlimactic given their cataclysmic entrance last issue.  There isn’t even any real battle and it all just ends up being yet another means of showing how tough the Sentry is.  Even that is barely shown and happens mostly “off-screen,” which is inexcusable considering how many pages are devoted to wordless images of the Sentry traveling to the Atlantean base.  Even worse, despite Norman’s rhetoric of “avenging the innocent bystanders,” I don’t feel that we really got to see enough of the destruction wrought by the Atlanteans to actually give a crap about them.

As a result, though the developments in Norman’s deteriorating psyche are interesting, one gets a sense that as far as physical, real events go, this issue is a little lighter than it should’ve been.  Somehow, despite a major conflict with the Atlanteans and city-wide devastation, it feels like nothing’s happened.

Conclusion: Nothing ground-breaking, but a pretty solid issue nonetheless.  The ending is necessary and potent, though not particularly revealing nor profound.  Still, I like the increasingly psychological turn.

Grade: B-

-Alex Evans

Agents of Atlas #6 – Review

by Jeff Parker (writer), Gabriel Hardman (pencils and inks), Jana Schirmer (colors), and Nate Piekos (letters)

The Story: The team heads to Oceanus to see if they can get something on Osborne from his Cabal-mate, Namor.

The Good: After the balls to the wall slugfest in the last issue, this month gives a really nice change of pace for the series, being more based in political intrigue, personal tensions, and team dynamics. This also allowed for Parker to do some character work, which has always been strong point. As always, every member of the team is distinct and their relationships with one another are front and center. The major conflict of the issue appears to be Namora’s place in Oceanus, her possible departure for the team, and the alliance with the Atlanteans that may result. It’s a very interesting situation that sucked me in far more than the explosions of last month.

With every passing issue, I feel that each character gains a stronger voice. This idea is widely evident in this issue, as the cast’s personality traits grow onto you; from Venus’ optimism and supporting attitude, to Gorilla Man’s humorous interjections, and to Namora’s pained history… I also continue to enjoy Parker’s depiction of the Uranian’s psychic powers. Bob continues to exude this weird aura of surreal menace, and his powers in this issue manage to share that. More importantly, however, is that this also leads to Bob not being “just another Marvel psychic;”  his abilities are all his own.

Gabriel Hardman’s art suits this new, more subdued tone perfectly. One part retro and one part noir, his dark and shaded work is a sight to behold, also making the structures of Oceanus at once beautiful and pulp. Hardman continues to be a perfect fit for Atlas, giving this unique comic the equally unique artistic feel that it needs and deserves.

The Not-So-Good: Agents of Atlas #6 threatens to cement several changes to the Atlas formula that take some getting used to, or at least a willingness to accept. Firstly, while Hardman’s art is great, until now, his art has been very appropriately limited to the flashback sequences and 1950s parallel stories. Seeing his art now being applied to the present day is a bit off-putting at first, given how it’s come to be associated with the past. It is a good fit, but it takes some getting used to.

Also, after lamenting the absence last month, it looks like I’m going to have to say goodbye to the parallel story structure. I do miss it, but thankfully, this issue showed me that the comic is capable of standing up without that gimmick.

In the end, this is a very good comic, but truly enjoying it requires one to leave behind the creative status quo that the series had established for itself in the past issues.

Conclusion: Agents of Atlas #6 is a much more nuanced, subtle issue. Which isn’t a bad thing. Certainly, a more intelligent story is the best way to get readers to accept a simpler creative method (one artist and one story instead of two of each).

The Grade: B+

-Alex Evans