Wolverine #74 – Review

By Jason Aaron and Daniel Way (writers) Adam Kubert and Tommy Lee Edwards (art), Mark Farmer (inks), Edgar Delgado, Mary Hollowell, and Paul Mounts (colors)

The Story: This two-part swansong of Wolverine wraps up its two stories, as we prepare to see the series renamed “Dark Wolverine” next month.  The first story concludes the family soap-opera centering around a biker gang as Wolverine goes from playing social worker to sacrificial lamb. The second part of this arc, a day in the life of Wolverine, concludes as Spider-Man has a super-hero intervention with Wolverine for his obsessive work habit.

What’s Good: This issue is a mixed bag. I suspect that hardcore Wolverine fans are so hot-blooded about Logan lately that Marvel could release a Wolverine playing water-sports on a Caribbean vacation to rave reviews and high sales. So, if you’re an adamantium addict, this issue will give you a quick fix as it is standard Wolverine fair, chock-full of softie with gruff exterior, one-liners, and of course, opening his claws into the bad guy at just the right time.

The other highlight of this issue in my mind is his team-up with Spiderman, that takes place in the second story. I love the way these characters interact and just by default, there is a lot of humor that naturally surfaces between the two. When done right, I think the Wolverine/Spider-Man team-up is one of the best in comics.

As I said with the last issue, Tommy Lee Edwards’ art is great in this arc, especially given the fact that the scenery rarely changes as he is limited to a few scenes and settings. Also, Kubert’s art is typically classically executed and detailed. I am no student of illustration at all, but I’d say his work here lands in the same family as John Romita Jr.

What’s Not So Good: Well to be blunt, both stories are really flat-lined affairs. I wish I could think of a different adjective for the first story besides “stupid,” but I can’t. It so mentally devoid, Daniel Way had to literary explain the whole plot through Wolverine’s inner monologue. Also, none of the plotlines and character relationships were resolved at all, save for Wolvie gutting the bad guy, as Way explained, at the end. The ending made no sense to me and involved traceable bullets from some guy who we didn’t even see shoot Wolverine.

As for the second story, although I appreciate Spidey and Wolverine having a heart-to-heart, this particular episode in their friendship was very forgettable. It involved Spidey telling Wolverine a bunch of things about himself that Wolverine already knows. The whole premise of this story was built on an uninspiring premise about Wolverine’s work ethic. Not that his commitment to the uniform is spurred by a sense of justice, revenge, wrath, anger, or duty, but rather, because he doesn’t want to face his issues. I know writers in the past have used that dynamic to explain his destructive personal life like the drinking and the relationships, but it seems like a let down for denial to be his major motivation for being a superhero.

Conclusion: I’m sure that there will be many fans that will enjoy this book simply because it is a Wolverine story that pulls the heart-strings a little. However, I think if one looks at this book objectively, it’s obvious that there is very little merit here, save for some of the art. I know this is a new era for the Wolverine franchise as this title changes creative direction, but this is far off from being a decent sendoff to Wolverine from his own series. By the way, can anyone tell me why the second story is entitled “A Mile In My Moccasins?” Doesn’t Wolverine wears boots?

Grade: D+

-Rob G.

The Unknown #2 – Review

By Mark Waid (writer), Minck Oosterveer (pencils, ink), Fellipe Martins (colors)

The Story: Catherine and Doyle continue their investigation into the mystery of the missing quantum box. However, the scientific theory behind the disappearance is quickly replaced with the supernatural as unexpected surprises confront them when they try to recover the missing object.

What’s Good: The relationship between Catherine and Doyle clicks like a classic cop partnership in this issue. With each character, Waid has convinces us of each person’s very human personality. For example, with Catherine, Waid does a great job making her a brainiac who is always a hundred steps ahead of everyone else. Her portrayal doesn’t seem forced and her eccentricities and illness keep her from being cliche’.  This is likewise for whoever else you come across in the book.

As for the art, Oosterveer is on point in capturing the natural reactions. I especially like Doyle’s humorous reactions to the surprise nemesis (who I might add, was well-designedt. Furthermore, some of his illustrations of Catherine’s visions, though repetitive, are very effective and striking upon first glance.

With Waid’s well-developed characters, and Oosterveer’s art accompanying them, things are working well for this series. The last panel of the comic will leave you excited about this title, as you’ll never see it coming nor know what to expect from the next issue. All I know is that this new element adds to the overall fun and pleasure of this series.

What’s Not So Good: The whole scene with the Faderbauer twins reads rushed as they are kind of like a blank foil used to showcase Catherine’s explanation of things. Additionally, the history of weighing a soul was interesting, but then it reads as a little too much, and too fast– something like that can be/ should be explored patiently, and not rushed. The pacing of this read has a little too much temp and I’d rather see things slowed down and expanded.

Conclusion: A nice mixture of exposition and action fuels Waid’s latest installment of The Unknown. An interesting premise for a comic that is unfortunately force fed to the reader with its brand of flawed pacing. However, different plot lines, directions, and misdirections seem to be coming together in a surprising way with the big reveal at the end of this issue.

Grade: B

-Rob G.

Fantastic Four #558 – Review

By Mark Millar (Writer), Bryan Hitch (Pencils and Inks), Andrew Currie (Inks), and Paul Mounts (Colors)

Anyone who doubted that the Millar/Hitch run on Fantastic Four would be top notch needs to pick up this issue simply because it will prove them wrong. I’ll admit that the last story arc was certainly entertaining, but not quite on the level of awesomeness that I was expecting it to be. But this arc certainly looks to make up for it (and it’s only on its first issue!). If you thought Doctor Doom’s presence here would be the highlight (as I did), then you thought wrong. His appearance is very brief, but it triggers the appearance of a new group of super villains (or super heroes?) which looks to give the Fantastic Four a lot of trouble. In fact, one member of the FF already seems to have fallen under the influence of a member of this group (though our hero doesn’t know that).

The story gives us several reasons to mistrust this new team of characters. Two newly recurring characters, and one long time recurring character are all acting suspiciously, and I highly doubt that they are Skrulls (unless Millar’s been messing with us this whole time and intends to tie this in with Secret Invasion). Perhaps the biggest surprise comes at the very end when we see exactly who is leading this mysterious team. I’ll give you a hint: it’s a well known Marvel character (pretty vague, yes, I know). I was completely blown away when I saw who it was, and how he/she was behaving, seeing as how his/her behavior was certainly less “extreme” than normal – and especially since this character seems to be playing an entirely different role in another ongoing right now. This surprise ending, along with the many twists and turns, had me saying “What the crap?!” as much as an episode of Lost.

Of course, we aren’t just treated with a bunch of cool plot twists. It really is all about the characters, and as I’ve said before, Millar gets these characters and his writing shows it. Amongst all these fantastic happenings we still have Sue worrying about a nanny, Reed trying to solve scientific problems, etc. Mark Millar actually shows us the “lives both ordinary and extraordinary.” To top it all off, Bryan Hitch’s artwork is as excellent as always. I love his use of weird angles that make the panel appear to fit more “stuff” than it should. And, as I think I’ve mentioned every time, I love the way he draws Sue. He gives her a very “mom-ish” look, while at the same time keeps her attractive. I can’t explain how he does it, but he should draw her more often. To anyone who hasn’t yet jumped on the Fantastic Four Millar/Hitch bandwagon: do so, now. (Grade: A-)

-M. Staples

A Second Opinion

I agree with McKenzie’s assesment of this issue wholeheartedly. This is the strongest issue of Mark Millar’s run on Fantastic Four yet. While I enjoyed the previous arc, it seemed to conclude a bit too fast for my tastes. But this issue sets up the plot beautifully and takes its time doing so. The end result is a fresh story filled with a new threat that will engross the reader from beginning to end.

When Doom appeared at the end of last issue pleading for help, I immediately had flashbacks of Fantastic Four #551 where writer Dwayne McDuffie did the same exact thing just months ago. Thankfully, the story goes in a completely different route with Doom being neutralized almost immediately and the story deviating to the new threat facing the Fantastic Four. I am truly impressed with the layers of story touched upon in this issue. Not once does it ever get bogged down with exposition or wasted dialogue – and trust me, there’s a lot of talking. Every character from Valeria’s relationship with the new nanny to The Thing’s love life is touched upon, and unlike the first issue of Millar’s run, none of this feels forced.

Bryan Hitch continues to push himself as an artist. There’s not much action in this issue, but make no mistake, there’s a good amount of it in the opening pages. When we see The Thing crash through a series of skyscrapers I just couldn’t help but laugh. Afterwards, the story quiets down considerably and this is where we get to see a different side of Hitch’s work. He does some tremendous panel work, contorting the camera and keeping the eye entertained through many domestic moments. This is a really good comic. (Grade: A-)

– J. Montes