Age of Ultron #1 Review

By: Brian Michael Bendis (Writer), Bryan Hitch (Penciler), Paul Neary (Inker), Paul Mounts (Colorist), VC’s Cory Petit (Letterer)

The Review: Bleak: that is my one-word review of Age of Ultron’s opening salvo. Not in terms of quality, but certainly in terms of tone. Sure, from the hype and the previews I knew it wasn’t going to be a Short Circuit-style Rom-Com but I didn’t know it would get so dark so fast. By the end of the issue some or all of your favourite Marvel heroes are either beaten, broken or dead, and if not they’ve apparently been compromised to the core. Not even Squirrel Girl could magic them outta this mess.

Let me first make the case that I doubt the horror and dread of the story could have been captured with anywhere near the same levels of precision by anyone other than Bryan Hitch. It’s career-defining work. There are moments of shocking violence among landscapes wrought with devastation and ruin which are portrayed with such unflinching clarity that it’s almost too big an ask to reconcile this book with the Marvel Universe proper;  if you squint, you could easily mistake this for a long-lost first draft of Ultimates 3.

X-Force #21 – Review

By Craig Kyle & Chris Yost (Writers) and Clayton Crain (Artist)

Some Thoughts Before The Review: Thanks to the Necrosha one-shot and a compelling New Mutants chapter, the latest “X” crossover has gotten off to a solid start. Can Necrosha go from being solid to being good? Time to find out.

The Story: The X-Men battle Selene’s army as she continues to raise the dead.

What’s Good: X-Force #21 is packed with all the action and formerly dead mutants you could ask for. The shit hits the fan in a big way throughout the book and, really, that’s the best thing the comic has going for it. Every few pages a new “T-O” virus mutant is revealed so longtime X-Men fans are going to get a kick out of seeing some of their favorites back in action. And since the virus Selene uses allows her slaves to, in ways, retain their personalities, Craig Kyle & Chris Yost are able to write the recently dead mutants some pretty fun (though, at times, clichéd and silly) dialogue.

While it can be argued that the fights are actually all X-Force #21 has going for it (I’ll explain why shortly), some of Clayton Crain’s artwork, in this critic’s opinion, is simply stunning. It absolutely nails the grim, bleak tone of the story and totally does justice to the vision of Craig Kyle and Chris Yost. In addition, it must be noted that Crain’s work looks the best when the artist is given a lot of space to work with. And Kyle and Yost aren’t shy about giving Crain space to work with as evidenced by the number of large and full-page scenes. One particularly impressive image that shows the Techno-Organic virus at work is particularly noteworthy and absolutely worth checking out.

What’s Not So Good: The fight scenes and returning characters that take up most of the space in X-Force #21 are easily the best part of Necrosha’s second chapter. However, there’s no way to ignore the numerous flaws in the book. The story takes a backseat to the action in such a way that it’s impossible not to notice. The dialogue is super serious at points, heavy on comic book banter at others, and totally over-the-top almost any time a “MWUAHAHAHA EVIL!!” bad guy is in a scene. In other words, the tone of the dialogue is all over the place in a way that clashes with both the story being told and the visuals. Speaking of the visuals, Clayton Crain’s work is as frustrating in X-Force #21 as it was in the Necrosha one-shot. Far too many scenes are cluttered, muddy, or impossible to figure out. While the dark colors do a nice job setting the mood and tone of the story, they are WAY too dark WAY too often.

Conclusion: The second chapter of Necrosha delivers some kick-ass action and a whole lot of mutant fan service, but not much else. If you found yourself unsatisfied or frustrated by the Necrosha one-shot, you will probably feel the same way about X-Force #21.

Grade: C

-Kyle Posluszny

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 Avengers #7 – Review

by Matt Fraction (writer), Luke Ross (pencils & inks), Rick Magyar & Mark Pennington (inks), Rain Beredo (colors), and Cory Petit (letters)

The Story: The newly formed Dark X-Men battle mutant rioters in their first field mission. Meanwhile, Emma Frost begins to have second thoughts regarding her allegiance with Norman Osborn.

What’s Good: The dialogue between Beast and Xavier continues to be a highpoint, always carrying an ominous and desperate tone. Fraction also writes a good Sentry, his dialogue really manages to convey a character who is constantly in a state of befuddlement. I also enjoyed seeing Emma in such a central role, leading her own morally ambiguous team into the field.

As always, Fraction’s now trademark captions identifying the characters are humorous, all of them being well-worth reading. Uncanny X-Men fans are no strangers to these, but unacquainted Dark Avengers readers should get a kick out of them.

Lastly, the “negotiation” between Cyclops and Norman hits the right notes. Some might find Cyclops resorting to an ultimatum to be a bit overly simple, but I felt that this very simplicity succeeded in giving Norman something that he’s not at all used to. In fact, in this Dark Reign-centred universe, Cyclops’ words are downright shocking and the reader will no doubt be as surprised as Norman. Certainly, a trainwreck is now unavoidable…

Despite being a last minute replacement for Deodato, Luke Ross gets the job done. His action scenes serve to highlight each particular Dark X-Man and he does his best in imitating Deodato’s dark conversation scenes. A special mention has to go to his depiction of Emma’s diamond skin, which is fantastic.

What’s Not So Good: Several moments just lack believability. For instance, Emma Frost joins up with Norman and is now suddenly suspicious about his abuse of mutant prisoners? Really? For such a famously intelligent character, Emma comes across as utterly naive this month, and therefore totally out of character. One would think she would be well aware of Norman’s dark deeds. I just can’t go along with Emma Frost of all people signing up with the bad guys only to just now realize that, yes, they are the bad guys.

The scuffle between the Dark Avengers and the Dark X-Men also feels completely forced, lacking any firm motivations. Since when did Bullseye give a crap about loyalty to the Avengers? Furthermore, Daken’s anger didn’t at all match Bullseye’s comments; even by Daken’s standards, his reaction here was illogical.  Fraction was clearly hellbent on having the two teams fight, motivations be damned.

In addition, Fraction’s banter during the the battle between the Dark X-Men and the rioters is also absolutely awful. Real cringe-inducing stuff here; so painful to read and horrendously written. Similarly, Cyclops’ bizarre alien jokes were also completely terrible.

The biggest letdown, though, comes with respect to the Dark X-Men themselves, who get all of one line of mid-battle banter apiece. No character development, no info regarding how/why they joined, no motivations, nothing. That is downright unacceptable, particularly when one of them is an A-list heavy-hitter like Namor (whose shocking enro;lment is still unexplained, by the way; all Namor even says this issue is “Imperius Rex” and “Silence!”).

Conclusion: Neither smart nor good, this was a big and stupid comic that made me wish for a regular issue of Dark Avengers instead.

Grade: C –

-Alex Evans

Uncanny X-Men #513 (Utopia Chapter 2) – Review

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

Some Thoughts Before The Review: The Uncanny X-Men and Dark Avengers crossover, Utopia, got off to an unremarkable start. It laid the foundation for some interesting things though, so I look forward to seeing where Matt Fraction takes the story now that most of the pieces are in place.

The Story: If the Utopia oneshot was all about setting the stage, then Uncanny X-Men #513 is all about introducing the rest of the arc’s players. As riots continue in California, Norman Osborn institutes a curfew and introduces a new team of X-Men. Lead by Emma Frost and Charles Xavier (is it really Xavier?), Cloak, Dagger, Beast (from another timeline), Namor, Daken, Weapon Omega, and Mimic makes up the team, ordered to restore peace between humans and mutants. Meanwhile, Cyclops regroups with other mutants to plan another move. As for the hospitalized Simon Trask? Let’s just say that he’s got something else up his sleeve…

Simply put, Uncanny X-Men #513 feels a whole hell of a lot like the Utopia oneshot; which is a good thing in some ways and a bad thing in other ways.

What’s Good: The solid looking second chapter of Utopia continues building momentum for what looks to be a promising crossover. While it’s too early to make any real judgments, the Dark X-Men team shows a lot of early potential. It’s made up of a few interesting, oft-ignored characters (Cloak, Dagger, Mimic, etc.) that could turn out to be the breakout stars of the crossover if Matt Fraction handles them right (he’s definitely on the right track).

Speaking of Matt Fraction, he does a nice job of juggling an extremely large cast of characters while still moving the story forward at an acceptable pace. What’s especially notable is the way that Fraction quickly and efficiently introduces the mutants that the average reader might not be instantly familiar with. Cloak, Dagger, Mimic, Weapon Omega, and Dark Beast all benefit from Fraction’s occasionally/usually annoying/clever – pick your pair note boxes.

What’s Not So Good: The biggest problem I have with Uncanny X-Men #513 is that it feels filled with stuff that probably should have been put into the Utopia oneshot. Remember all that filler I talked about in my review of the book? Well most of that filler should have been taken out in favor of using the space to do almost everything that’s done in the latest issue of Uncanny.

More time is spent introducing characters and establishing the current social climate than moving the story forward in a satisfying way. In other words, in Uncanny X-Men #513, plot threads are still being created while most remain unused. While the pacing is still acceptable, it’s also somewhat frustrating. To add on, that’s not all that’s maddening.

The visuals, while solid, are a bit of a headache at times. I’m usually a fan of Terry Dodson’s attractive art style, but it’s a poor fit for Utopia because the crossover is absolutely packed with characters. Too many faces look exactly the same, some panels are way too oversimplified, and a few scenes look a bit silly. Also, why does Venom/Dark Spider-Man look like a snake?!

Conclusion: The second chapter of Utopia feels a lot like the oneshot that introduced the crossover. So much so, that it gets the same grade, but for different reasons.

Grade: C+

-Kyle Posluszny

Fusion #2 – Review

By Dan Abnett & Andy Lanning (Writers), Tyler Kirkham (Pencils), and Sal Regla (Inks)

Some Thoughts Before The Review: Fusion #1 was a fun ’90s throwback comic. It was dated as hell, but if you just went with the crazy stuff going on, there was far more to like than hate. Plus, you really can’t go wrong with Dan Abnett and Andy Lanning.

The Story: The Avengers and Cyberforce battle it out because of the Ripclaw situation. It’s soon learned that something is linked to Ripclaw in some way and that something is now in the hands of Norman Osborn’s Thunderbolts….

What’s Good and What’s Not So Good: You can look at Fusion in one of two ways: it’s either an action-packed crossover that delivers where it matters most or a dated, tired crossover that serves as a reminder of why comics like Fusion no longer work well. That’s why it’s so difficult to write a review about Fusion #2. In fact, I’m fairly certain that the second chapter of Fusion is “review proof.” If you like it, I can totally understand why. If you hate it, I can totally understand why. It’s a great example of what made some of those “bad” comics so much fun, but also a great example of how silly and nonsensical they are. Make sense?

Now, on a technical level, Fusion #2 is surprisingly solid. Dan Abnett and Andy Lanning do a nice job of bringing out every personality that’s part of Fusion’s cast. They write a number of entertaining character moments and have come up with an interesting enough reason to throw four different teams from two different companies together for a showdown. As for the artwork, Tyler Kirkham does a fine job of handling a number of chaotic scenes, though a few panels look awkward and rather “pose” heavy.

Conclusion: If it sounds like your type of thing, then by all means pick up Fusion #2. If it sounds like your comic book version of hell, then be sure to stay far, far away.

Grade: C+

-Kyle Posluszny

Dark Avengers/Uncanny X-Men: Utopia #1

By Matt Fraction (Writer), Marc Silvestri (Pencils), Michael Broussard, Eric Basaldua, Tyler Kirkham, & Sheldon Mitchell (Pencil Assists), Joe Weems w/ Marco Galli, Eric Basaldua, Rick Basaldua, Jason Gorder, Jay Leisten, Sal Regla, Jon Sibal, and Ryan Winn (Inks), and Frank D’Armata (Colors)

The Story: A riot breaks out as the March for Humanity (led by Simon Trask and his Humanity Now! coalition) reaches San Francisco’s mutant population. The confrontation sparks a wave of violence between mutants and humans that spreads throughout the streets of San Francisco and other nearby cities. With chaos reigning, Norman Osborn sends his Avengers in to restore some order by any means necessary. There is also another plan at work, something far more sinister…

What’s Good and What’s Not So Good: The best thing about the first chapter of Utopia is its strong ending. It’s genuinely surprising and it brings to mind a number of interesting possibilities. What’s disappointing though, is how long it feels like it takes to get the ending that makes the Utopia one-shot worth reading.

While Matt Fraction does a very nice job of ramping up the tension in San Francisco and establishing a sense of scale to the mutant/ human conflict, too much of Utopia #1 feels like fluff. What Fraction establishes in over thirty pages could have easily been taken care of with less than twenty-five. Now, with that said, just because it’s padding, doesn’t mean it’s bad.

Fraction does a lot of great things with the various characters he is allowed to play with. Fluff or not, there’s no denying how well written Utopia is. The scene between Cyclops and Toad is absolutely fantastic, as is the short Hawkeye/ Bullseye appearance. The page showing how others are reacting to the San Francisco mess is also very effective in a “short, but sweet” way.

What bothers me about Fraction’s story is that it makes Cyclops look rather foolish early on. The March for Humanity had apparently been marching hundreds of miles for quite sometime before reaching San Francisco. I find it hard to believe that a character like Cyclops (or any other “X” leader) would not be on top of things regarding how to deal with Trask’s march. Yeah, I know, that complaint is a bit of a nitpick in the larger scheme of things, but after all the character rehab Cyclops has gone through…

By now you’ve probably noticed that I have yet to mention Utopia’s artwork. There’s a reason for that. You know that phrase “Too many cooks in the kitchen?” Yeah… The artwork in Utopia #1 brings that phrase to mind quite often.

Now I’ll leave the “Top Cow” style stuff for you to decide on (expect subtle scenes to look anything but subtle…poses aplenty). What I will discuss, however, is the fact that the first issue of Utopia has visuals that are, when taken as a whole, quite disappointing. For every great looking scene, there is one that serves as a terrible reminder that the art team is made up of fourteen different people. Simply put, Utopia #1 is wildly inconsistent– visually. At least the whole thing has a cohesive look to it though. It really could have been so much worse considering how many people had a hand in creating the artwork.

Conclusion: The Utopia crossover shows a lot of promise, but it takes a while to understand why. If you can deal with the occasionally rough visuals and the sense that things have been stretched out a bit, you’ll find a lot to like about the Dark Avengers/Uncanny X-Men: Utopia one-shot.

Grade: C+

-Kyle Posluszny

Cable #14 (Messiah War Chapter 4) – Review

By Duane Swierczynski (Writer) and Ariel Olivetti (Artist)

Some Thoughts Before The Review: I’ve pretty much given up on any hope that Messiah War is going to end up being a truly worthy follow-up to the fantastic Messiah Complex event. While the crossover has been entertaining enough, it lacks the sense of urgency and intensity that made Messiah Complex one of my all time favorite “X” stories. Still, I know I’ll stick with the X-Force/Cable crossover regardless of my disappointment. And that’s because I’m genuinely interested in finding out what direction Hope takes following the War being fought because of her.

The Story: Warpath is stuck in a torture device designed by Stryfe. Hope is a captive of both Bishop and Stryfe. Cable, Deadpool, and most of X-Force try to work out a plan to get inside Stryfe’s citadel. On top of all that, Archangel answers the call and confronts Apocalypse…

What’s Good: I’ve been pretty hard on Duane Swierczynski in the past. Most recently, I thought he really dropped the ball when first handed the reigns of the Messiah War crossover (for chapter two). That said, I give credit where credit is due. And credit is definitely due in this case.

In Cable #14, Swierczynski does a really nice job of ramping up the tension of a storyline that definitely needed one more push to get to the next level. He effectively uses a mix of dialogue and internal monologue to bring out the best in a number of the characters. A few scenes in particular really stand out, like Warpath’s reaction to torture, Archangel’s reunion with Apocalypse, Cable’s battle with remorse, and Bishop’s reaction to the current situation. They feature character moments or bits of information that leave me thinking that the Cable/X-Force crossover might actually be able to overcome it’s rocky start.

What’s Not So Good: Unfortunately, there are two things holding Cable #14 from earning a higher grade. One of them is the artwork by Arial Olivetti. The other has to do with how Hope is handled.

The artwork looks either far too static or, in some cases, downright silly. I understand that it can be difficult to show pain or surprise, but a few of Olivetti’s character shots are just simply hilarious. Two choking scenes are the main offenders, but Warpath’s torture scene doesn’t exactly make a great visual impact either. Sure the device looks nasty, but the results are less than spectacular. I mean it looks as though Warpath is just having a particularly nasty visit to the dentist in one panel.

The problem with Hope (outside of looking really odd) is that she is written in a way that is really inconsistent. She is either sounds too much like an adult or too much like a dumb teenager. It’s like Swierczynski sort of dances around a desirable sweet spot for the character, but never really nails it.

Conclusion: Good, but still not great. That’s the best way to describe both the issue and the crossover that it is involved in. A lot of it works, but enough of it doesn’t to keep it from earning higher than a…

Grade: B-

-Kyle Posluszny

X-Force/Cable: Messiah War One-Shot Review

By Craig Kyle & Christopher Yost (Writers) and Mike Choi & Sonia Oback (Art)

Some Thoughts Before The Review: The X-event The Messiah Complex was one of the reasons I got back into reading comics. So, needless to say, I’ve been looking forward to the sequel. That said, I’m not really sure what to expect from it, quality-wise. I really like what Craig Kyle, Christopher Yost, Mike Choi, and Sonia Oback (along with Clayton Crain) have done with X-Force. However, Duane Swierczynski and Ariel Olivetti have left me feeling fairly indifferent towards Cable. While I’ll readily agree that Cable has improved quite a bit since its rocky start, I can’t help but wonder if the crossover will maintain a level of consistency between the different creative teams.

The Story: The Messiah War kicks off with…well… mostly a summary to get readers caught up on the events that have lead to the crossover. Cyclops sends X-Force into the future to help Cable protect Hope, where they run straight into a familiar, unstable mercenary. Meanwhile, Lucas Bishop hits a bar in an attempt to persuade a returning “X” adversary to help eliminate Cable and Hope.

What’s Good: Event one-shots are something of a necessary evil. They must accomplish the rather tricky task of explaining enough about the past in order to make new readers feel welcome while at the same time advancing the story enough to satisfy longtime fans. And as far as that task is concerned, I have to consider the Messiah War one-shot to be a success. Simply put, the creative team manages to present a comic that keeps the old information from feeling stale and the new stuff from feeling too stunted. The narration and dialogue from Craig Kyle and Christopher Yost adequately sums things up by establishing what’s at stake. As for the visuals, Mike Choi and Sonia Oback do a nice job telling the story while, at times, putting forth some of the best work I’ve seen them do. Especially worth noting are the scenes featuring Deadpool, as they are almost worth the price of admission alone. Hilarious and disturbing, just like something involving the Merc with a Mouth should be.

What’s Not So Good: Despite being well handled by the creative team from both a writing standpoint and an artistic standpoint, there is no shaking the “been there, done that” feeling the first half of the one-shot gives off. It seems as though the whole section might have been better suited to being part of one of those free Saga releases so more time could be spent on advancing the War plot. In all honesty, the situation is understandable. But it still warrants a mention or else I wouldn’t be doing my job.

Conclusion: Messiah War definitely gets off to a slow start, but things pick up well enough by the time the first chapter reaches its conclusion. I look forward to seeing where things go next. Hopefully it involves more Deadpool.

Grade:  C+

-Kyle Posluszny

Guardians of the Galaxy #8 – Review

By Dan Abnett & Andy Lanning (Writers), Brad Walker (Pencils), Victor Olazaba (Inks), and Wil Quintana (Colors)

Some Thoughts Before The Review: I knew it was going to happen sooner than later, but I’m still a bit disappointed by the big War of Kings banner on top of the eighth issue of one of my favorites. You see, the Guardians are really the only cosmic characters I have any interest in (though I may check out the new Inhumans series based on the strength of the Secret Invasion story) and I have very little drive to play catch-up with the bigger picture of the space portion of the Marvel universe. Oh, well. I guess I’ll give the Secret Invasion: War of Kings one-shot coming out on Wednesday a read and use that (along with GotG #8) to evaluate whether it will be worth investing in the latest cosmic crossover.

The Story: Star-Lord goes to Hala to evaluate and investigate how the Kree have responded to the Skrull invasion. He ends up trading barbs and fists with Ronan the Accuser, a fight that leads to the predicament seen at the end of the last issue. Meanwhile, the “new” Guardians continue to battle the Badoon and Adam Warlock takes the fight to the Church of Universal Truth with the help of Gamora.

What’s Good: I have to hand it to Dan Abnett and Andy Lanning for really drawing me into the bigger events at play in a corner of the Marvel U. that I am less than familiar with. While I have no investment in (and little knowledge of) the Kree, Blastaar, or the aftermath of either Annihilation event, the efficient, witty dialogue quickly got me up to speed. No small feat considering we’re talking about years of continuity. Also good about Guardians of the Galaxy #8 is the quality artwork and enjoyable characters (but you probably already knew that).

What’s Not So Good: The only thing that took away from my overall enjoyment of the issue (besides some gaps in my knowledge of continuity) is the artwork. While it looks great for the most part, it also looks a bit different from what I am used to. The characters just don’t look as lively or vibrant as they do when drawn by Paul Pelletier and inked by Rick Magyar.

Conclusion: High marks all around for the first GotG tie-in for the War of Kings, especially considering how I initially approached the issue with quite a bit of hesitation. Now, in addition to looking forward to more of the usual Guardians goodness, I find myself more interested in the cosmic War than I had ever thought possible. Not sure if my wallet is particularly happy about that fact…

Grade: B

-Kyle Posluszny

Hack/Slash #17 – Review

By Barry Keating (Story), Tim Seeley (Story & Script), Emily Stone (Art), and Mark Englert (Colors)

Some Thoughts Before The Review: While I have enjoyed the Hack/Slash crossover with the Re-Animator for the most part, I can’t help but be slightly disappointed by how Herbert West continues to feel like more of a plot device than a distinct guest star. I give credit to Barry Keating and Tim Seeley for making West’s appearance feel right at home within the overarching plot of the series. However, the last two issues have left me wanting more interaction between Cassie Hack and Dr. West. That said, if the ending of last issue is any indication, the conclusion should deliver what I’ve wanted since I first heard about the crossover arc.

The Story: The re-animation of Cassie’s mother means the return of the Lunch Lady. With her emotions cranked up to eleven as a result of the re-agent used on her by Dr. West, the Lunch Lady picks up right where she left off in an effort to regain her former appearance. Cassie, Vlad, and Dr. West are the only ones that can stop her before more victims are added to her “stew.”

What’s Good: Despite my qualms with the way this crossover was used, the violent, character-driven conclusion is actually quite satisfying. It’s tough not to feel for Cassie after seeing how things play out. Also, I must once again mention how well Tim Seeley writes Dr. Herbert West, as it comes extremely close to bringing Jeffrey Combs’ iconic performance to the page. It definitely leaves me wanting more.

What’s Not So Good: Visually, Hack/Slash #17 is average at its very best. While there are a few good looking moments and some particularly nice panel layout near the end, the book just seems to lack any sort of polish whatsoever. The characters look inconsistent, some of the pencil work looks downright sloppy, and the coloring makes everything look muddy. Disappointing in every way.

Conclusion: If you can ignore some of the glaring artwork issues, you are sure to find a lot to like here if you are a fan of Hack/Slash or The Re-Animator. While not everything that I hoped for, the conclusion definitely makes up for the arc’s slow start.

Grade: C+

-Kyle Posluszny

Broken Trinity #3 – Review

By Ron Marz (Writer), Stjepan Sejic (Art), and Phil Hester (Art)

Some Thoughts Before The Review: In a market crowded by event books, I have found myself pleasantly surprised by Top Cow’s Broken Trinity crossover. It has proven that an epic, satisfying crossover event can be told in under six months and without dozens of tie-ins. That said, after reading Broken Trinity #2, I couldn’t help but feel that the story would have been better told in four parts as opposed to three. Everything about chapter two felt rushed, so I come into the “fatal conclusion” with my expectations a bit lower than they were, following the excellent Broken Trinity #1.

The Story: As it says on the cover, Broken Trinity #3 is all about bringing the Top Cow crossover to a “fatal conclusion.” The stakes have never been higher as the Witchblade bearer, the Darkness host, the Angelus, and the two new artifact bearers (Finn and Glori) battle it out in New York City. And for those of you wondering, the story actually makes good on the tagline’s promise, as a major player in the Top Cow universe is killed in this issue.

What’s Good: Broken Trinity #3 delivers in pretty much every way; especially with an action-packed conclusion to a crossover event. The artwork by Stjepan Sejic and Phil Hester is extremely impressive throughout the book and at times, simply stunning. It adds a weight and intensity to Ron Marz’s epic clash of powers. As for the story, it proves to be both a fitting conclusion and an interesting launching point for the future of the Top Cow universe.

What’s Not So Good: The nagging feeling that the event should have one more chapter never truly went away while reading it’s conclusion. There is a ton of information crammed in between all the fighting, and I can’t help but feel it could have been introduced in another way. Also, it is worth mentioning that it is clear which scenes gained the lion’s share of the artistic attention, an unfortunate trend in Stjepan Sejic’s work. That said, I can nearly forgive that complaint entirely, since even at its worst, the art is quite a bit more visually pleasing than almost anything else on the stands.

Conclusion: Consider this a must read if you have any interest at all in the future of the Top Cow universe. The battle is epic, the conclusion is indeed fatal, and the future is shown to be loaded with potential.

Grade: B+

-Kyle Posluszny

X-Men: Original Sin #1 – Review

By Daniel Way (Writer), Mike Deodato (Art), and Rain Beredo (Colors) and Mike Carey (Writer), Scot Eaton (Pencils), Andrew Hennessy (Inks), and Jason Keith (Colors)

The Story: This one-shot serves to get readers up to speed on what’s been happening in both X-Men: Legacy and Wolverine: Origins, the two books involved in the much-hyped Original Sin crossover event. Wolverine, searching for Professor X, calls in a favor from an old acquaintance to provide shelter for his amnesiac son, Daken. What little peace Daken finds is quickly shattered by the appearance of the “Sebastian Shaw controlled” Miss Sinister. Meanwhile, Wolverine confronts Charles Xavier in order to “convince” him to help repair Daken’s mind.

What’s Good: Quite a lot actually, especially for something that mainly serves as a foundation. I was only slightly interested in the crossover prior to reading this one-shot, but it definitely looks to be something worth following. The writing by Daniel Way and Mike Carey flows together smoothly, the artwork in both chapters is fantastic, and at five parts, the whole thing will require a minimal investment. Also, it’s worth mentioning that the story is extremely easy to pick up on whether you’re a new reader or someone like me who only follows one of the X-books (X-Men: Legacy).

What’s Not So Good: The fact that this story seems to be for a specific audience despite the easy-to-follow introduction. I honestly can’t imagine this hooking too many new readers as many suffer from Wolverine fatigue as it is. In addition, while it has been said that this crossover will have an effect on the X-Men as a whole, I don’t really see how this can fit into the larger scheme of things as it stands at the moment. This looks to be an entertaining, self-contained story that doesn’t need to be shoehorned into the larger picture unless it can fit comfortably.

I also have to add that I think Daken looks ridiculous (outside of his cool looking claws), and Miss Sinister seems to offer little more than sex-appeal. They are decent enough as character concepts, but this book does little to show why I should care about either.

Conclusion: This visually attractive, high quality one-shot does everything it needs to do in order to get readers interested in the Original Sin crossover. While nothing groundbreaking, it provides the necessary background and enough hooks to grab those willing to check it out. Definitely worth a look for “X” fans or those already picking up either X: Men: Legacy or Wolverine: Origins.

Grade: B

-Kyle Posluszny

Broken Trinity #2 – Review

By Ron Marz (Writer), Stjepan Sejic (Art), and Phil Hester (Art)

First, a quick note. Now that I’ve read the first two chapters of Top Cow’s Broken Trinity crossover, I find myself absolutely baffled as to why the story is being limited to three main books and two tie-ins (one of which is a prequel and another that remains a mystery). The event feels and looks every bit the epic as advertised and yet it all comes to a conclusion next issue without nearly enough plot development to flesh out the story. Another book or two would do wonders for adding more depth to what looks to be an epic confrontation between the powers of the Top Cow universe. Why is this being cut so short?

Structure complaints aside, not a lot really happens in Broken Trinity #2. The characters and powers all come together in preparation for a clash that will take place next month. Yep, it’s a set up issue. While there is some great character work between Sara and Jackie and some more background on the nature of the conflict at hand, I never felt that things were really moving forward in a way that actually developed the story. That said, I came looking for a visually awesome battle and I honestly believe that Broken Trinity is going to deliver that in a big way… it just doesn’t happen in this issue.

Technically, the issue is quite solid. Ron Marz does some nice character work, but falls a bit short in plot development. He obviously has a strong handle on the characters, but it feels as though he really doesn’t have much planned beyond throwing all these powers together and having them fight it out. There’s no doubt that he really couldn’t have picked a better art team to work with. Stjepan Sejic and Phil Hester make Broken Trinity one of the most visually compelling events in quite some time. My only complaint is the (usual) noticeable drop in quality during minor scenes.

I’d be lying if I said I wasn’t let down by Broken Trinity #2, but I also find myself really looking forward to the conclusion of the event. Here’s to hoping that it delivers the action it seems to promise. (Grade: C)

-Kyle Posluszny