Avengers Assemble #15 – Review

By: Al Ewing (Writer), Butch Guice (Penciler), Tom Palmer with Rick Magyar (Inkers), Frank D’Armata (Colorist), VC’s Clayton Cowles (Letterer)

Review: Jesus, is Age of Ultron still going on? Feels weird to think so sometimes…and I’ve been reviewing each and every issue. The thing is, it lacks a sense of importance; and some of that can be put down to the lack of tie-ins. Sure, there are many justifiable grievances held against Marvel’s usual approach to tie-in culture (gumming up the flow of our favourite series mid-run etc.) but one thing’s for sure: in the case of Secret Invasion, Siege et al, you at least felt like the events of those books were dramatically affecting the breadth of shared continuity. Not so much with AoU and the feint corona of books that illuminate it.

Hellboy: The Wild Hunt #6 – Review

by Mike Mignola (writer), Duncan Fegredo (art), Dave Stewart (colors), Gary Gianni (back-up writer & art), Alex Wald (back-up colors), and Clem Robins (letters)

The Story: A big reveal about Hellboy’s lineage is outed, as he’s given one of the biggest choices he’s ever had to make.

What’s Good: Well, let’s get the obvious out of the way: Duncan Fegredo rules and Hellboy has always been a gorgeous book. Fegredo never falters as, he’s one of the most consistent guys out there. This looks just as we’ve come to expect a Hellboy comic to look: heavy inks and distinctly blocky characters meld with pulpy atmospherics. I also particularly enjoyed the continual shots of gothic architecture and skeletons that were used to punctuate the dialogue scenes, alleviating the “talking heads” problem. The contrast between most of the book and Hellboy’s entrance to the land of Excalibur was also nothing less than beautiful. While the rest of the book is shrouded in moody darkness, that one scene is brilliant, clear, and nothing short of Elysian. It’s clear that Fegredo is a master at his trade, as is colorist Dave Stewart, who always knows how to put Hellboy’s bold red to good use.

Story-wise, the Hellboy portion of the comic is basically just one gigantic, epic reveal that takes up the entire narrative. And man, oh man what a reveal it is. Perhaps because it comes out of left field, this is sure to floor you, whether you’re a new initiate to Hellboy or a long-time devotee.

The reveal is so ridiculous that it actually works. Had this been another comic, I would’ve laughed at how unbelievable and ludicrous this turn of events was, but somehow, in the weird, continually obfuscated world of Hellboy, it is fantastic.  It’s simply so large, grand, and insane that it actually reaches epic status.  Logic, believability, and coincidence be damned. This just goes to show that in Mignola’s world, anything really is possible. While the comic really has created such an enormous suspension of disbelief for itself that I’ll not only accept the must “out there,” crazy, impossible, deus ex machina, and grandiose developments, but I’ll enjoy it all the more for its boldness.

Beyond this, it’s hard to say much about the issue without spoiling anything. Suffice to say, there’s a great action scene, Hellboy sounds like Hellboy, and the revelation of Morganna’s motivations is not to be missed (nor is her sudden change of apperance).

The back-up meanwhile, can only be described as wacky hijinks. Given the gravity of the main feature, the change of pace is fairly welcome. It certainly lightens the mood.

What’s Not So Good: Hellboy has never been a lengthy read, so the presence of the back-up can be a bit frustrating. It really is just totally out there, totally unrelated, light-hearted stuff, and I can’t think of a sane person that wouldn’t’ve just preferred an actual, full-length Hellboy story instead. The fact that this story intentionally reads like a reprint of a forgotten, decades-old horror comic doesn’t exactly justify the necessity of its place. I’m also definitely not a fan of Gianni’s art, which looks like a hybrid of a forgotten Vertigo comic and a forgotten comic strip, both at least twenty years old. It all feels really tiny, dated, and ill-defined.

Also, with the Hellboy feature, bear in mind that this issue really is just a reveal. In many ways, this, along with its shortened length thanks to the second feature, makes it feel a little lighter than a full comic-book sized story. It feels more like an imparting of new info more than a full 22-page narrative.

Conclusion: Excuse me, I’m busy collecting my jaw from the floor.

Grade: B+

-Alex Evans

Captain Britain & MI:13 #13 – Review

By Paul Cornell (Writer), Ardian Syaf w/Leonard Kirk (Pencils), Craig Yeung w/Jay Leisten (Inks), and Brian Reber (Colors)

Some Thoughts Before The Review: Paul Cornell’s Captain Britain and MI:13 series is crazy; crazy in a way that’s entertaining, fun, and downright satisfying. It’s easily one of the most underappreciated books Marvel puts out.

The Story: With the skull of Quincy Harker destroyed, Captain Britain and MI:13 scramble to figure out a way to counter Dracula’s plan. The stakes are high and, magically cut off from the rest of the world, Britain looks to be in serious trouble. Will it fall?

What’s Good: Paul Cornell definitely knows how to make the shit hit the fan! Dead heroes, nonstop action, vampire violence, a sense of hopelessness, and a scene of wooden vampire battleships flying through space… Yep, Captain Britain and MI:13 #13 jacks the insanity of the series up a few notches. And you know what? It makes for a fantastic, intense read that pulls no punches and really takes advantage of the fact that no “A” (or even “B”) list heroes star in the book.

It’s a creative success almost all around as Paul Cornell masterfully builds a sense of dread throughout the issue while the art team crafts some truly unforgettable scenes that simply couldn’t work in one of the bigger Marvel titles. I wish I could go into specifics more, but I don’t want to spoil the fun. So let me just say that, long story short, the latest Captain Britain is a must read in every way.

What’s Not So Good: I can’t help but wonder what a little more detail and polish might have done for the artwork in Captain Britain #13. The art team does a good job handling the challenging story and action, but a few scenes fall a little flat because of the lack of detail. It’s not a huge complaint, but, if anything, it definitely lessens the impact of the rather chilling final page.

Conclusion: “Vampire State” is quickly turning into one of my favorite arcs of all time. I can’t wait to see what happens next.

Grade: A-

-Kyle Posluszny

Captain Britain and MI:13 #8 – Review

By Paul Cornell (Writer), Leonard Kirk (Pencils), Michael Bair w/Jay Leisten & Craig Yeung (Inks), and Brian Reber (Colors)

Some Thoughts Before The Review: I initially gave Captain Britain and MI:13 a look because of the way it launched as a tie-in to the Secret Invasion. I fully expected to drop the book following the event because, in all honesty, my pull list was starting to get out of hand. But a funny thing happened during only a few short issues. Thanks to Paul Cornell’s writing and some imaginative, vibrant artwork, I found myself quickly drawn into the magical world of the Marvel heroes operating across the pond. Now, seven (going on eight) issues in, I can safely say that I am glad that I stuck around.

The Story: The team, currently without the help of Captain Britain, continues the fight against the demon Plotka and its army of Mindless Ones at the Cloverleaf Estate. Captain Britain, meanwhile, continues to face down his inner demons as a prisoner trapped within Plotka’s soul stealing Dream Corridor. A lot of questions get answered in this action-packed issue, most notably regarding the nature of Plotka, its army, and its ultimate goal.

What’s Good: In all honesty, I have very few complaints about this latest issue. It excels in nearly every area I take into consideration when writing a review. The twisting storyline is wonderfully bizarre and extremely refreshing thanks to the heavy emphasis on magic and the occult. In addition, the writing is laced with dry, British humor that does wonders for both the team dynamic and the overall flavor of the series. As for the artwork, the creative team perfectly compliments the story with some incredibly trippy, kinetic visuals that somehow manage to keep the nearly non-stop action manageable and, for the most part, fairly easy to digest.

What’s Not So Good: My biggest complaint is that series still hasn’t done enough to get those new to the characters (like me) enough information to get totally up to speed. I like the characters enough to keep reading, but I don’t really feel like I know them at all. For a re-launch, Captain Britain is not exactly friendly to new readers.

The other issue I have with the book is that, occasionally, it feels as though there is just way too much going on at once. The creative team does a nice job keeping everything in check for the most part, but I did find myself re-reading sections from time to time just to make sure I understood everything. It’s not a big complaint by any means, especially considering how much is going on, but I feel it’s something worth noting.

Conclusion: A fine package of storytelling, artwork, and character moments, Captain Britain and MI:13 #8 is well worth the cash. Be sure to check it out if you are looking for something from a different corner of the Marvel Universe.

Grade: B+

-Kyle Posluszny