Nightcrawler #1 – Review

By: Chris Claremont (writer), Todd Nauck (artist), Rachelle Rosenberg (color artist)

The Story: The original BAMF returns.

The Review: If the name Chris Claremont doesn’t set off bells in your head one way or the other, you probably aren’t familiar with comics history. While he’s not as well known as Stan Lee, Claremont effectively created the X-Men as we know them today. He wasn’t the first to write Jean Grey, Storm, or Wolverine, but to many his is the last word on these characters. I mean the man wrote Uncanny X-Men for sixteen years, while expanding their world into two acclaimed Marvel Graphic Novels and a pair of long-running spinoffs!

Late last year it became apparent that Claremont was still under an exclusive contract with Marvel, making his absence from their line a very strange omission. Regardless, after many months of waiting, fans can walk into their comic shop today and pick up an in-continuity X-Men title from Chris Claremont once again. But with all the legendary hype, how does this one stack up?

A large portion of this issue feels like Claremont getting his feet in a new world. Especially for a writer famous for working within his own universe, Claremont does an admirable job of plunging into the current status quo. Apparently if he can’t write the whole of X-Men anymore, he’s going to be sure that he makes it his own in this little corner. It’s a somewhat effective pairing of writer and story as Nightcrawler continues to adjust to the rather drastic changes that have occurred in his absence. You can just feel Claremont latching onto ideas that he wants to play with, like Wolverine’s new vulnerabilities.

Amazing X-Men #5 – Review

By: Jason Aaron (writer), Ed McGuinness (penciler), Dexter Vines (inker), Marte Gracia (colors)

The Story: Freely they stood who stood, and fell who fell. – John Milton, Paradise Lost Book III

The Review: This issue gets off to something of a rushed start. Jason Aaron wastes no time getting to the final battle with Azazel’s forces. And while it’s clear that he has more important things to deal with than Beast fighting nameless demons, things are a little bit of a blur until Papa Wagner shows up, himself.

Credit where it’s due, Aaron does a fine job of making Azazel into an enjoyable villain. Every here and there it’s nice to have a believably evil adversary for our heroes, one who doesn’t have to trade in shades of grey. Without that necessity, Azazel can just focus on being charmingly slimy. It’s also a great choice to focus on his disregard, perhaps contempt, for his children.

Indeed, part of what makes this story work is the way that Aaron doesn’t insist upon Azazel, letting him be more of a symbolic obstacle for Kurt than a character in his own right. That may sound dismissive, but, as I said, there’s enough charm to the devilish pirate to keep him interesting.

Wolverine #8 – Review

By Jason Aaron (script), Daniel Acuna (art), and Cory Petit (letters)

The Story: The girls get some much-needed back-up in the battle for Logan’s mind, as Dr. Nemesis and Cyclops get ready to pull the trigger.

The Review:  Celebrate!  The interminable possessed Wolverine/hell/demon stuff is over!  That alone made me enthusiastic, as this story has felt endless.  Worse still, by Jason Aaron’s standards, this arc has been “just ok,” particularly when compared to some of the ripping stuff he wrote in Weapon X.  Not only does the arc end, but it ends in a fashion that promises bloodshed and violence, as Wolverine is left very, very pissed and entirely dedicated to revenge.  Now THAT’S a Wolverine story I can get behind!

But back to this issue.  Much like the rest of these demon-related comics, while not spectacular, it’s not bad either.  Indeed, Aaron has some fun with the X-characters he brings in for cameos this month.  In particular, Dr. Nemesis and Fantomex shine with Aaron having a firm grip on both characters.  The good doctor is as much of a dick as ever, while Fantomex is his usual fun self.  It’s clear that Aaron quite likes writing these characters.

However, while humor works well here, in other places, that isn’t the case.  Given how grave this arc is, Aaron’s insertion of some comedy in the girls’ exploring the hidden corners of Logan’s mind (Emma finds his “sexual fantasies”) is jarring and terribly out of place.  Oddly paced, it feels very awkward

Though he never does or says anything earth-shattering, Aaron also does good work with Nightcrawler.  It’s a shame that Aaron’s entered the X-verse at a time where Kurt is dead, because it’s clear that Aaron not only likes the character, but has a good ear for him as well.  Aaron’s Kurt is incredibly likable and, even when he’s only in a comic for fleeting moments, it’s instantly clear why the character has the fanbase that he does.  I truly wish he was a live, if only so that Aaron could use him more.  Kurt’s really been a highlight the past couple of issues, with Aaron using the character very well.  In fact, I just wish this issue was longer so that we could see more of him.  Better still, I love how Aaron continues to suggest that while the other characters in Logan’s mind are parts of Logan, Kurt may very well be the real Kurt, back from the dead.  The ambiguity is excellent.

Wolverine: Weapon X #16 – Review

by Jason Aaron (writer), Davide Gianfelice (art), Dave McCaig (colors), and Cory Petit (letters)

The Story: Logan goes on a journey to fulfill Nightcrawler’s last wish.

What’s Good: I remember being pleasantly surprised a few issues back, when Jason Aaron’s Wolverine did a better job of welcoming Steve Rogers back to the Marvel Universe than any Avengers-related title.  Perhaps it’s not as much of a surprise now that with #16, the series’ final issue, Aaron’s Wolverine does a more touching, proper farewell for Nightcrawler than any of the X-books have managed.

Aaron, as he did with Rogers, makes his two characters’ personalities very clear, allowing their natural chemistry to tell the story and deliver the mood and message.  This is about two contrasting personalities more than anything else, and how they remained opposed, yet interlocking, through the years.  Better still, Aaron conveys a real sense of history between the two, but not in a way that requires any real awareness of actual continuity; impact isn’t determined by how many back-issues of Uncanny you’ve got stored in your longboxes.

As expected, much of the book finds itself focused on Logan and Kurt’s opposed religious beliefs.  At first, I was a bit underwhelmed by their dialogue and arguments over this subject due to the simplicity of their stances.  There’s not a lot of nuance to either character’s argument.  As I read on, though, it became obvious that this was rather the point.  Again, the issue isn’t about theology, but who Logan and Kurt are as individuals, and in this sense, their religious beliefs are only meant to represent who they are as people.  Kurt is filled with hope and optimism, while Logan is filled with a sense of doom; thus, this naturally translates to the faithful and the damned.

Similarly effective is Logan’s quest for Kurt, which sees him drag a piano up a mountain to a remote church.  This clear metaphor for the character’s burden, again reflecting on that above difference in stances, is one that’s been used very well in a great many stories, recently in Disney/Pixar’s movie Up, of all things.  There’s a reason for that, which is that it’s an effective one that carries a good deal of resonance, and that’s the case here.