Fantastic Four #8 – Review

By: James Robinson (Writer), Leonard Kirk (Penciller), Scott Hanna (Inker), Jesus Aburtov (Color Artist), VC’s Clayton Cowles (Letterer)

The Story:
Reed and Sue find Eureka on Eden, Lake Michigan; Johnny is no longer an American Idol; Valeria and Franklin think Dragon Man is Almost Human; and Ben will find out if Orange is the New Black.

The Review:
Things seem to be finally moving into place, which is an odd thing to say of course because the “place” is “rock bottom” for our heroes. I’ve criticized some of this narrative in the past since the moving process itself has often felt ham-fisted and maybe even illogical, all for the purpose of forcing characters and plot to go where the narrative dictated.

Such as in this issue. The Thing needs to be arrested, so he is. What’s not clear is exactly how he was apprehended. It’s reported that Reed found the Thing over the body of the Puppet Master and was “compelled to relay to SHIELD,” which I suppose also means they both just waited around for SHIELD to show up (in silence, because they aren’t speaking to one another) and didn’t look for clues or try to solve anything on their own.

Because it’s all just set up for what is supposed to really be important: the Thing’s reaction to his predicament so we can return to motifs where he feels monstrous. It’s disappointing that it’s a tired trop, but at least the silent resignation of Ben is reinforced with some nicely expressive art, including heavy shadows and mopey posture, and a nicely positioned final splash page where Ben is dwarfed by the prisons of actual monsters in the “Power House” wing at Ryker’s. I do wish, however, that some of the heavy-hitters were recognizable, but they just look like generic hulking aliens in jelly tubes.

Fantastic Four #7 – Review

By: James Robinson (Writer), Leonard Kirk (Penciller), Karl Kessel with Rich Magyar (Inker), Dean Haspiel and Nolan Woodard (Flashback Section Artists), Jesus Aburtov (Color Artist), VC’s Clayton Cowles (Letterer)

The Story: What the Thing didn’t know might just kill someone else.

The Review: There is again two distinct sections of this comic, the flashback and its fall-out, each with its very distinct artistic style. Last issue had some compartmentalization, too, and this one suffers from the same feeling, but to a lesser extent. While certainly a deliberate choice and something that enhances the story being told, the reading experience itself seems to suffer, as it does feel somewhat “slight” as a comic. This could be seen as only 18 pages of story, counting double-page spreads as one “page,” which is increasingly my experience when reading on a tablet. That’s 8 pages of flashback versus 10 pages of fall-out. The modern readers’ paradox– it makes for a dramatic and exciting story, but it makes for an unsatisfying and swallow reading experience.

What is interesting is that two parts, while containing vastly different art styles, are actually transitioned quite well. The flashback starts with bright colors, dynamic shapes and layouts, then descends into darkness and muted colors, complete with rain from automatic sprinklers. The present time continues the darkness and shadows, although the rain is not quite as prominent as last issue.

The “original sin” at play is Reed and Johnny’s cover-up of a failed attempt to “cure” the Thing. Now, the drama only works if, in fact, this cure actually WOULD have worked, and to be fair to Johnny, we only have Reed’s assurances that it will. Frankly, that’s the only thing we have every other time this is attempted, and those ended in failure every time, too. Still, if we assume that this really would have been the time it worked, it is a tragedy, but moreso because everyone really deals with it in their own exaggerated way, such as Reed’s ownership of the problem that masks his pomposity, and Johnny’s carefree attitude that enables his irresponsibility.

Fantastic Four #6 – Review

By: James Robinson (Writer), Leonard Kirk (Penciller), Karl Kessel (Inker), Jesus Aburtov and Veronica Gandini (Color Artists), Dean Haspiel & Nolan Woodard (Flashback Artists), VC’s Clayton Cowles (Letterer)

The Story:
Susan yells at the Avengers, the kids yell at Hammond, and Ben yells at Johnny.

The Review:
This issue is broken down into four distinct and linear chapters. The first is the Fantastic Four facing the Avengers (six pages), the Future Foundation facing Hammond (one page), the Thing facing against the Human Torch (three pages), and a flashback that details the memory of why Ben is confronting Johnny (six pages.) (Yes, this is counting double-page spreads as one page, which is kind of how things read nowadays on a tablet reader.)

Unfortunately, this kind of compartmentalization, exasperated by having the last compartment in an entirely different artistic style, fragments any kind of momentum for the story. This issue marks six months since the new relaunch, and it seems like the characters are still merely being pushed around, a long-form positioning so they can fit the kind of story Robinson wants to tell, which I hope will be soon. But let’s forgo a meta-textual critique and leave Robinson’s name out of it. Looking at the in-text narrative, it’s still apparent that all the forces coming down on the characters are coming from outside themselves. The FF’s troubles are coming from the courtroom (which is still not clear if that was a government action or civil suit, which nonetheless results in government action in-between panels), the Avengers are representing said courtroom’s interest, the Camp Hammond kids are complaining about things they overhear other people talking about as well as what other people will be doing to Dragon Man, and the Thing is reacting to a new memory given to him from the Original Sin crossover plot point, in which Reed and Johnny did something to him that we will have to wait until next issue to see.

Yes, there are some moments of clear characterization as these people react to what’s put upon them, most notably Invisible Woman with her cry of “won’t somebody think of the children” in a double-page spread of impressive display of power. But the ultimately what’s happening is that, for at least the second issue in a row, the Four are completely without agency in their own comic with no hint that this will be resolved soon.

Fantastic Four #5 – Review

By: James Robinson (Writer), Leonard Kirk (Pencil Artist), Jay Leisten and Rick Magyar (Inkers), Jesus Aburtov (Color Artist), VC’s Clayton Cowles (Letterer); Guest Artists include: Chris Samnee, Matt Wilson, Dean Haspiel, Jim Charalampidis, Paul Rivoche, Felix Serrano, Phil Jiminez, Rachelle Rosenberg, Mike Allred, Laura Allred, Jim Starlin, Andy Smith, Nolan Woodard, Jerry Ordway, Derlis Santacruz, Israel Silva, June Brigman, Roy Richardson, Vero Gandini

The Story:
Mr. Toliver wants the truth, and the truth cannot be handled.

The Review:
If the previous issue was a wall-to-wall action spectacular, this issue provides a distinct contrast as a wall-to-wall courtroom drama with talking heads and splash page cut scenes.

As I said in other reviews, it’s interesting that the themes Robinson is exploring seem reminiscent of early Marvel comics, where the Fantastic Four was an integral part of the fictional New York around them, even when such public spotlight hurt them as much as helped them. As early as the second issue, way back in 1963, the Fantastic Four had to deal with a world whose public opinion could sway immediately against them. In fact, such “hates and fears them” themes are quintessentially a feature of Marvel comics, all the way through Civil War (2007) and recent issues of Captain America and Uncanny X-Men. Here, opinion has swayed decidedly into the “Anti-” camp, appropriately bringing the Four down another notch in the story arc titled “The Fall of the Fantastic Four.”

Yet, even if I can understand this plot direction on a rational level (“I can see the lawyer’s point, even if it is fallacious!”) and on an emotional level (there is genuine pathos in the collateral damage described by the lawyer) and on a meta-historical level (seriously, where was a debate this poignant in the pages of Civil War?), I personally don’t find it satisfying. There’s a certain suspension of disbelief that I engage in when reading superhero stories, and part of that suspension is to hand-wave away some of the implications of “reality” of such a world. Here, Robinson is holding our heads into it, not only so we can’t turn away but so that it also dictates the direction of the plot and tone. That’s uncomfortable as a reader, and that discomfort can be a turn-off just as much as it can be dramatically engaging. Like looking at a slow-motion and potentially deadly car crash– should I continue staring or look away?

This is an oversized issue, with many guest artists providing the flashbacks and cut scenes as the courtroom builds their case against the Four. The splash-page is a somewhat lost art (pun intended) in comics nowadays, which usually default to trying to be storyboards rather than single page of pure artistic expression. Even here, some artists really try to be more symbolic than representational, while others depict a fairly straightforward, descriptive scene or montage. The most artistic, in that sense, would be the Starlin/Smith/Woodard page of Blastaar and Annihilus, with Samnee/Wilson providing the more scene-by-scene examples, and the others somewhere in between. Santacruz/Silva and Brigman/Richardson/Gandini provide story pages rather than flashback/splashes, but the art remains pretty generic and sometimes vaguely distorted/out of proportion. Santacruz, in particular, decidedly fails the What-Age-is-Valeria? Test.

Fantastic Four #4 – Review

By: James Robinson (Writer), Leonard Kirk (Penciller), Karl Kessel and Jay Leisten (Inkers), Jesus Arburtov (Color Artist), VC’s Clayton Cowles (Letterer)

The Story:
Firstly, the Frightful Four and Fantastic Four fight, in furious and four-color fullness; Subsequently, S.H.I.E.L.D. serves a summons for a civil suit.

The Review:
My criticism regarding issue #3 detailed its somewhat formless and needlessly multiple plot threads. Thankfully, that criticism is completely absent here, as the comic focuses on one central moment, a massive slugfest between two powerful teams, and its collateral damage, the most serious of which is S.H.I.E.L.D. threatening the Fantastic Four with a lawsuit.

And what a massive slugfest it is. This comic is full of spectacle, with several blows from villains and heroes, toppling buildings and civilian rescuing, and all the cracking energy, speed lines, smoke you’d need to create an intense, high-stakes tone with participation from all the players on both sides of the battle. One particularly effective moment is the choice of small panels to set up the page-turn reveal of the “second string” FF, complete with a dramatic panel and color palette change for emphasis. (Unfortunately, the size relationships among the characters in that panel ruin the dramatic moment, as more context or a more extreme camera angle might be needed to help Ant-Man’s giant-size “read” better.)

It’s more than just a good fight scene, as care is taken to render facial expressions and relationships, too. When the comic’s subplots show up here, it’s in context of the main storyline/battle, so whether it’s Johnny’s frustration or Sue’s desire to protect her family, or even the Wizard’s gloating or Bulldozer’s determination, the characterization flows through the action thanks to the artistic expression.

Fantastic Four #2 – Review

by James Robinson (Writer), Leonard Kirk, Karl Kesel (Artists), Jesus Aburtov (Colorist)

The Story: It seems the nineties are back to kill the whole Marvel universe, as crazy bugs brings darkness with them to Manhattan.

The Review: It must be hard to write the Fantastic Four. With a history that is simply rich with creativity and some impossibly talented creators bringing a great deal to the team, anyone writing them will have a colossal and threatening presence looming over them. Jack Kirby, John Byrne, Mark Waid and Jonathan Hickman all had their turn at bringing a very deep sense of fun, but also adventure to those beloved characters as they balanced nostalgia with innovation. Anyone coming after them has the challenge to do just the same in order to contribute to these almost historical personalities that opened up the Marvel universe itself.

With an opening issue that was decent, does James Robinson show that he has the very potential to carve himself a name as one of the famed writers of legend, or does he merely stumble as his story continue this month?

It’s a bit too early to answer in a conclusive manner, but one thing that is certain is that Robinson really does try here, with something a bit different. With an issue with a bit more darkness and more action than a more regular and classical Fantastic Four tale of old, there is certainly an attempt here at innovation, which works yet not completely.

Fantastic Four #1 – Review

by James Robinson (Writer), Leonard Kirk, Karl Kesel (Artists), Jesus Aburtov (Colorist)

The Story: The beginning of dire events are retold to us as Marvel’s first family stand unaware of what will eventually happen to them.

The Review: I have a fondness for the Fantastic Four. Being the very first team that actually opened up the Marvel universe, the way they functioned and operated was a barrel of fun, with some huge name like Jack Kirby, John Byrne, Walter Simonson, Mark Waid and Jonathan Hickman portraying their adventures. With a penchant for adventures fueled by a heavy dose of imagination and exploration, this team has turned plenty of cynics into fans thanks to a good dose of nostalgia and evolution which makes them still relevant in this day and age despite the fact that they are more than fifty years old.

However, not all the tenures on the title have been particularly good. For some, the tenure of Matt Fraction, Dwayne McDuffie, Mark Millar and others haven’t been of great quality, which makes this latest volume somewhat of a mystery. With James Robinson being a writer that is usually good with older concepts while also having a good deal of missteps in the past few years. Does the hit-and-miss writer succeed or fail when handling those treasured characters?

In many ways, it is a bit too early to tell when looking at the merits and the less-successful moments found in this opening issue. Going for a perhaps darker approach with this usually brighter team, Robinson shows a certain willingness to innovate and goes in a different direction. It is, however, a mixed success due to many factors.

Cataclysm #0.1 – Review

by Joshua Hale Fialkov (Writer), Mico Suayan, Mirco Pierfederici, Leonard Kirk (Artists), Nolan Woodard (Colorist)

The Story: Getting a load of knowledge about what is happening in the universe, the Vision see the need to stop Galactus by herself.

The Review: After the somewhat disappointing Hunger mini-series, the announcement of an event named Cataclysm: The Last Stand of the Ultimates is currently sending a lot of rumors about the imminent cancellation of the Ultimate line of titles. While Marvel is currently being coy about what this event might lead to, it is dead set on telling this story about the regular Marvel universe (616 for the fans) Galactus stuck in the Ultimate universe. There are plenty of opportunities for rather interesting comparisons along with some good stories being told here, but does Joshua Hale Fialkov bring in a strong entry with this prologue issue?

Bringing in his stronger side, the one that was behind I, Vampire rather than the one behind Hunger, Fialkov is able to not only introduce the finer points of the inevitable conflict, yet also draws some interesting comparison between the regular and the Ultimate universe in the process. Telling a complete story all the while, this issue succeeds far more in taking advantage of the setting and the newer elements than what preceded it.

One of the first noticeable element that is better is the lead character, the female version of Vision that had been introduced in the Ultimate Galactus Trilogy. With her being properly introduced in terms of personality, with her conflict against her more logical and emotional side being evolving during the comic as part of the narrative, she succeeds in being a part of the story without making it all focus around her. She is central, as is her point-of-view, yet she is merely an instrument to the plot, which is then seasoned by how she envision things and how she evaluate her own development. With her development being complete in the 20 pages of this comic, Vision works rather well as the protagonist here as the ominous presence of Galactus dwell.

Hunger #4 – Review

by Joshua Hale Fialkov (Writer), Leonard Kirk (Artist), Jesus Aburtov (Colorist)

The Story: Rick Jones is ready to finally fulfill his destiny as he brings the fight to Galactus.

The Review: With the rumored death of the Ultimate universe looming around, not many expected this mini-series to close with Galactus being defeated. The announcement of Cataclysm: Last stand of the Ultimates cementing that fact, many could potentially wonder what exactly was the point of this mini-series in the larger context of the Ultimate universe. With mini-series having the necessity to be quicker at getting to the point, this issue had the need to show readers how things would end with Rick Jones and his destiny.

As it turns out, it’s a pretty disappointing read, as Joshua Hale Fialkov rushes to his climax and to the conclusion too quickly. There are some nice moments here and there in the confrontation, yet it seems that the final result of this whole story is hand-waved as many of the more interesting elements aren’t even focused upon.

Hunger #3 – Review

by Joshua Hale Fialkov (Writer), Leonard Kirk (Artist), Jesus Aburtov (Colorist)

The Story: Mahr-Vell arrives on the scene as Rick Jones doubts himself even more. Meanwhile, Galactus hungers.

The Review: It has been a while since we have seen the latest issue of this series, has it not? With the fate of the cosmic side of the Ultimate universe in the balance, the latest issue tried to show the threat that the merging of Gah Lak Tus with the regular one as Rick Jones generally whines about his role in the story. While there were some weaker aspects to the story, it was still a generally enjoyable one nonetheless. Does this issue continue this trend or does it shows a better handle on some of its elements?

It’s a strange thing to say, but it maintains the very same strengths and weaknesses, albeit what’s good get better, yet the disappointing aspects also get worse. The elements that actually worked through the story were the cosmic ones, as the presence of Galactus actually felt like a catastrophe in space. The way the Kree acts and the explanation for what Gah Lak Tus actually is do make the comic a bit more heavy on the drama and the action as a result, which does help in selling the actual point of this mini-series.

What also worked is the general approach toward the catastrophe and how it affects some of the key players, like the Silver Surfer and Mahr-Vell, who comes off as rather good point-of-view characters in this issue, bringing in some interesting questions, exposition and action for the readers to enjoy.

Hunger #2 – Review

Joshua Hale Fialkov (Writer), Leonard Kirk (Artist), Jesus Aburtov (Colorist)

The Story: A different surfer arrives to see just who the mighty Galactus might be as the Kree and Chitauri reacts to his presence.

The Review: Mini-series have a rather hard job to do. In a limited amount of pages, they must show a whole story, complete with character arcs, exposition, explanation of the setting and so on in order to create a satisfying experience for the readers. It may not sound so differently from the regular ongoing that needs to do just that as well, yet the much smaller amount of issues do tend to make it so the creative team need to use each pages smartly by preserving a good pacing.

Hunger is one of those, but one that need to make its point in four issues, with this one being the second one, meaning that the story reached its middle point by the issue’s end. While the basic premise of Galactus being in the Ultimate universe is something that is rather silly, yet ingenuous, does it work in creating a story that is both entertaining and that fulfill a purpose?

Hunger #1 – Review

Joshua Hale Fialkov (Writer), Leonard Kirk (Artist) Jesus Aburtov (Colorist)

The Story: Rick Jones is warned multiple time that a huge and devastating event will soon happen. Cue Galactus.

The Review: If I have a certain sub-genre of comics I really love in comics, it would be the space-opera/ sci-fi vibe that some stories like Annihilation and Infinity Gauntlet possessed. The big scales, the problems, the conflict and how the players need to resolve some problems that are way beyond their capacities can lead to great stories. However, this genre is not always well-presented in comics, as many tries to mimic it, only to fail without reaching the height of those cosmic stories. Does Hunger, so far, relate to the former or to the latter?

Judging from the first issue, I’d say we have a big chance that it will be the former, as Joshua Hale Fialkov seems able to deliver on some very key front in terms of cosmic stories, the first of which being the scale. As we see the Chitauri–Kree war develop and how the animosity between those two races develop, we also see the Ultimate answer to Galactus, Gah Lak Tus, the Watcher, the infinite depth of space and more, all being led up toward the arrival of Jack Kirby’s creation himself. The pacing and the exploration of all these elements is done rather well, letting the readers escalate throughout the rapid flow of information and exposition. Fialkov let us know that the cosmic background of the Ultimate universe is different, as he shows it aptly throughout the issue.

How he does so, however, is quite befitting, as our protagonist, Rick Jones, is presented quite well too. His balance between cosmically aware, yet his utter humanity and his younger years do help us readers absorb the information, either by humor or by juxtaposing our own questions throughout his voice. However, the character isn’t exactly perfect either, as his utter cluelessness about his predicament do lead us to question why he has such powers, something that isn’t helped at all by the vague explanation provided by the Watcher. A good character he may be, his role as our window toward what is happening is a bit less effective due to a certain repetition of his lack of knowledge.

X-Factor #236 – Review

Written by Peter David, Art by Leonard Kirk, colors by Matt Milla

The Story: Shatterstar in a fight that is more awesome than anything he’s been in for the last ten years. Awesome.

The Review: (This won’t take long) I read, through Peter David’s twitter feed, a review that called this issue a “return to form” for the series. That is a fallacy—to me, they must not have been reading the same series I have for the last 5 years. This is not a return to form. This issue of X-Factor is simply has more awesome than the standard amount of awesome that Peter David always brings us. The only times I’ve ever really felt that X-Factor wasn’t a top notch series was when they assigned a subpar artist to the series. I can’t remember the artist, but it went through an “amorphous blob” phase that couldn’t end too quickly. But thankfully, those issues are not present here at all. In fact, Once the fight kicks in, you become very appreciative of Kirk’s art. I always feel bad describing an artist to other artists, but Kirk’s art is like the marriage of Dodson and Deadato, and, continuing with the point of this review, it’s awesome. I love that the more brutal the fight gets, the more skewed the panels are. Never to the extent of what Deadato does, but if it were, it would be too much like another artist and not Kirk’s own thing. In fact, the fight is so well drawn and written that it’s not until after Scattershot reveals who he is and who he’s working for that you realize you didn’t even need to know that—but now that you do, it’s even more awesome! David answers questions you didn’t even know you were supposed to be asking.

Sigil #1 – Review

By: Mike Carey (writer), Leonard Kirk (pencils), Ed Tadeo (inks), Guru eFX (colors), Rob Steen (letters), Sebastian Girner (assistant editor) & Nick Lowe (senior editor)

The Story: Troubled teenage girl with odd birthmark keeps having very vivid dreams where she is whisked away to another reality featuring pirates.

What’s Good: First, a caveat; I read a grand total of ZERO issues of any CrossGen titles when they were first coming out, so I have no experience with the previous Sigil series and am wholly reviewing this as a new reader.

If you follow the sales trends for comics, you’ve no doubt heard the refrain that the comic publishers need to do something to “grow the market”.  Somehow we’ve got to get more people buying comics!  But, the trick is that you don’t grow the market by just offering up a 6th ongoing X-Men title that will appeal to the hardcore X-Men fans.  It would help to bring in people from outside the “normal” comic demographic, and to do that the publishers are going to have to create some stories that aren’t about superheroes.

With that thought in mind, Marvel deserves some credit for relaunching Sigil in this sales environment.  It probably won’t sell all that well (Avengers and Batman aren’t even selling all that well right now), but they need to experiment with tossing some “other” types of stories out there as miniseries and see what might be able to get some traction.

I really enjoyed Sigil.  It tells a very straightforward story of a girl named Sam Rey.  She’s a high school kid whose mother has died and her dad appears to be doing the best he can for her, but life doesn’t seem to be easy.  She’s not popular at school, struggling in some of her classes and getting picked on by the bullies.  But, through all of this, she keeps getting whisked “away” in kinds of lucid dreams where she sees a world of pirates who may have some connection to her dead mother.  I was very intrigued by the story on a few fronts.  For one thing, I’m an unabashed fan of teenage-girl-growing-up stories.  You can just tell that this is going to have some of the vibe that makes me enjoy stories like Batgirl or Morning Glories.  For another, any man with a daughter is probably going to feel a connection with this title just because it shows a father who seems like a real dude.  He’s not an alcoholic, or abusive, or so consumed with his work that he has no time for his daughter. He’s just a normal dad doing the best he can under trying circumstances.

Finally, I’m just intrigued to see what happens with the story.  Anytime you read a new first issue (a TRUE first issue, not the Wolverine #1 of the month), you have to ask, “Do I want to see how this turns out?”  And, in this case I do.  I want to see what the nature of the magical power that is summoning Sam between worlds and I want to know how this connects with her mother.

The art is quite good.  It seems a little on the side of photorealistic, but in a good way.  I’d compare it to the months when Salvador Larroca is doing his good work and it isn’t “Greg Land bad stuff” by any stretch.  It just looks like the artist has uses photographs to inform him about what certain facial expressions look like and that’s a great thing.  It tells the story very effectively and that’s the most important thing.

New Mutants #17 – Review

by, Zeb Wells (writer) Leonard Kirk (penciller)

The Story: Just as Cannonball and Moonstar share an intimate moment, Magik shows up with a call to arms, dragging the team to Limbo to rescue kidnapped X-Man, Pixie.  Then they get their asses kicked.

What’s Good: Wells has done a superb job keeping this title engaging and entertaining, and the reason he’s so successful is because he puts character first.  Not only do each of the cast members make realistic and believable decisions, but their personalities completely jibe with what has come before in previous stories by other creators.  Any other title would suffer from starring not one but three ‘back from the dead’ characters (Warlock, Magik & Cypher, in case you’re lacking a scorecard), mainly in the likelihood of annoying long-time fans with their presence.  But just as the likes of Ed Brubaker or Joss Whedon have done with characters like Bucky and Colossus, Wells has silenced most if not all of those naysayers by writing them with respect for who they are and how they’ve acted in the past.  As a result, this series feels like a natural extension of the New Mutants’ lives and not just a retread of older stories (or an affront to them).  This issue continues with that feeling, especially concerning the scene with Dani and Sam kissing.  Some might disagree, but this feels like an organic direction that their relationship would travel in, and I’m curious where it might take them and how it will affect the team dynamic.  There are plenty of other great moments in this issue that reiterate the strength of the script, from Warlock’s continued self-doubt to Illyana’s no-nonsense demeanor to the confrontation with the grown-up Inferno babies at the climax.  Wells is delivering solid issue after solid issue and is quietly making this the most dependable X-Title on the stands every month.

New Mutants #15 – Review

By: Zeb Wells (writer), Leonard Kirk (art), Guru eFX (colors) & Joe Caramanga (letters)

The Story: The epic, decades long saga of Dean’s attempt to get into the New Mutants begins anew.  If he dies while reading this issue, how long until he comes back?  Seriously, in the fallout from Second Coming, the New Mutants take a little vacation, but (of course) trouble isn’t far away.

What’s Good: The best news is that I liked this issue enough to keep picking it up.  I have a decades long bad history with the baby-X-Men titles.  I get annoyed by the feeling that I’m missing something when proper X-books reference the New Mutants, yet every time I try to pick up the series, I find that I don’t care about the characters (don’t even know who they are half of the time) and really don’t care about whatever it is that they are doing.  And they often have mediocre writing and art!

So, I was pleasantly relieved when I finished this issue and enjoyed it.  The story line is very much a carryover from Second Coming (both the regular series and the Hellbound tie-in) that shows the New Mutants taking some time off to depressurize and dissect what may or may not have gone wrong during Second Coming.  I like how the X-creators are setting Cannonball up as Cyclops, Jr. and seeing him struggle with the responsibility and with the realization that being the leader is often lonely. And if he keeps kissing Dani, he’ll get hit with a sexual harassment complaint.

Dark X-Men #1 – Review

by Paul Cornell & Duane Swierczynski (writers), Leonard Kirk & Steve Dillon (art)

The Story: From the ashes of this summer’s Avengers/X-Men Utopia extravaganza,  Norman Osborn’s own Dark X-Men rise.  The government-sanctioned team of mutant ne’er-do-wells are called to investigate a strange occurrence in California that leads to the resurrection of Nate Grey, X-Man!

What’s Good: Leonard Kirk needs to be put onto another ongoing series as soon as possible.  His artwork on the much-missed Captain Britain and MI:13 series was always solidly entertaining and the man knows how to tell a story clearly while still creating a beautiful looking comic.  His pencils on this premiere issue of Dark X-Men are no different.  In spite of my general disinterest with the plot, I found myself turning the pages readily due to Kirk’s solid storytelling.  The artist does an admirable job depicting what every character is feeling, especially Mimic.  The struggle and depression is evident in his body language and facial expressions, such that I was never left with any doubt about the character’s emotional state throughout.  As I was flipping through the pages preparing for this review, it struck me how similar Kirk’s clean linework is to New Avengers artist Stuart Immonen, yet another solid artist who’s work can also go unappreciated at times.  It’s disappointing when you think about it, but when a creator consistently plugs along, producing steadily good output month in and month out, most readers take them for granted.  If there’s anything to be appreciative of in this title, it’s certainly Leonard Kirk.

On a side note, Kirk also draws quite the pretty “Jean Grey”.  He almost made me miss having her around, until I remembered that the best stories she’s ever been in were the ones where she died.  Oh well.

The back-up story by Swierczynski and Dillon is satisfactory, if not anywhere near groundbreaking.  We’ve seen the tale of the gruff teacher who is shown to be silently proud of his student before, but the writer ably manages to imbue some personality into the story.  Steve Dillon’s pencils play a big part here as well.  He captures Hope’s frustration with her mentor perfectly, which really sells what Swierczynski’s trying to convey.

What’s Not So Good: Nostalgia isn’t always good for you.

I was a big fan of the X-Man title back during the late 1990’s.  The character of Nate Grey, while little more than a Cable What If…?, really struck a chord with me when I was much younger and filled with a lot more angst.  Maybe it was the always-tragic “dead by 21” schtick or the outsider among outsiders vibe the kid had going on, but I was sold.  Even as it dropped progressively lower and lower on the readability scale, I was always at the comic shop for the next issue of that series.  So when I heard that the character was making his long-delayed return in this miniseries, I of course picked it up.  Regrettably, I found myself recalling the past in more ways than one after finishing Dark X-Men #1.  While I was happy to read about Nate Grey again (well, for a page or two), I’m not as forgiving of spending my hard-earned cash on an uninteresting comic to do so.

With the sound and fury of Matt Fraction’s Utopia event over and done with, writer Paul Cornell is left with four characters that aren’t very riveting apart, much less together.  Events at the conclusion of the story-line that birthed them saw basically every one of the more interesting members of the team, such as Namor, the Cloak and Dagger duo, and Daken, exit to (mostly) greener pastures.  Cornell is stuck with the likes of Mystique, Dark Beast, Mimic and (the artist formerly known as Weapon) Omega.  While Cornell certainly gives the script his all, I never found myself caring one way or the other about what was happening.  I’m well aware that these characters aren’t called “Dark” for no reason, and as such aren’t meant to be easily sympathized with, but when I’m not even inspired to want to see what any of the lead characters do next, the writing’s on the wall.

Conclusion: Regardless of the return of a favorite of mine to the Marvel Universe, this issue fell flat for me.  Annoying and bland characters plus a premise that I’ve already seen ad nauseam in other Dark Reign titles equals a complete misfire.  Buy it for the Leonard Kirk and Steve Dillon artwork.  Otherwise, skip it.

Grade: D

-Joe Lopez

 

Dark X-Men: The Beginning #3 – Review

Some Thoughts Before The Review: While it’s been far from spectacular, I actually think I’ve enjoyed the Dark X-Men mini-series more than I’ve enjoyed the Utopia main event so far.

“Hidden Depths”

By Paul Cornell (Writer), Leonard Kirk (Pencils), and Brian Reber (Colors)

The Story: Allowed in, Emma Frost travels through Namor’s subconscious looking for answers to some of her questions.

What’s Good And What’s Not So Good: On a technical level, “Hidden Depths” is one of the best stories to be featured in Dark X-Men: The Beginning. Paul Cornell’s sharp script really captures the complex dynamics that exist between Frost and Namor in regards to both their relationship and mutantkind. The artwork by Leonard Kirk and Brian Reber is appropriately surreal and does an excellent job of making the most of a cool story setting. From the twisted mutants to the incredible memory collage, the work by Kirk and Reber proves to be surprisingly memorable.

The problem I have with “Hidden Depths” is that it seems to conflict a bit with what was revealed in Dark Avengers #8. It’s obvious Emma and Namor are on the same page in that book, but there’s absolutely no sense of that they truly are (where it matters – I’m trying to avoid spoiling anything here) in the mini-series story. Some mention of the ultimate plan would have been quite welcome.

“Get Mystique (Slight Return)”

By Jason Aaron (Writer), Jock (Art), and Dave Stewart (Colors)

The Story: “Get Mystique” serves as an epilogue to Jason Aaron’s excellent Wolverine arc of the same name.

What’s Good And What’s Not So Good: “Get Mystique” is quite possibly, one of my all time favorite Wolverine stories. So, needless to say, I’m quite pleased to see Jason Aaron back to clean up the only real loose end of that arc. As expected, Aaron effortlessly delivers one badass Mystique and a great Norman Osborn. Aaron’s dialogue is top-notch and makes “Get Mystique” one hell of a fun read. On the visual side, Jock’s gritty artwork could not possibly be more fitting. Stylish, violent, and (I hate to use the word again, but I have to) badass, it makes one hell of an impression. I can’t wait to see what Jock does when he’s given a full arc to work with.  Also worth mentioning is how much Dave Stewart’s color work adds to what Jock does. It makes Jock’s work dark and moody, yet strikingly vivid.

“The One Who Got Away”

By Simon Spurrier (Writer), Paul Davidson (Art), and Rain Beredo (Colors)

The Story: Jeanne-Marie Beaubier (A.K.A. Aurora) adapts to Norman Osborn’s tactics in an unusual way.

What’s Good And What’s Not So Good: Since everyone knows the Dark X-Men lineup by now, the effect of Simon Spurrier’s story doesn’t really make any sort of impact as far as Osborn’s team is concerned. That said, Spurrier definitely makes the most of what he has to deal with. Aurora’s unique psychological state is used quite effectively and her confrontation with Osborn is far more fun than one might expect. As for the artwork, Paul Davidson’s visuals are a bit problematic. While it tells the story well, the character work is inconsistent as can be. Osborn looks different in almost every panel, Aurora’s body proportions are all over the place, and some panels just look downright strange.

Conclusion: Dark X-Men: The Beginning #3 isn’t flawless, but the best of the mini-series was definitely saved for last. I recommend checking it out if you’re looking for some short, cool stories.

Grade: B

-Kyle Posluszny

Dark X-Men: The Beginning #2 (Utopia) – Review

Some Thoughts Before The Review: I picked up the first Dark X-Men: The Beginning book because I liked the characters that were featured. Time to find out if The Beginning can hold out without the likes of Namor, Dark Beast, or Mimic…

“The Last Temptation of Cloak and Dagger”

By Paul Cornell (Writer), Leonard Kirk (Pencils), and Brian Reber (Colors)

What’s Good and What’s Not So Good: Paul Cornell’s story about Cloak and Dagger is about as basic an “offer” story as you can get. Norman Osborn approaches Cloak and Dagger about joining the Dark X-Men and as expected, Cloak and Dagger really don’t have much of a choice in the matter. Cornell’s dialogue is pretty strong (he writes a great Osborn) and Leonard Kirk’s art certainly gets the job done, but that’s really all there is to say about “The Last Temptation of Cloak and Dagger.”

“Weapon Omega”

By Marc Bernardin & Adam Freeman (Writers), Michael Lacombe (Art), and John Rauch (Colors)

What’s Good and What’s Not So Good: The story about Norman Osborn’s plan to get Weapon Omega on board with the Dark X-Men is rather clever, visually solid, and well-written. Marc Bernardin and Adam Freeman do a nice job of explaining what Michael Pointer’s deal is and why he is the type of person he is today. In addition, Bernardin and Freeman manage to add an extra layer of slime of Osborn’s character. That’s no easy task with all the Osborn over-exposure going on.

“I Am Daken”

By Rob Willaims (Writer), Paco Diaz (Pencils), Guillermo Ortega (Inks), and Edgar Delgado (Colors)

What’s Good and What’s Not So Good: Before I say anything about “I Am Daken,” I have to ask: Is there anyone who truly likes Daken or thinks he’s a good idea for a character? Isn’t one Wolverine (that appears in at least one book almost every week) enough? Ok, with that out of the way, time for me to say a few things about Daken’s story.

Surprisingly, “I Am Daken” is the best of the three stories featured in Dark X-Men: The Beginning #2. That’s really not saying a whole lot, but there’s no denying that Daken’s conversation with Norman Osborn is sharply written and that the artwork by Paco Diaz is pretty slick (though I’m not sure I like how Osborn looks). If I have any complaint, it’s that the brief action scene comes across as a bit disjointed and somewhat unnecessary.

Conclusion: I enjoyed the first Dark X-Men: The Beginning book quite a bit more than the second. That said, the second is worth checking out if you’re a fan of the characters. If you aren’t a fan, then by all means skip Dark X-Men: The Beginning #2, since there’s nothing in the book that absolutely must be read in order to get more out of the Utopia storyline.

Grade: C

-Kyle Posluszny

Captain Britain and MI:13 #15 – Review

By Paul Cornell (Writer), Leonard Kirk (Pencils), Jay Leisten (Inks), and Brian Reber (Colors)

Some Thoughts Before The Review: Here’s to hoping that Paul Cornell ends Captain Britain on one hell of a high note.

The Story: Pete Wisdom watches his grand plan unfold while he shares a tender moment with his new lady friend. Needless to say, Dracula’s day goes from bad to much, much worse…

What’s Good: You know what’s the best thing about the final issue of Captain Britain and MI:13? It’s that it’s all about superheroes being superheroes. In addition, they are being superheroes in a way that brings some resembling closure to a series that should never have been canceled. In short, it’s pretty much everything I could have asked for. The action is nearly non-stop, the character work is as strong as ever, the dry humor is spot on, and the conclusion leaves the door open for Cornell to work with the team in the future if given the opportunity.

I really don’t want to go into much detail for fear of spoiling anything, but you can rest assured that Paul Cornell and his team make the most of Captain Britain and MI:13 #15. From the incredibly well-written opening with Pete Wisdom, to the chaos that takes place on Dracula’s ship, it’s clear that the creative team is firing on all cylinders. And you know what? That’s the way it should be.

What’s Not So Good: My only complaint is that occasionally the action becomes hard to follow. Does it hurt the quality of the book as a whole? Not really. There is a LOT going on and in all honesty, I’m shocked Leonard Kirk and the rest of the art team are able to keep it in check as well as they do.

Conclusion: The finale of Captain Britain and MI:13 does the series justice. If you’re a fan, there is a whole lot to like about Captain Britain and MI:13 #15.

Grade: A-

-Kyle Posluszny

Dark X-Men: The Beginning #1 (Utopia) – Review

Some Thoughts Before The Review: I’m always a bit hesitant to pick up story collections like Dark X-Men: The Beginning because they tend to be rather hit-or-miss. That said, I couldn’t possibly pass up a Namor story by the Captain Britain team.

“Namor/Norman”

By Paul Cornell (Writer), Leonard Kirk (Pencils), Jay Leisten (Inks), and Brian Reber (Colors)

What’s Good and What’s Not So Good: Little more than a tense standoff/exchange of words between Norman Osborn and Namor about Namor’s recent actions, “Namor/Norman” still manages to make an impact thanks to Paul Cornell’s strong knack for personality-driven dialogue and Leonard Kirk’s always reliable pencil work. What’s disappointing about “Namor/Norman” is that it really doesn’t amount to a whole lot beyond being an interesting character study. Now I’m all about character studies, but Cornell’s story left me wanting more…anything really. Thankfully, the “To be continued” lets me know that “more” is on the way.

“Mimic”

By James Asmus (Writer), Jesse Delperdang (Pencils & Inks), Andy Lanning (Inks), and Rain Beredo (Colors)

What’s Good and What’s Not So Good: James Asmus’ compelling Mimic story is basically the comic equivalent to a movie montage. That’s both a good thing and a bad thing. The montage style is a good thing because it means that “Mimic” is a great introduction to a troubled character that has been thrust back into the spotlight. It’s also a bad thing because it means that “Mimic” is a fast read that ends just as it begins to gain some real momentum. Now, with the good and bad out of the way, I can say that “Mimic” ultimately manages to avoid feeling like a wasted effort thanks to the art team’s impressive handling of Asmus’ (rather weighty) dialogue.

“Dark Beast”

By Shane McCarthy (Writer), Ibraim Roberson (Artist), and Matt Milla (Colors)

What’s Good and What’s Not So Good: I’ve always found the alternate Beast to be a cool character. He’s generic, sure, but he’s also quite interesting and a great addition to the Dark X-Men lineup. Shane McCarthy’s “Dark Beast” is a prime example of why I found the other Beast to be worth reading about. It works as both a nice introduction to the character and as a way to move some of the Dark X-Men story forward in regards to the secret project Fraction has been writing about. The only downside to “Dark Beast” is that it’s artwork looks a bit odd. Matt Milla’s color work sets a strong tone, but Ibraim Roberson’s Norman Osborn looks quite fat and his Beast goes from looking downright awesome to silly depending on the panel. It leaves “Dark Beast” looking visually inconsistent.

Conclusion: Dark X-Men: The Beginning #1 is worth picking up if you’re a fan of what Emma’s team of X-Men has to offer. All three stories read well, two out of three look quite good, and one, Paul Cornell’s, brings Namor’s special kind of awesome in a big way.  The problem though is that nothing of consequence happens.  If you can handle that and character studies, you’ll probably find a lot to like in this book.

Grade (As a whole): C+

-Kyle Posluszny

Captain Britain & MI:13 #14 – Review

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

Some Thoughts Before The Review: With only two issues of Captain Britain left, I hope Cornell and his team really make them count… The under-appreciated series deserves to go out with a bang.

The Story: Unfortunately, I really can’t go into much detail about the issue without wading into heavy spoiler territory.

What’s Good and What’s Not So Good: Since I really can’t say a whole lot about Captain Britain and MI:13 #14 without ruining things, I will keep things short. Paul Cornell overcomes what is initially a disappointing opening with some great character work, awesome dry humor, and clever use of a past arc to bring make the latest chapter of “Vampire State” a very good read. As for the art, it’s absolutely solid all around as Leonard Kirk and his team do a fine job of delivering action that could easily come across as muddled or confusing.  While some of the artwork looks a bit rushed, there’s enough good stuff to make up for it.

Conclusion: You can rest assure that the creative team behind Captain Britain is in no way half-assing the final issues of a tragically canceled series.

Grade: B+

-Kyle Posluszny

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 #12 – Review

By Paul Cornell (Writer), Leonard Kirk (Pencils), Jay Leisten (Inks), and Brian Reber (Colors)

Some Thoughts Before The Review: A story about Dracula attempting to take over Great Britain could easily come across as silly unless the tension and drama manages to set the tone both early and often. Fortunately, Paul Cornell is aware of that fact. He proves it by using the story to both raise the stakes of his series as a whole and create opportunities to add more depth to his already compelling cast.

The Story: Captive under the power of Dracula, Spitfire is escorted around the vampire base by her son. She learns some things about Dracula’s grand plan and the preparations that he has made in order to carry it out. Meanwhile, Captain Britain and the rest of the MI:13 team try to find “the head” that may help them combat Drac’s plans.

What’s Good: Simply put, Paul Cornell is writing one hell of a vampire story. It puts the dense mythology about Dracula and his minions to very good use. In addition, the distinctly British flavor of Cornell’s writing keeps things from becoming too serious thanks to a healthy dose of dry humor and clever wit. As for the artwork, Leonard Kirk and his team continues to make sure Captain Britain is as much fun to look at as it is to read. The action hits hard, most of the vampire-related imagery is downright haunting, and each panel is filled with an impressive amount of detail.

What’s Not So Good: My only real complaint about Captain Britain and MI:13 #12 is that a few scenes come across as visually confusing. Either the action is a bit to cluttered or the perspective used for the scene makes things look a bit off. While it is a minor complaint (and some may not find it distracting), I figured it was still worth a mention.

Conclusion: I really can’t recommend Captain Britain enough. The writing is damn near perfect, the artwork is always pleasing, and the stories are a brilliant mix of insane and intelligent. It’s just good stuff all around.

Grade:  B+

-Kyle Posluszny

Captain Britain and MI:13 #9 – Review

By Paul Cornell (Writer), Leonard Kirk & Mike Collins (Pencils), Jay Leisten & Cam Smith (Inks), and Brian Reber & Rain Beredo (Colors)

Some Thoughts Before The Review: When I picked up the debut of Captain Britain and MI:13 during the Secret Invasion, I never expected it to become a favorite of mine. But nows, I find myself eagerly awaiting each new issue. The latest, the conclusion to the insanely chaotic Plotka storyline, is no exception. It’s a shame that the numbers for the series are so slow, because it absolutely deserves the attention of nearly every comic fan. It’s that good.

The Story: With the majority of the team stuck in one part of Plotka’s dream corridor thanks to Captain Midlands’ betrayal and Captain Britain still trying to find a way out of another part, things look grim for pretty much everybody. But Pete Wisdom has a plan, as does the person studying the trapped Mindless One outside of Cloverfield Estate. Soon the tides are turned and the team goes on the offensive.

What’s Good: Simply all the factors that make this title wildly imaginative. That’s the only way to describe the conclusion of the latest Captain Britain and MI:13 arc. Despite all the crazy magic, chaotic action, and elements of the occult, Paul Cornell and his art team somehow manage to keep everything in line long enough to wrap up one hell of an entertaining story that also plant the seeds for what promises to be another. In short, if you’ve liked what the series has offered so far, you won’t be disappointed what it offers this time around.

What’s Not So Good: There is one “elephant in the room” element regarding the latest Captain Britain arc that has nagged at me from the start. And guess what? It nagged at me a whole lot more while reading Captain Britain and MI:13 #9. Basically the whole thing is so filled with action and chaos that it rarely stops to take a breath long enough to really work through and explain what’s actually happening. Sure it’s a lot of fun to read and look at, but I just can’t help but wish I had a better grasp on the storyline as a whole. It made sense well enough, but I just can’t shake the feeling I missed out on a few things here and there.

Conclusion: Despite being almost overwhelming at times, the latest issue of Captain Britain is loaded with high-quality, high-concept entertainment. And, while it isn’t the greatest jump-on point if you haven’t checked the series out yet, it’s strong enough to make hunting down back issues a worthwhile endeavor. Consider it highly recommended.

Grade: B+

-Kyle Posluszny