Avengers World #3 – Review

by Jonathan Hickman, Nick Spencer (Writers), Stefano Caselli (Artist), Frank Martin, Antonio Fabela, Edgar Delgado (Colorists)

The Story: It’s Shang-Chi versus Gorgon atop a flying dragon. How much more kung-fu can you get?

The Review: I love martial arts. To be a bit more precise, I love martial arts as depicted in fiction, with their choreography, their effects, the slow-motions and all the hyperbole related to the genre. It might be unrealistic, it might even be a bit of an insult to true masters of physical prowess and perfection, but there’s no denying the fact that as far as visuals go, it can be very entertaining.

Few comics these days actually try to represent the genre at its very core. Even some titles published years before like The Immortal Iron Fist did not solely focus on this particular element, yet shone when they did present it at its best. However, this issue seems like a homage to older Bruce Lee movies, yet one that possess a definite super heroic vibe that makes things even bigger. However, does all this kung-fu action manage to make this issue enjoyable or does it end up only as a mess?

For what it tries to bring to readers, this issue is definitely one of the more enjoyable in the short tenure of this series. Focusing solely on Shang-Chi and his battle against Gorgon, the leader of the Hand and its many deadly ninjas, this issue brings a boatload of action in the best of ways. There is an inherent exaggeration of some regular tropes, yet played in a very serious light that makes this definitely entertaining as far as depiction of violence is done.

Hawkeye #4 – Review

By: Matt Fraction (story), Javier Pulido (art), Matt Hollingsworth (colors), and Chris Eliopoulos (letters)

The Story:  There’s a tape out there of Clint doing some very bad things for SHIELD and someone has put it up for auction.

The Review:  Matt Fraction is a pretty divisive writer among the online comics intelligentsia, particularly since Fear Itself.  He’s not at Bendis-levels yet, but he’s getting there.  Of course, the problem for those with a firm distaste for Fraction is that Hawkeye has been an excellent comic book.  So what to do?  After all, Matt Fraction can’t write a good Marvel comic!  The explanation was simple:  the book was only good thanks to David Aja’s efforts.  Everything that made this book a good one could be attributed to Aja.

Well, bad news folks; David Aja is out of the picture this month and you know what?  This book still rocks.

Spider-Woman #3 – Review

by Brian Michael Bendis (writer), Alex Maleev (art), and Cory Petit (letters)

The Story: Madame Hydra attempts to recruit Jessica once again.

What’s Good: Madame Hydra/Viper is certainly great fun to read and works as an excellent foil to Jessica.  If Bendis hopes to use her as the arch-nemesis of the series, it certainly wouldn’t be a bad idea.  The chemistry is definitely there.  Viper’s voice is well-done by Bendis, a good mix of slimy, conniving villainy and rampant sociopathy.  It’s also clear that in the midst of her intelligence, a few screws are loose.  Several times I felt as though Viper’s dialogue wasn’t quite in-synch with her conversational context and surroundings.  It’s very subtle, but it definitely adds a nice tone to the character.

Overall, what this issue does is muddy the waters.  Jessica Drew hunting skrulls for SWORD is apparently, while fun, just too damned simple for a Spider-Woman comic.  Rather, the possibility of her working as a double agent returns and at the end of the issue in particular, her ethical limits will be tested.  Long-term, this issue looks to make things more interesting.

I also enjoyed the internal monologue quite a deal this month.  The repetitive self-pity and excessive quips of self-loathing that I’ve complained about in past are completely gone.  Instead, Jessica’s snarkiness has been raised, making her far more likable.

On art, Alex Maleev is still putting out an amazing looking comic.  His rendition of Madame Hydra looks almost as good as Jessica Drew, and that’s saying a lot.  It’s refreshing that for once, Jessica doesn’t stand head and shoulders above all the other characters.  Maleev’s drawings of the comic’s urban surroundings are also absolutely fantastic.  His scenery shots nicely break up what would otherwise have been a comic entirely of talking heads.

What’s Not So Good: Unfortunately, that doesn’t change the fact that barring one quick helicopter chase, this entire comic is essentially one long conversation.  That doesn’t make for the most thrilling reading, nor does it feel like particularly brisk storytelling.

Also, while I did say that I liked Jessica’s skrull-hunting occupation being made a little more complex, I am wondering if everything’s happening just a little too soon.  She’s only hunted down one skrull, and already she’s being approached by HYDRA?  She just became an Agent of SWORD, and it already feels as though Bendis was running out of ideas on the simpler skrull-hunting front, so decided to move onto the next thing.

It’s a shame too that older Spider-Woman continuity is already being brought in to play a major part.  I guess I thought this book was going to be a fresher start for the character than it is and I can’t help feeling a bit disappointed.

Finally, this isn’t Maleev’s strongest work either.  While the book is by no means bad looking, Maleev definitely goes overboard when it comes to re-using the same images over and over.  This is fine when it’s used for dramatic purpose or pause, but it’s clear that the only motivation here was cutting corners and saving time.  Changing the size or placement of a face does not mean that it’s a different image, and it’s thoroughly unacceptable on an ethical level.  I bought a comic to see illustrating, not copy/pasting.

Conclusion: I’ve really enjoyed Spider-Woman thus far, but this is issue is feels a little phoned in.

Grade: C+

-Alex Evans

 

Spider-Woman #2 – Review

by Brian Michael Bendis (writer), Alex Maleev (art), and Cory Petit (letters)

The Story: Jessica Drew finds herself in a Madripoor prison and that’s never good.

What’s Good: As always, the first thing you’ll notice is the art.  Maleev’s art once again looks amazing and unlike anything else on the market.  As always, the modeled Jessica Drew stands alongside grimy, blurred surroundings and Maleev continues to work his magic when it comes to the bright lights, whether it be Jessica’s powers or the red tail-lights of a car.  This month brings some light anime influence into his already multi-faceted work, as Maleev draws a flying car that looks like something out of Ghost in the Shell.  Maleev also works a great deal with shadows and darkness this month, really capturing the mood and feel of the issue and the bowels of Madripoor.  The panel structures also continue to have a highly personal feel, from completely black panels reflecting Jessica’s coming to consciousness, to pages being structured around her face.

Everything continues to feel highly personal, as it did last month.  The narration remains highly self-conscious. Thankfully, the irritating little asides of self-loathing that troubled me last month have been scaled back.  Instead, we get the kind of thrilling chase sequence that Bendis and Maleev perfected in their Daredevil days, an action sequence that is pure art.

The book’s greatest narrative achievement, however, is how it deals with Jessica’s somewhat uncomfortable chemical powers related to men.  I’ve always felt that this power was problematic, always verging on some uncomfortable gender grounds.  Objectification, titillation, and the clichéd femme fatale are only a hair’s-breadth away.  Though Bendis almost falls into those waters at the start (the cleavage shot wasn’t necessary), he ends up succeeding in a very difficult area, and it’s all thanks to that internal narration.  Through it, the power becomes awkward and loathed by Jessica herself, as she hates herself for turning herself into that two-dimensional stereotype.  The power is also given a new kind of resonance: there is a genuine connection somewhere between Jessica and every man she cons, and that it’s artificial and forced is tragic, almost like a kind of rape.

What’s Not So Good: The art is nowhere near the level of last month’s issue.   Don’t get me wrong, it’s still excellent, flawless work, but it didn’t have the pyrotechnics of last month.  The work here is much more restrained and much darker.  While it reflects the book’s mood, after last month’s career-defining performance, it’s hard not to feel let down.  The highlighting of particular colors is gone, the larger images are gone, and the use of weather is gone.  It just feels like there’s a lot less going on and everything is taken down a level.

Also, while the self-loathing asides were scaled back, the little references to Secret Invasion and her being tortured by the skrulls were pretty damned grating.  Thankfully it vanished in the book’s second half, but whenever Jessica talks about how bad she’s had it or how this is nothing compared to her past, it’s nails on a chalkboard.  It’s just pure telling when we can just as easily have the showing and it’s beating us over the head with what we already know about her.

Conclusion: It didn’t feel quite as fresh or jaw-dropping as last month, but that’s more to do with how good last month was.  And hey, the price is dropped down to $2.99!

Grade: B

-Alex Evans

Spider-Woman #1 – Review

by Brian Michael Bendis (writer), Alex Maleev (art), and Cory Petit (letters)

The Story: Jessica Drew gets recruited by S.W.O.R.D., heading to Madripoor for her first mission to find a Super-Skrull.

What’s Good: In my opinion, this is some of Maleev’s best work.  It’s just gorgeous, gorgeous stuff, sporting photorealistic detail not only in the photo-referenced Jessica Drew, but also in the often very intricate backgrounds.  Even faraway buildings are laden with little windows and cracks.  However, Maleev’s work here is not just that of a detail workaholic; there’s also a tremendous sense of a style here, an odd blend of gritty film noir and dark superhero science fiction unafraid to getting a little creative or abstract.

Maleev also shows outstanding shading and use of color.  He often illuminates an environment by making certain items stand out, such as in a simply gorgeous scene involving Jessica’s yellow umbrella.  He also makes use of his colors and shading to give the best sense of lighting that I’ve seen in a comic in a long time.  A dark room is cloudy and mysterious.  A rainy day is murky and noirish, but oddly romantic.  A night in Madripoor is dense and seedy.  A sunset on the water in southeast Asia is autumnal glory.  The weather and lighting of every scene dramatically changes how the comic looks.  Only enhancing this are Jessica’s powers, which add a weird, sci-fi glow into the mix.

Maleev makes the choice to use a model for Jessica, but it’s a total success, with Jessica coming off as completely natural.  Her looking so life-like actually made me connect with her more.  While not referencing the other characters makes Jessica stand out, it’s appropriate, as this book is about Jessica, front and centre in her isolation.

So far, Bendis is also doing his job well.  It’s clear that he’s in love with this character, and he establishes quickly a very unique, recognizable, and nuanced voice, weighed with a ton of baggage but not without a rye sense of humor that smacks of his work on “Powers.”  This comic mostly works on establishing that voice, and it’s mostly a success; I can say Jessica has a voice all her own and that after this issue, I feel like I’ve gotten to know her a little better.  It’s a very close, intimate comic book, at times claustrophic in its introspection.

When Bendis focuses on her paranoia and her obsessive-compulsive habits, she is at her most human. When she comments on the dirtiness of her hotel bed, she’s instantly likable, almost a friend.  Abigail Brand is also a promising character that I look forward to seeing more of, acting as a more wisened, “been there before,” guide figure.

What’s Not So Good: This comic is a real downer.  In fact, it may be the biggest downer Marvel’s putting out right now.  That’s not a bad thing at all, but Bendis is walking a fine line here with Jessica’s self-loathing.  Her considering suicide was one of the high-points of the book, but I could do without some of the throwaway, snide little remarks within the narration.  I get that Jessica hates herself, but a little more subtlety could’ve been exercised.  Does she really need to use every available opportunity within her narration to throw a little jab or insult against herself?  Towards the end of the book, in Madripoor, it began to feel a little much, bordering on contrived.

Conclusion:  An artistic master-piece with deeply introspective writing.  This is the definition of promising.

Grade: B+

-Alex Evans

Spider-Woman: Agent of S.W.O.R.D. #3 – Review

By Brian Michael Bendis (Script) and Alex Maleev (Art) w/ voice work by Nicolette Reed (Spider-Woman/Jessica Drew/Madame Hydra), Patrick Bosold (Philli Natu), Andrew Edlin (Detective Wang), David J. Murphy (Paladin), and Anthony MacKenzie (Detective Chong)

Some Thoughts Before The Review: While the motion-comic format definitely has a number of positives, I can’t help but feel that, at times, Spider-Woman: Agent of S.W.O.R.D. is being held back a bit because of it.

The Story: Jessica Drew confronts Madame Hydra’s Skrull captive, Philli Nutu. Not long after, she soon finds herself back in a Madripoor prison with an opportunity to get back her gear…

The Script: There certainly isn’t anything wrong with Brian Michael Bendis’ script, but something about it just doesn’t really do it for me. The dialogue and storytelling is solid (and the ending is pretty cool), but I think the reason the script leaves me wanting more is because, three issues in, it still feels as though Bendis is working to establish both the main character and the Spider-Woman series as a whole. Now I’m assuming that Bendis’ approach will work perfectly fine once the story catches up in print, but it leaves the motion-comic feeling as though it’s moving forward at a fairly plodding pace With only six motion-comic episodes scheduled (from what I understand), the pacing is starting to dampen my enthusiasm for the format a bit. It seems as though it makes a slow arc feel like an even slower arc.

The Artwork: A few scenes look a bit too dark at times, but as a whole, Spider-Woman: Agent of S.W.O.R.D. is another fantastic looking motion-comic. Alex Maleev’s artwork is a perfect fit and does an excellent job of capturing both the tone of the series and the mindset of Jessica Drew. Artistically, I really couldn’t ask for a whole lot more.

The Voice Acting: Nicolette Reed is really starting to sound comfortable as Jessica Drew. I think Reed is a nice fit for the character and her voice work in episode three is the best it’s been. Also, I really like the fact that Reed seems to have toned down her take on Madame Hydra a bit. Hydra no longer sounds like a cartoon villain and it makes it easier to take the character seriously.

The supporting cast gets the job done. Nothing more, nothing less. That said, if I had to single anyone out I would have to say that I wish Patrick Bosold’s Skrull voice was a bit more alien.

The Motion-Comic Effect: Thankfully, the motion effects are much better than they were in the second episode. In fact, I can safely say that nothing really sticks out in a negative way. The brutal fight scene is really effective, Drew’s vibrant pheromone powers help bring a more passive ability to life, and the more computer generated stuff fits with Maleev’s artwork in a much more natural way.

Conclusion: Spider-Woman: Agent of S.W.O.R.D. is an entertaining chapter of a solid opening arc for a series, but I can’t help but feel that Marvel might have been better off launching with the Astonishing X-Men motion-comic instead.

Grade: C

-Kyle Posluszny

Spider-Woman: Agent of S.W.O.R.D. #2 (Motion Comic) – Review

By Brian Michael Bendis (Script) and Alex Maleev (Art) w/ voice work by Nicolette Reed (Spider-Woman/Jessica Drew/Madame Hydra) and Anthony MacKenzie (Detective Chong)

Some Thoughts Before The Review: I enjoyed the first Spider-Woman motion comic quite a bit. It was easily worth the cheap asking price, especially considering that it was something that actually felt pretty new.

The Story: Jessica Drew wakes up in a Madripoor prison and, after using one of her powers to secure a way out, she finds herself being rescued by Madame Hydra.

The Script: While Bendis’ script definitely scores points for effectively giving the new series a distinct tone and cool twists, it gets bogged down by the fact that it feels almost too friendly to new readers (well, viewers in this case). Because Jessica Drew’s recent (New Avengers, Secret Invasion, etc.) past has been pretty screwy, I understand the need to get people caught up on her powers and all that. That said, I’m fairly certain that those interested in Agent of S.W.O.R.D. already have a pretty good grasp on the character. Therefore, the script for the second Spider-Woman motion comic isn’t as satisfying as it could be because it largely feels as though the storytelling is still firmly in the “exposition” phase. Sure there’s some action and the plot (which seems to be covering some familiar territory) goes forward, but it’s hard to shake the feeling that everything is moving forward at a slightly slower pace than it should be.

The Artwork: Alex Maleev’s art is fantastic and really one of the big reasons to check out the whole motion comic thing. Gritty, violent, and perfect for the way the story is being told, I really don’t have any real complaints. Seeing his work in action is rather impressive and adds a lot to the overall presentation of Jessica Drew’s story.

The Voice Acting: Once again, the voice acting in Spider-Woman is uneven. While Nicolette Reed handles Jessica Drew well, her Madame Hydra nearly comes across as a mustache twirling cartoon villain. While that would totally work for a comic with a less gritty, serious tone, it feels really odd in Agent of S.W.O.R.D. #2. As for Anthony MacKenzie, his Detective Chong comes across a lot like Reed’s Hydra. The character would work, but the accent is really distracting.

The Motion-Comic Effect: The motion comic effects once again elevate Maleev’s artwork when they are being used in a subtle way. When they aren’t however, the “CG look” proves to be pretty bothersome and sticks out in a negative way. I’m all for chases and explosions, but they’d be a lot more effective if integrated into the artwork in a better way.

Conclusion: While it’s pretty entertaining as a whole, the Spider-Woman: Agent of S.W.O.R.D. #2 motion comic is held back from a higher score by a couple of major annoyances.

Grade: C

-Kyle Posluszny

Spider-Woman: Agent of S.W.O.R.D. #1 (Motion-Comic) – Review

By Brian Michael Bendis (Script) and Alex Maleev (Art) w/ voice work by Nicolette Reed (Spider-Woman/Jessica Drew), Stephanie K. Thomas (Abigail Brand), and Geoff Boothby (Spider-Man)

Some Thoughts Before The Review: Since the Spider-Woman motion-comic is quite a bit different than your average comic, I’ll be reviewing it by breaking down each of its different elements before tackling the motion-comic as a whole. Let me know what you think of the format in the comments section. If it’s requested, I’ll tinker with the formula before the next chapter hits Itunes.

The Story: Jessica Drew, still reeling emotionally from having her world turned upside down by the Skrulls, is offered a job to be an agent of S.W.O.R.D. by Abigail Brand.

The Script: The script by Brian Michael Bendis is a bit predictable and fairly standard as far as first issues go. It works well enough, but it feels like a whole lot of time is spent capturing Jessica Drew’s mindset and getting readers up to speed about how things got where they are. While the expository stuff is necessary and expected, it leaves the first episode of Spider-Woman: Agent of Sword feeling a bit dry. A little bit more action would have gone a long way, though I will say that the one action beat effectively captures the emotion that Bendis is clearly shooting for.

The Artwork: Alex Maleev’s gritty artwork is very impressive. It effortlessly captures the tone, mood, and emotion of Bendis’ script. The best thing about the art though, is the fact that it’s in no way overpowered by the motion-comic effects. The effects compliment the work far better than I had expected. From the glowing signs of Madripoor to the brutal action scene, a chance to see Maleev’s work in motion is almost worth the price of admission alone.

The Voice Acting: The voice acting is, in a word, uneven. Most of the time it’s good, but every once in a while there’s a snag that serves as a reminder that a comic script works a bit different than a cartoon or live action one. Nicolette Reed does a fine job as Jessica Drew, especially since Reed’s accent fits Drew so well. My only real complaint is that a few of the more emotional moments seem a bit forced. Stephanie K. Thomas effectively captures the no-nonsense style of Abigail Brand, but something about her delivery left me wishing for a bit more. Geoff Boothby is, quite simply, a great Spider-Man. Out of the three voice actors, Boothby is the only one that delivers lines flawlessly.

The Motion-Comic Effect: Since it isn’t overpowering or intrusive, I have no problem recommending the motion-comic format. On a personal note, I think that Marvel’s motion-comic works far better than the Watchmen motion-comic did back when it was first released. The voice acting is better and the effects blend with the artwork more effectively. I realize more was put into Spider-Woman, but it’s hard to avoid comparing the two.

Conclusion: Since it’s only $0.99, I recommend giving the first issue of Spider-Woman: Agent of S.W.O.R.D. a try. It’s a bit slow, but there’s definitely a lot of potential. And while it takes a bit to get comfortable with the format, the positives far outweigh the negatives.

Grade: C+

-Kyle Posluszny

Avengers: The Initiative #24 (Dark Reign) – Review

By Christos N. Gage (Script), Humberto Ramos (Art), and Edgar Delgado (Colors)

Some Thoughts Before The Review: Avengers: The Initiative is downright reliable. The storylines are a perfect fit for the style of the series, the artwork is almost always solid, and the character work is handled in a way that manages to impress each and every month.

The Story: Bengal’s wife comes to Gauntlet looking for answers about her husband, Bengal’s whereabouts. As you probably know, he’s in Madripoor with the other members of the Shadow Initiative, desperately fighting to survive the night. But Taskmaster has an idea that just might help them deal with Hydra…

What’s Good and What’s Not So Good: It’s cool to see an issue dedicated almost entirely to the Shadow Initiative. Especially one that’s as entertaining, funny, character-driven, and intelligent as Avengers: The Initiative #24. The book has some nice twists and turns, a few surprising guest stars, and best of all, it sets things up for the future in a very interesting way.

Christos N. Gage’s character work is some of the best he’s written, though from time to time he tries a bit too hard to bring the funny. Most of the humor and sarcasm is spot on, especially the way he handles Typhoid Mary’s personality and the banter between Taskmaster and one of the guest stars, but a few lines feel slightly forced. Another thing worth mentioning about Gage’s work is how well he uses the Dark Reign concept to elevate both his storytelling and his character work; partiulary the way he writes Norman Osborn the politician and the Dark Reign period for the Initiative. Everything has far been better than I expected it to be.

The artwork by Humberto Ramos and Edgar Delgado is solid all around. While the kinetic, cartoony style may not be for everyone, it definitely does the job. Of particular note is the way that the muted color scheme that Delgado uses allows Ramos’ work to stand out a bit more than usual. I think it does wonders for Ramos’ style, as I’ve seen it completely overpowered by the color work in the past.

There is one thing I must ask though. What’s the deal with showing Typhoid Mary’s nipple? While I have no problem with seeing some (drawn) skin, I found it rather odd considering that the book is rated “Teen +” and not even “Parental Advisory.” Maybe I’m weird for noticing, but I just had to bring it up.

Conclusion: Despite a flaw here and there, Avengers: The Initiative #24 is a damn fine chapter in a very good series. I highly recommend it.

Grade: B+

-Kyle Posluszny