Fantastic Four #1 – Review

By: Matt Fraction (story), Mark Bagley (pencils), Mark Farmer (inks), Paul Mounts (colors), and Clayton Cowles (letters)

The Story: Welcome to the next era of the family four.  Meet the family and learn all about their new mission, which will have them sailing off to the unknown corners of the universe.

The Review:  In many ways, the issue is structured as something of a reassurance for readers of Jonathan Hickman’s seminal run.  Matt Fraction knows he has big shoes to fill so he takes baby steps here, showing that he’s not ditching any of the strong elements that Hickman introduced.

At the same time, the issue has a very clear structure:  each of the four gets one scene where Fraction basically shows us how he understands each character and his take on their respective core essences.  All told, each scene hits the mark.  Reed and his habit of taking on burdens, Sue’s role as the mother of the team, and Johnny and Ben’s respective brands of comic relief all go off quite well.  There is an argument to be made that perhaps Fraction goes a little far with Johnny and Ben, who feel a bit over-the-top and a bit like caricatures of themselves to an extent, but honestly, given how funny I found their respective scenes, it’s hard to really fault Fraction for this.  I mean, sure their personalities were a little exaggerated, but I still enjoyed the hell out of their portions of the issue and fun is the ultimate objective, right?  And there’s no mistaking that Hickman’s Ben and Johnny are pretty darned funny.

FF #18 – Review

by Jonathan Hickman (writer), Nick Dragotta (art), Chris Sotomayor (colors), and Clayton Cowles (letters)

The Story: Johnny takes the class on a field trip to the Negative Zone.

The Review:  For the second straight month, FF proves that Jonathan Hickman has a really solid grasp on comedy.  Unlike the last issue of FF, however, the comedy in this issue isn’t always the direct focus, nor is reliant on big gags with set-up.  Instead, Hickman lets the dialogue bring the laughs, mostly courtesy of Johnny, whose voice Hickman has an excellent handle of.  From his trademark arrogance to his wonderful dynamic with the students, Johnny is really great this month.  I loved the simultaneously affectionate and dismissive stance he takes to the kids and his treating them like the ordinary kids they aren’t leads to some great laughs.

I also really liked the fun spin Hickman put on the insect denizens of the Negative Zone.  They’ve long been seen as the faceless, single-minded swarm, so seeing them rebel for….democracy and self-government (?!) was a brilliant, brilliant twist by Hickman that led to an amusing, but also quite smart issue.  It also leads to a wonderful conclusion however that balances things very well – while the bugs of the Negative Zone may want democracy and self-government, they’re ultimately still bugs from the Negative Zone.  It’s almost a quasi-historical/political statement by Hickman; if you interfere with another culture’s politics and that interference leads to them taking after your own political practices, that may not necessarily mean the erosion of that culture’s inherent beliefs and values.  Despite all the fun and comedy, it’s a nice turn by Hickman and made me wonder if he was at all inspired by the current situation in Egypt, where after rebelling and gaining democracy, they look to be on their way to electing either an Islamist regime or electing to bring back the military-authoritarian regime they just got out of.  Who knew that cosmic insects and the Marvel’s first family could be so relevant?

There’s a lot else to like about this isssue; once again, we get to see Franklin flex his cosmic muscles, which is always a treat.  The final page is also an excellent cliffhanger.  While the twist could perhaps be easily predicted, Hickman does it in a way that at least is guaranteed to get a laugh.

FF #17 – Review

By: Jonathan Hickman (writer), Nick Dragotta (art), Chris Sotomayor (colors), and Clayton Cowles (letters)

The Story:  Can Peter Parker possibly survive the sheer, mind-imploding aggravation of having Johnny Storm for a room-mate?

The Review:  Jonathan Hickman is among my favourite writers, but he wouldn’t exactly be my first choice to write a sitcom, much as I wouldn’t choose, say, Brian Azzarello to write a romantic comedy.  Yet, somehow, Hickman gives us a superhero sitcom with this issue and it is, well, fantastic.  All the jokes are hits and this is a book that is guaranteed to get you smiling.

In both Hickman’s energetic, upbeat script and Nick Dragotta’s cartoony, high-paced artwork, this issue of FF maintains a consistently jocular tone that keeps you in a mood primed for laughter.  Pete’s increasing level of suppressed anger, slowly rising to boiling point, is matched perfectly to Johnny’s complete and total obliviousness.  Hickman plays the dynamic perfectly; he gives us peaks into Peter’s mind, which only make Johnny’s behaviour all the more ridiculous.

FF #16 – Review

by Jonathan Hickman (writer), Nick Dragotta & Steve Epting (art), Chris Sotomayor & Paul Mounts (colors), and Clayton Cowles (letters)

The Story:  The Future Foundation pick up the pieces in a ruined NYC….and what exactly happened to Doom when the Bridge closed, anyway?

The Review: I’ve ragged on FF now and then since the return of the main Fantastic Four title for at times feeling like an album of b-sides.  Last issue, for instance, was of questionable necessity.

However, this issue of FF definitely serves a good purpose.  After the big events of the last issue of Fantastic Four, a nice, clean epilogue to consolidate the characters, tidy things up, and provide a little room for reflection is generally a good idea.  This is exactly what FF #16 accomplishes, showing the characters’ reactions to what just happened, while also setting the stage for future Fantastic Four stories.

The result is that there are some rather nice developments: Johnny and Spider-Man becoming room-mates (much to Spidey’s lack of enthusiasm) is a great idea, the new Baxter building is really pretty cool, and Franklin’s interactions with his future self are as enjoyable as you’d expect.

There are nonetheless problems however.  Hickman has Val narrate the issue and her voice isn’t quite consistent with how Hickman has written her thus far.  She’s just too “kiddy” and generally immature.  Were it another writer coming onboard, it’s actually not a wholly inappropriate voice for Val as a character, it’s just that it doesn’t quite jive with the voice Hickman has established for her throughout her run.  It does, however, lead to a hint of a future romance between Val and Bentley, which is pretty awesome.

There’s also the fact that in being an epilogue, it really only does very bog-standard epilogue-y things.  Characters are shuffled around, things are tidied up, and Hickman basically is just putting the FF’s house back in order.  In other words, it’s not an earth-shattering read.

Fantastic Four #601 – Review

by Jonathan Hickman (writing), Steve Epting (pencils), Rick Magyar & Mark Pennington (inks), Paul Mounts (colors), and Clayton Cowles (letters)

The Story: Johnny brings the cavalry.

The Review:  This past summer, Marvel and DC both put out company-wide events that were pretty underwhelming.  Truth be told, however, I haven’t really, really enjoyed an event from Marvel or DC since Civil War.  Blackest Night was all right, while everything else since has ranged from “sucked” to “disappointing.”

This arc of Hickman’s Fantastic Four, and issues like this one, show that Hickman succeeds where these events have failed.  In this issue, for instance, he manages to tell a story with universe wide implications and a fairly large cast, but at all times, there is an emotional core to the story that makes it all meaningful and gives the story heart.  Hickman balances the large-scale events with personal emotions in his characters, and the result is what I’ve been waiting for: an event that actually has a soul.

Of course, that’s the irony, isn’t it?  This isn’t an event at all, it’s just a story-arc set within Fantastic Four and FF.  That alone shows how impressive this issue is.  Despite being highly centralized, it feels massive in scale and effect.  The battles are immense, the stakes are enormous, and there is a substantial number of moving parts in the story.  The result is something that feels downright epic and, moreover, it all feels like it has been built up accordingly.  A lot of events are promoted as having been built up to for years, but in the case of Hickman’s Fantastic Four, that’s actually true, and one can feel the narrative weight of that.

FF #4 – Review

by Jonathan Hickman (writer), Barry Kitson (artist), Paul Mounts (colorist), and Clayton Cowles (letterer)

The Story: The Doom conference on Reeds continues as Sue, Alex Power, and Spider-Man raise to stop a civil war erupting in Old Atlantis.

The Review:  A single good concept can go a long way in carry a comic.  In this case, the continuing conference of FF bad guys led by Victor von Doom continues to be a very, very good concept.

There’s something so naturally awesome about the idea of a group of bad guys having a meeting in the Baxter Building about how to beat Reed and Hickman does a fantastic job of portraying the various personalities on display here.  Each villain is a different sort of bad guy and it’s so much fun watching them bounce off one another.  From Doom’s arrogance, to Diablo’s sly villainy, to the Wizard’s evil, this is great stuff.  Hickman also does an uproarious job in writing the Mad Thinker, who is everything his name suggests he is.  Throw in Reed, Val, and Nathaniel and this is merely an opportunity for Hickman to have strong personalities clash.

Furthermore, as grave and serious as the subject matter of this meeting is, there’s a constant undertone of humor, as you may expect given the cast involved.  From Reed’s telling Doom of what the his fellow Reeds do to the Dooms they find, to Reed’s muttering “this is a disaster,” this is just so much fun to read.

Also fun is the art provided by Barry Kitson.  I really like Steve Epting as an artist, but while his darker style suited the tone of the “Three” arc and the death of Johnny, he was quite the right fit for the FF moving forward.  Kitson brings a brighter more upbeat style that serves the series much better.

Fantastic Four #588 – Review

by Jonathan Hickman (writer), Nick Dragotta & Mark Brooks (art), Paul Mounts (colors), and Rus Wooton (letters)

The Review:  Given the upcoming involvement of Spider-Man in Jonathan Hickman’s upcoming FF, it isn’t a stretch to think that Hickman and Dan Slott have been corresponding with one another, and Fantastic Four #588 may provide evidence of that.  As such, Hickman makes similar creative decisions in his dealing with character death as Slott did in this week’s issue of Amazing Spider-Man.  As such, many of the strengths that my cohort Mr. Stell expounded upon in his review of that comic also apply to this one.

Perhaps the most noticeable similarity is Hickman’s decision to have the entire issue, save the back-up and the final page of the main feature, go entire without dialogue or narration.  What results is an experience that’s far more haunting and emotional.  The images on the page and the events they depict become so much heavier and more laden with significance, as the emotions and sorrow of the characters does not have to be expressed, and hence contained, in words.  When it comes to conveying raw emotion, language is a limitation.  It takes, in this case, powerful grief, and shoves and squeezes it into the shape demanded by language’s framing structure, which forces it to adhere to context and that which words can actually express.

Without dialogue, we are without restriction or middle-man.  The emotion of the characters and the story are far more direct, far more honest, and not at all mitigated.  We are allowed to feel the brunt and truth of the emotional pain created by Johnny Storm’s death amongst his family, friends, and the world he left behind.  It’s a serious, heavy comic that is unrelenting, unwilling the compromise the significance of Johnny Storm’s passing with any attempts at banter.  The grief and sorrow are served to us without spice, chaser, or sweetener.

And really, as such, it’s a wonderful farewell for a great character, what that’s guaranteed to hit any FF fan hard.  More than that, at various points, the reader will become so caught up that he will most likely feel the characters’ emotions alongside them.  While I think various readers will respond differently to different scenes, for me, my eyes watered a bit during Ben’s emotional breakdown, which was beautifully told by Hickman and co.  Similarly, I found myself just as enraged as Reed by Annihilus’ absolutely grotesque taunting.  It was utterly sickening and almost too much for me to bear.  In other words, it’s fabulous writing.

Fantastic Four #586 – Review

by Jonathan Hickman (writer), Steve Epting (pencils), Rick Magyar (inks), Paul Mounts (colors), and Rus Wooton (letters)

The Story: Sue tries to stave off war as she learns a starting secret, Reed journeys with Galactus, and Ben, Johnny, and the kids attempt to hold back the Negative Zone.

What’s Good: I’ve found the “Countdown to Casualty” on the front cover to be cheesy from the get-go, and yet that’s exactly the message that Jonathan Hickman so skillfully crafts this month.  In the last issue before the death occurs, the tension has reached a fever pitch.  In that sense, “Three” has been a beautiful arc; each issue was more tense than the last, as each month, the members of the FF find themselves in increasingly bad situations.

As far as that tension and anxiousness goes, this issue is by far the tightest and, at times, most breathless.  It’ll have you hankering for the next issue and truly at wit’s end over who it is that will meet their end next month.  In this sense, Hickman’s announcing the casualty early works great, as this month ends up being a “what if” guessing game.  This is a riveting, edge of your seat read where everything stands incredibly precariously. Nowhere is this tension clearer than in the running dialogue Reed and Galactus.  I’ve always loved mortal/god conversations because of uncomfortable dynamic, and that serves Three’s purposes well here and leads to a truly heroic splash page and resolution on Reed’s part.

Despite all the darkness and nervousness though, Hickman still finds time for his wacky humor.  He writes the kids brilliantly this month, who function as a kind of almost surreal comic relief amidst all of the darkness.  Seeing them gleefully building rifles and grenades is pretty damned hilarious, particularly given the circumstances.

Other than that though, there’s a reveal regarding the Atlantean conference and Namor’s intentions that is very well played and will have you re-evaluating and possibly re-reading previous issues.  It’s a wonderful twist by Hickman and one that I certainly didn’t see coming after last month’s issue.    Ultimately, big, big things are on the horizon for the Fantastic Four.  Those who have complained about the lack of narrative progression in Hickman’s Fantastic Four should love this issue, as a lot happens, or at least is revealed.

Once again, Steve Epting’s artwork serves this arc well.  It’s moody and dark, but still distinctly FF and his Galactus and Negative Zone monsters all look great.  I could ask for much more.

Fantastic Four #579 – Review

by Jonathan Hickman (writer), Neil Edwards (pencils), Andrew Currie (inks), Paul Mounts (colors), and Rus Wooton (letters)

The Story: Tired of self-limitation among the scientific community, Reed looks to prepare the next generation of thinkers.

What’s Good: This is one of those issues of Fantastic Four that demonstrates why the title is perfect for Hickman, linked as it is with ideas he’s had since Transhuman.  That is, specifically, the refusal to accept limitations and glass ceilings and a simultaneously idealist and escapist belief in infinite potential and boundless possibility.

This is laid out in the book’s strongest scene, an extended speech by Reed at a conference scientists, where he condemns them for their inertia and self-limiting.  It’s a beautiful fusion of Romanticism and scientific thought, and a bold, exciting message of hope.  It’s also highly relevant to our world as well, with Reed actually calling out the decision to suspend manned space missions.  Reed’s speech is some of the finest writing I’ve ever read from Hickman particularly because it’s so pertinent to the human condition and contemporary society in its ideas and sentiment.  It’s also, of course, perfect for the Heroic Age.  Simply put, the sky is the limit but, in Reed’s eyes, we’ve stopped looking up.

This idea of “no limits” extends to a conversation between Reed and the Wizard.  The Wizard is wonderfully written by Hickman, stark raving mad and spewing just barely incomprehensible pseudo-science babble.  Reed’s explanation for his reasons behind taking in the Wizard’s clone is very well linked to the speech with which he opened the issue, almost as though Reed is putting his own words into practice.  He will raise the boy in order to prove that there are no limits to human potential; genetics, destiny, and predestination are bunk in the face of a nurturing environment.

Fantastic Four #578 – Review

by Jonathan Hickman (writer), Dale Eaglesham (art), Paul Mounts (colors), and Rus Wooton (letters)

The Story: Johnny has a run-in with some Negative Zone badness while the undersea denizens revealed last month make for an unhappy Namor.

What’s Good: It’s great to see Johnny get some love this month.  As much as I like Reed and the kids, and Reed is probably among my top three comic characters, I’m glad that Hickman is trying his best to share the spotlight a bit.

What’s better still is that Hickman doesn’t write Johnny as the two-dimensional comic relief/jerk as it’s all too easy to do.  Sure there’s humour and arrogance, but there’s also heroism and even responsibility.  I’m glad Hickman decided to give Johnny a more serious look and when Johnny’s taking responsibility for his own mistake ends up being an even bigger mistake, there’s a tragic, bittersweet taste behind the irony, seemingly because he doesn’t know how to go about fixing his messes.

The self-reflection on Johnny’s part is outstanding.  It’s all the better due to how little Reed actually has to say; Johnny is already well aware of his shortcomings.  It’s always a strangely voyeuristic pleasure to see Johnny ashamed of himself, perhaps because the character is so defined by his douchebag persona.

Dale Eaglesham continues succeeds at the sci-fi insanity as usual, this month with a horror tinge, but it’s the more subtle stuff that caught my eye.   His work on his characters’ facial expressions is truly outstanding this month and absolutely spot on.  His work on Val and Johnny feel incredibly human, even adorable at times while the opening portrait is sure to catch the eyeballs.

Avengers: The Initiative #27 (Dark Reign) – Review

By Christos N. Gage (Writer), Rafa Sandoval (Pencils), Roger Bonet (Inks), and Edgar Delgado (Colors)

Some Thoughts Before The Review: I enjoyed Rafa Sandoval’s work for Incredible Hercules quite a bit. I look forward to seeing how the artist handles all the characters that appear in The Initiative.

The Story: Chapter 1: Learn the origin story of Johnny Guitar (and his pal Dr. Sax) and about how they got involved with the Initiative program. Chapter 2: The Initiative members try to take back the Negative Zone prison currently controlled by King Blastaar.

What’s Good And What’s Not So Good: As far as the writing by Christos Gage goes, the latest issue of Avengers: The Initiative is a great example of everything that’s right about the series as a whole. Pretty much any character can show up in the spotlight and, more often than not, truly make an impact on some sort of level (emotionally or during an action scene). Case in point: Johnny Guitar. His journey is very well-written and, while a bit heavy-handed, definitely makes you feel for the character whether you had any intention of doing so or not.

If Gage takes center stage during chapter one, then the whole Negative Zone battle is the art team’s show. The fight is chaotic, colorful, and quite fun to look at as far as crazy superhero battles go. Rafa Sandoval, thanks to help from Roger Bonet and Edgar Delgado, manages to put a whole hell of a lot on every page, and it works to great effect. While faces tend to look similar and some of the action is a bit hard to follow, the artwork, as a whole, really gets the job done far better than it has any right to. There’s a LOT going on in the Negative Zone, and Sandoval makes sure that the reader knows it.

Conclusion: Avengers: The Initiative #27 doesn’t amount to a whole lot (it’s basically a character highlight reel followed by a fight scene), but it delivers a whole lot of entertainment. Johnny Guitar’s story and the Negative Zone rumble combine to make the latest issue of The Initiative an example of what happens when a creative team makes the most of the series concept.

Grade: B

-Kyle Posluszny

Guardians of the Galaxy #8 – Review

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

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

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

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

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

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

Grade: B

-Kyle Posluszny

Guardians of the Galaxy #7 – Review

By Dan Abnett & Andy Lanning (Writers), Paul Pelletier (Pencils), Rick Magyar (Inks), and Will Quintana (Colors)

Some Thoughts Before The Review: In my opinion, Guardians of the Galaxy is one of the most consistently entertaining and visually impressive books Marvel puts out. It effortlessly blends action, comedy, and drama into one hell of a satisfying package. The question now is whether or not the series can maintain momentum since Secret Invasion pulled the team apart. My guess is that it can.

The Story: The issue opens with a glimpse into a devastating future as described by Starhawk, who is being held in captivity by Cosmo the dog for precautionary reasons. Apparently, humanity’s future is doomed unless Starhawk can manage to correct an error occurring during the present time. Meanwhile, Rocket Raccoon’s new team of Guardians answer a cry for help from a colony in need that seems to be facing problems strikingly similar to the ones Starhawk spoke of. Adam Warlock seeks to find out more information regarding the Church of Universal Truth with the help of Gamora. As for Drax and Quasar, they are out in search of answers regarding someone named Cammi. And Starlord? Well let’s just say that he’s got problems as well.

What’s Good: Despite all the characters in play in this issue, the creative team once again knocks one out of the park. While mostly set-up for the future, the storyline provides for some great character work and extremely good looking artwork. While I may not have fully grasped the implications regarding some of the plot beats, I found myself completely entertained, thanks to the colorful cast of characters. Simply put, Guardians of the Galaxy #7 is another great chapter in an awesome series that seems to get better all the time.

What’s Not So Good: My only major complaint with the issue is that I felt a bit lost regarding some of the plot beats. While I am sure Dan Abnett and Andy Lanning will catch me up with everything next month, some of the impact regarding the story was simply lost on me.

Conclusion: If you aren’t reading Guardians of the Galaxy, you should be. ‘Nuff said.

Grade: B+

Looking for a Response: Anyone want to catch me up on what I might have missed regarding some of the stuff in this issue?

-Kyle Posluszny