Age of Ultron #6 Review

By: Brian Michael Bendis (Writer), Brandon Peterson, Carlos Pacheco (Artist/Penciler), Roger Martinez (Inker), Paul Mounts, Jose Villarrubia (Colorist), VC’s Cory Petit (Letterer)

The Review: If you’ve read every issue of Age of Ultron up to this point you’ve probably been in one of two camps. You may have been growing increasingly impatient with Bendis’ glacial pacing, begrudgingly putting down your $3.99 week after week hoping each time that this will be issue to get things moving. Alternatively you’ve enjoyed it every step of the way, have withstood the downbeat and malevolent mood and savoured a Marvel event book that’s employed more substance than style. Either way it’s been a bumpy, expensive ride with few signs pointing to how, if at all, its outcome will impact on the wider Marvel Universe. Age of Ultron #6 signals the beginning of the end of this journey, and it might just have managed to keep everyone happy into the bargain.

It covers quite a lot of ground. Ostensibly it’s the natural progression from last month’s cliffhanger; Nick Fury and a handful of the more powerful Avengers head into the future to confront Ultron while Wolverine goes into the past to kill Hank Pym (thereby circumventing the whole Ultron problem in the first place). Admirably, this issue really jumps into both storylines head first and there’s immediate outcomes presented on each front. And when I say outcomes…I mean deaths.

You could probably have guessed that Fury’s camp would suffer the most casualties. The dude almost drops his team straight into the meat grinder after all as they move from the Savage Land direct to New York (even time-travelling genocidal robots want a piece of the Big Apple it seems).  Now a gleaming technopolis devoid of human life, the city offers nothing but an ambush from thousands of flying Ultron heads and the Avengers are pretty much sitting ducks. They are, after all, just drifting in the wind thanks to Storm’s weather powers, and that can’t allow for much manoeuvrability. They get slapped around some and a major character literally loses his head – we may see a few Avengers captured and brought before a gloating Ultron before the series is up, but otherwise it looks like this particular plan has gone wronger than corduroy.

The Punisher #16 – Review

By: Greg Rucka (writer), Marco Checchetto (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story:  Rachel reaches the end of her journey.

The Review:  Once in a while you get an issue where you can only marvel at the craftsmanship behind it.  This is one of those issues, with Rucka and Checchetto proving themselves both to be master storytellers.

Rucka, even in this final issue of the ongoing series, adds more wrinkles and more nuance to his take on Frank Castle.  We see a really surprisingly human turn by Castle this month that was almost touching.  It’s a compassionate side to Frank that actually makes sense and feel natural to the character.  Not only does it make us like Frank and see him as a human being, and a good one (which is no small feat on Rucka’s part), but this side of Castle is exhibited in a very “Frank Castle” sort of way.  Ultimately, Castle’s act of compassion this month is done through busting heads in typical Punisher wetworks fashion.  It’s not just kind words that Frank gives; rather, like so much else about Rucka’s Punisher, Frank shows who he is through his actions, not through his words.  That being said, while Frank speaks through his actions, when he does speak, his words hit like a hammer, every one of them mattering.  Nowhere is this clearer than one very simple line that Frank says to Rachel, which is hugely impactful and basically sums up the entirety of Rachel’s journey – in one sentence.  That’s amazing stuff.

The Punisher #5 – Review

by Greg Rucka (writer), Marco Checchetto (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: It’s a somber Thanksgiving for Frank and friends, as if there’d be any other sort.

1.  A good supporting cast goes a long way

In making the Punisher a silent force of nature, Rucka has had to create a strong supporting cast to do the heavy lifting and this is the first issue where we get a big picture view of that cast as a whole.  Put simply, it’s fantastic and gives this book the realism and the kind of pure heart that pulls you into a narrative.  Each of these characters is distinct and brings their own unique dynamic to Frank but more than that, each of them also feels truly human.  All are fully realized, with their own personalities, lives, and relationships and all are unique and engaging while also coming across as real people.  It’s fantastic character-work that makes for a comic that feels all the more likable and intimate, things not usually associated with a Punisher comic.

2.  The Punisher is kid-friendly?

Rucka seems to add another member to this supporting cast this month, a young boy who unwittingly runs into Frank and starts visiting him regularly.   The dichotomy is amazing and the result is a character dynamic that is so emotionally genuine and sincere.  As polar opposites, the dynamic between the human horror that is Frank and the innocence of the kid is such a treat to read.  This is highlighted by the kid’s chattiness and Frank’s very few words.  While Frank’s words speak volumes, it’s as though he is buoyed by the waves of the kid’s happy chatter and the juxtaposition between Frank’s guarded silence and the kid’s completely trusting disclosure is striking.  Better still is the end of the issue, which shows again the difference between Frank the man and the legend of the Punisher: one the kid likes, the other alienates him.  Again, this highlights the burden that the Punisher mantle places on Frank as a human being and how it stops him from developing much of anything as a person.

3.  Marco Checchetto is amazing.

We’ve seen Marco do cityscapes…..now we see him execute a snowy, windswept rural landscape.  The result a continual atmosphere of sadness and melancholy, a feeling of isolation.  In other words, it’s absolutely perfect and truly an emotionally evocative experience.

Checchetto also does fantastic work illustrating the wounded Frank.  He looks more vulnerable and more…human.  Furthermore, Checchetto’s work on Frank is so subtle as well; while he says little, he looks more tender, if not nicer, when around the kid.  Unlike previous issues, he’s just a man here, and a very lonely one at that.

New Avengers #15 – Review

by Brian Michael Bendis (writer), Mike Deodato (art), Rain Beredo (colors), and Cory Petit (letters)

The Story: Squirrel Girl tries to prove her worth, as she runs through a New York City under attack to get to Luke and Jessica’s baby.

What’s Good: When I read that this issue was going to be centred on Squirrel Girl, I honestly expected goofy comedy.  I realize that Fear Itself doesn’t exactly lend itself to belly laughs, but I just couldn’t see a “Squirrel Girl saves the day” comic being anything but comedy.

Bendis manages to make me feel pretty guilty, in this respect.  He puts out an issue that’s fairly serious, one that focuses on the tough life of being an unknown superhero.  The result is a comic that is far more rewarding than one played simply for cheap laughs.  Squirrel Girl, under Bendis’ hand, becomes a fully realized, sympathetic character who ends up being more “Doreen” than “Squirrel Girl.”  It’s hard not to root for her and like her and she certainly has that “lovable loser” appeal, but without ever becoming a punch-line.  With goofy lines like “Great Lakes Avengers, represent!” after beating Wolverine in combat, she’s naturally adorable in a way that’s never forced.

There are monologues from Doreen as well, with the issue following much the same format as last month’s Mockingbird feature.  Once again, it lets us really get to know Squirrel Girl.  She’s more “person” than superhero, and Bendis very naturally portrays her “hard luck” status, being a relative unknown from a team of Avengers no one’s ever heard of.  Worse still, having a giant squirrel tail makes her stick out like a sore thumb, even as she struggles to go about doing normal, everyday things.

The Punisher #1 – Review

by Greg Rucka (writer), Marco Checchetto (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Two detectives begin their investigation of a mass shooting at a wedding, as does Frank, in his own unique way.

What’s Good: Writing a fresh, unique Punisher story is pretty difficult, all the moreso when it’s the Marvel Universe Frank Castle book.  There seems to be set template, usually involving lots of narration by Frank and unending hordes of bland thugs and unrecognizable Z-list bad guys.

Leave it to Greg Rucka to break the mold, and to do so in a way that still feels true to the spirit of the Punisher.

Rucka makes an incredibly bold decision this month: Frank Castle does not speak one word, neither in dialogue nor in narration.  This alone completely revitalizes the comic and makes for a really fresh take on the character.  Indeed, Frank is no longer a character at all, nor is he really even the human “Frank Castle” any longer.  Instead, he’s just a presence, a force of nature, and even a ghost.  He constantly lingers around the corners of the comic, influencing its characters and its world.  When he strikes, it’s brutal and swift, from the shadows, with Frank being silent and almost invisible, leaving a pile of bodies behind.  More than anything, this is about “the Punisher,” as we see him from the eyes of others.  This is a book about the Punisher myth, not Frank Castle the man.  The result is possibly the scariest Frank Castle we’ve ever gotten, a silent, avenging, phantom that lights up the page with fear and excitement without a word.

This take on the Punisher also leads to Rucka letting Marco Checchetto do much of the heavy lifting, which is just fine.  Checchetto’s art is absolutely beautiful, moody and detailed and with both European and American noir influences.  The Punisher is as scary as Rucka wants him and more than that, Checchetto paints a very different NYC from what we normally see.  The Punisher’s NYC is dark, dangerous, and is so moody and atmospheric that it almost carries hints of magical realism.

Amazing Spider-Man #666 – Review

by Dan Slott (writer), Stefano Caselli (art), Marte Gracia (colors), and Joe Caramagna (letters)

The Story: Life is good, and very busy, for Peter Parker, but unbeknownst to him, more and more people in New York City are gaining spider-powers.

What’s Good: Apparently, Dan Slott and the rest of the crew in the Spider-office take that $3.99 price-tag really seriously.  This is a lot of comic book.  It’s 30 pages of dense storytelling, packed with characterful dialogue and narration that’s entertaining, regardless of the exposition.  It’s also amazing quite how many bases Slott touches upon in these 30 pages.  Not only does Slott set the stage for Spider-Island in ever conceivable way, he also gives us an update on more or less every nook and cranny of Peter Parker’s world.  As a result, the number of characters in this book is pretty damned massive, but because Slott keeps it, for the most part, tightly focused on Peter, Spider-readers won’t get lost.

What’s even more remarkable is what a firm grasp Slott has on this immense cast.  Obviously, his Peter Parker is great, but everyone elses’ dialogue is fun and energetic and every character has his or her own distinct voice.  With so many characters on hand, here, that’s pretty impressive.

All in all, this is just a really big, well-rounded package.  It sets up the state for Spider-Island quite well and will leave you ready and willing to dive in, but more than that, you get a little taste of literally everything and everyone relevant to Slott’s run on ASM thus far.  No stone is left unturned, and as a result, you get a Spidey comic that really feels like a Spidey comic.  With so much in this book, this is a pretty immersive experience, one that really brings you into Peter’s world.

Of course, Caselli’s art doesn’t hurt.  It’s as lively and energetic as ever and while Caselli often puts a lot on the page, in both content and panels, it’s never confused or claustrophobic.  Whether it’s a dialogue scene or an action scene, Caselli’s work always feels fast-paced.

DMZ #65 – Review

by Brian Wood (writing), Riccardo Burchielli (art), Jeromy Cox (colors), and Jared K. Fletcher (letters)

The Story:  Matt faces possibly the biggest decision of his life.

The Review:  If you’re a long-time reader of Brian Wood’s DMZ, this is the sort of issue that you read it for, the sort of issue that looks at hard, gritty reality, above and beyond all lofty idealism or abstract ideals.

With this issue ultimately hinging on a massive decision on Matty’s part, that being what to do with Parco’s evidence of the US’s charade, Wood is wise to anchor the book around Matty entirely.  He narrates throughout, and not only in the standard way we’re used to.  Wood opens with his usual newscast narration, but in a surprising twist on that, it turns out that the newscast is Matty’s.  That’s really, really cool stuff that showcases the new role that Matty finds himself in.  It also helps emphasize how heavily not just this issue, but the events within and the history that will result, revolve around him, that he’s the one shaping public perception and knowledge.

As I said though, strong, laser-like focus aside, this issue is all about that choice, and it’s expertly done.  Wood puts forth the fact that the pursuit and elevation of capital t “Truth, or similar abstract ideals, often conflict and don’t jive with what’s best.  Bold journalistic integrity clashes with pragmatism and the definition and nature of “the greater good” is challenged and reshaped by Wood.

Most interesting is Wood’s decision to use Zee as the vehicle to deliver this message.  Zee’s often been the beacon of integrity and, at times, idealism throughout this series, so for her to come down on exposing the truth in favour of ending the war as quickly as possible, and pointing out that the two aren’t one and the same, speaks volumes.  It’s a nice twist by Wood.

DMZ #62 – Review

by Brian Wood (writer), Riccardo Burchielli (art), Jeromy Cox (colors), and Jared K. Fletcher (letters)

The Story: We get back to the present day, as Matty Roth finds himself as the eyes and ears at the vanguard of the US invasion of the DMZ.

The Review: I cannot begin to express how relieved and overjoyed I am that Brian Wood has returned the focus to Matty Roth and the main, present-day narrative of DMZ.  Usually, I really like Wood’s in-between short arcs, but I found that the last couple of issues just didn’t grab me and reading this issue, I know why.

The past couple of months lacked a compelling protagonist and the solid character work that Wood excels at.  With Matty back at the helm, all of that’s changed and DMZ has gone back to being the emotionally gripping read that it usually is.  It’s grim, gritty, and desperate, but now that Matty’s back, it also feels intimate and personal in a way that we readers actually feel attached to.  Roth’s narration returns as well, always bluntly honest in message and emotion with hints of self-loathing and cynicism.

The tension this month, heading into this new arc, is certainly palpable and Wood’s doing his best to showcase the bizarre new/old position Matty finds himself in.  It gives the series a good taste of familiarity while also feeling fresh, if not darker.  There’s something uncompromisingly bleak about Wood’s series right now that makes for a unique read.

Fables #102 – Review

by Bill Willingham (writer), Mark Buckingham (pencils), Steve Leialoha (inks), Lee Loughridge (colors), and Todd Klein (letters)

The Story: Ozma begins to assemble a super team under the guidance of Pinocchio as the Dark Man threatens Haven.

The Review: As weird as it seems at first, and as dubious the reasoning is behind it, this whole Super Team thing is really, really enjoyable.  It feels new and fresh for Fables and makes for some smart reading as well.  It allows Fables to discuss superhero comics and, by extension, comics as a medium.  The end result is an intelligent comic that almost feels self-conscious of its own medium.  It allows Willingham to think over some of the tropes and absurdities of superhero comics by bringing it into a comic that is anything but.

The whole superhero element also allows for a good deal of comedy as well, much of it thanks to that absurdity.  There’s also a good deal of hilarity in seeing Willingham’s piss-takes here and there, for instance, with Pinocchio’s dressing up as Professor X/Chief.  As you might suspect, it also leads to Mark Buckingham’s getting to do some really cool stuff.  His costume for Ozma is both gorgeous and humorous and quite honestly, even seeing the always-serious Ozma dressed up in such a get-up is all kinds of awesome.

As I mentioned, however, the reasoning for this whole Super Team is a bit questionable.  I can see where Willingham’s going with his reasoning, but it seems like a sort of ad-hoc explanation, as though Willingham just really, really wanted a superhero team in his comic and tried to come up with the reasons afterwards.  Furthermore, it’s a bit of a strain seeing someone like Ozma buy into the whole thing and dive in so completely.  That said, the visual and intellectual places that the comic is allowed to go as a result makes all of this fairly forgivable.

PunisherMAX #10 – Review

by Jason Aaron (writer), Steve Dillon (art), Matt Hollingsworth (colors), and Cory Petit (letters)

The Story: Frank reaches new levels, now working with chemical weapons, while Bullseye finally reaches an epiphany.

The Review: After finishing this comic, I was completely shocked to discover that we’ve not seen an issue of PunisherMAX since July.  I knew it’d been a while, October perhaps, but July? I think that’s a testament to how solid this book is.  Despite the fact that it picks up in the middle of an arc, there’s none of the detachment and disorientation you can feel from a series that’s shown up so late.  And that’s not because of any recap page or anything like that.  Rather, it’s due to Jason Aaron’s expert and gradual plotting and pacing.  Whatever the case, diving back into PunisherMAX with this issue feels like the series wasn’t late at all.  It’s quite the phenomenon.

Perhaps it’s fitting then that this return issue is one of the finest issues of Jason Aaron’s run thus far.  The focus is, of course, on Bullseye and, as always, Aaron’s Bullseye is absolute, psychotic gold.  His obsession with Frank is both unsettling and compelling and his nonchalant violence is stunning.  There’s a portion where he holds a monologue on Frank’s history while seemingly unconsciously brutalizing a gang of hoods that is all kinds of awesome.  Furthermore, that monologue is a great one.  It’s a fantastic contemplation of Frank’s history and a fascinating reading of the Punisher story, one that’s probably dogged at the minds of long-time Punisher MAX fans, particularly those of Garth Ennis’ run.  Bullseye’s epiphany that comes as a result is logical and hugely important.

Meanwhile, Frank himself is handled very well.  Aaron has been attempting to show a deterioration in Frank as he loses his boundaries and limitations, but nowhere has the rung more true than this month.  Here, we see that there are truly no depths to which Frank will sink in order to get the job done.  Truly, Aaron demonstrates that Frank is willing to become the monster that society hates and fears if that’s what he believes to be the best way to get the baddies.  His praying on society’s fear of terrorists and his use of chemical warfare are both hugely unsettling, even a little sickening.  In other words, it’s everything a Punisher MAX comic should be, a comic pushes the envelope of not only a comic’s content, but also the nature of its characters.

Daredevil #512 – Review

by Andy Diggle and Antony Johnston (writers), Marco Checchetto (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Daredevil’s friends deal with the fallout of Shadowland as Matt is nowhere to be found in the city.

What’s Good: I really do enjoy Checchetto and Hollingsworth’s art.  The art has often been the best part of Diggle’s run, and even a more laid-back, conversation based issue like this one, the work really shines.  It’s moody and perfectly Daredevil and as such, it has its own look.  Wherever the Daredevil franchise goes after this, I hope Checchetto, Hollingsworth, and De La Torre have a major role.

Other than that, this is an issue that focuses on examining the emotional toll Shadowland has on series mainstays Dakota, Foggy, Becky, and Kurtz.  I thought that the place Kurtz ends up in is an intriguing one that could be quite fun in the future.  It’s something you could see coming, so I guess it’s not the most imaginative turn of events, but that doesn’t change it from being a good one.  Foggy meanwhile gets some solid characterization as well.  His unflappable dedication to Matt is exactly the sort of thing that makes the character fun to read.

Shadowland #5 – Review

by Andy Diggle (writer), Billy Tan (pencils), Victor Olazaba (inks), Guru eFx (colors), and Joe Caramagna (letters)

The Story: The battle for New York City comes to its conclusion.

What’s Good: What, besides the fact that this is the final issue and that this mess of an event is finally over?

In all seriousness, though, my thought while reading this issue was that it could’ve been hell of a lot worse.  The event comes to a nice enough end and the point it leaves Matt at is a nice one and a natural fit for the character that holds hope for future creative teams.  While Shadowland has been many things, few of them good, Daredevil fans can breathe a sigh of relief that no irreparable damage is done to the character and nothing truly catastrophic is inflicted upon the series.

Basically, Shadowland was only ever meant to take Matt from point A to point B.  The story was cobbled together as a means to get him there.  Perhaps that ends up being the reason why this issue ended up being better than I expected.  While not particularly good, it finally shows us what that point B is, which was always probably the most well thought out portion of Shadowland even before we knew what it was.

As a result, the last couple of pages are quite good and very Daredevily, as is his disappearance from Shadowland.

Billy Tan also has some bright spots this month, particularly when it comes to the action scenes.  I loved the battle between Lord Daredevil and Iron Fist.

DMZ #58 – Review

by Brian Wood (writer), Danijel Zezelj (art), Jeromy Cox (colors), and Jared K. Fletcher (letters)

The Story: We learn what happened to street artist Decade Later since we last saw him.

What’s Good: While I enjoy all of Brian Wood’s work, I’ve long held the opinion that it’s in the shorter arcs and one-shots that he truly excels.  Given this, I had expectations for Collective Punishment which had, sadly, not been met.  Don’t get me wrong, it’s been good, but it just hasn’t been great.  Something didn’t quite click with me or hit me as hard as Wood’s shorter stuff normally does.  This month, though, Wood finally finds his groove.  The penultimate of Collective Punishment is by far the strongest and finally hits that outstanding level Wood is capable of.

One of the biggest differences here is the quality of the main character Decade Later’s narration.  Unlike the other issues of this arc, I felt that Decade Later’s textboxes really got me inside of his head.  I came to understand the man’s psyche, his motivations, his personality, and his emotions.  As a result, this issue really managed to pull me in and it felt highly personal and, as a result, much more meaningful.  This ended being a very intimate book, and because of this, it completed avoided feeling like just another 22-page comic book.  It involves the reader and you really get to know, even inhabit, a very compelling character and it’s hard to ask for much else from a comic, or narrative in general.

Much of this month’s focus is on Decade Later’s ties to art and how art is both a part of him, and also a function of his as essential as breathing or eating.  That sounds contrived when I type it, but it feels honest and sincere in Wood’s comic.  Art is more than just a mode of expression, it’s a compulsion, a required act, and it is, for all intents and purposes, tied to Decade Later’s soul.  The pictures themselves are secondary to how they not only represent, but are, pieces of Decade Later himself.  It makes the book contemplative and also all the more personal and riveting.

I’m a huge fan of Danijel Zezelj’s artwork and was thrilled to see him on board this month.  As always, his artwork is brooding and dark, but always contemplative.  There’s a constant sense of gloomy meditation to his work.  His complete shift in style when he lets Decade Later’s work take over the comic itself is elegant, natural, and literally feels like the street artist himself has taken over the comic book, allowing the character to directly contact the reader.

Daredevil #511 – Review

by Andy Diggle (writer), Roberto De La Torre (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Foggy seeks out Daredevil and Dakota attempts to rescue Becky.

What’s Good: Last month’s Daredevil seemed to finally find itself, deciding to dedicate itself to the tribulations of Daredevil’s buddies Foggy and Dakota, characters who had been utterly neglected and whose perspectives should be invaluable.  Given Daredevil’s uneven quality of late, I wasn’t sure if Diggle would stick with this commitment, but he does.  Daredevil #511 focuses once again on Daredevil’s unique cast of friends and that’s good news in itself.

The end result is a book that feels really moody, desperate, and atmospheric.  It, unlike the main Shadowland series, captures just how dark and insane Hell’s Kitchen has become.  You really get the sense of New York’s devolving into an anarchic hell of indiscriminate and irrational violence and rage.  In so doing, this issue really makes it clear how this is something that Shadowland, the main series, should’ve doing much earlier.  The mood established this month and the depiction of Hell’s Kitchen’s madness and the price of Shadowland’s establishment and the events within are made clear this month, and it’s solid and it makes Shadowland appear all the more lacking by comparison.

De La Torre also continues to crank out great Daredevil art.  It’s dark and gritty as usual, but in capturing the riotous, insane Hell’s Kitchen core, there’s a constant sense of derangement to De La Torre’s art, owing to his rough lines and shading.  Better still, thanks in part to Matt Hollingsworth’s colours, the interiors of Shadowland remove some of the darkness in exchange for an undertone of disease and sickness.

Shadowland #4 – Review

by Andy Diggle (writer), Billy Tan (pencils & inks), Victor Olazaba (inks), Guru eFx (colors), Joe Caramagna (letters)

The Story: Izo’s band of heroes race to stop Daredevil as Elektra makes her move.

What’s Good: One of the big problems that the main Shadowland series has had has been finding its identity.  It seems divided on whether to approach this as a standard Marvel event or as a Daredevil comic.   The result has been that as an event, it feels strange and off-kilter while, as a Daredevil comic, it’s a failure.

The good news is that with this issue, I feel like I finally have a clear picture of what Shadowland wants to be, as the book finally settles into being just another Marvel event.  It seems the comic has given up on any loftier aspirations and has more or less given up pretending to be a Daredevil comic.  While this does make for a mediocre comic, at least it means that the book is far less confused and messy than it has been, even if it is a little straightforward.  Certainly, I feel that reader expectations can properly adjust as well.  Shadowland, with this issue, gives up on even attempting to be like the Daredevil comics of old; it’s a Marvel event comic that’s dedicated to getting the character, and the universe, to a particular point.  At least, now, we can know what we’re getting.

If you like action, there’s a lot of action this month and all of it is done fairly well.  Action scenes are fluid, dynamic, and exciting.  A lot of this is due to Billy Tan, who continues to do surprisingly solid work on this comic.

DMZ #57 – Review

by Brian Wood (writer), Cliff Chiang (art), Jeromy Cox (colors), and Jared K. Fletcher (letters)

The Story: Amina recovers an abandoned baby in the streets of the DMZ, forcing her to grapple with motherhood, her history, and an end to her solitude.

What’s Good: Through this issue, Wood makes it painfully clear how different standards of morality and ethics are in the DMZ.  At times, so different are these standards that it’s tempting to write them off entirely and believe that they’re either non-existent or drastically lesser than our accepted social rules and conscience.  Of course, while events may have us lean in that direction, Wood’s excellent work with main character Amina’s narration quickly chastises us for this consideration; it puts a human face to the situations of this issue and the moral and ethical choices that play out.  The narration complicates things a great deal and makes it clear that morality and ethics are in play, they are simply those of people who are fundamentally damaged and thus they are of a more malleable sort, both forgiving and resigned.  It’s complex and very heavy stuff.

The motherhood side of the issue is also reasonably dealt with, if only because the baby provides an anchor to the otherwise ever-changing Amina.  The situation helps to make the character at least somewhat relatable and sympathetic.  It also allows Wood to analyze and showcase her emotions and her humanity.  There’s both a tenderness and a desperation here that has always been the meat of DMZ.

New Avengers #4 – Review

by Brian Michael Bendis (writer), Stuart Immonen (pencils), Wade von Grawbadger (inks), Laura Martin (colors), and Chris Eliopoulos (letters)

The Story: The Avengers beat demonic faces and Iron Fist confronts Dr. Strange.

What’s Good: There’s a lot of action this month.  In fact, there’s a ton of action.  The great news is that that means we get a lot of sweet, sweet Stuart Immonen artwork, highlighted by the big, bright colors of Laura Martin.  Along with von Grawbadger, this is one of the most underrated art teams at Marvel.  Their work is pure, Saturday morning bliss and when there’s as much mayhem and as many explosions as there are this month, it makes for art that is a whole lot of fun.  It’s the sort of stuff that makes you excited, while carrying a gleefulness that brings the kid out of you.

Bendis’ story this month, much like the past couple of issues, also manages to really highlight just how starved we are for a Marvel mystic story and just how underused this corner of the Marvel Universe is.  That Bendis has decided to center his first arc around a fully mystic plot makes the comic feel fresh and unique amidst Marvel’s products, no small feat for an Avengers title.  This freshness only adds to the fun that Immonen’s art already naturally brings forth.

Really, though, Bendis’ script this month is mostly about promises of big things to come.  The hinted-at developments towards the end of this issue are really intriguing and I can’t wait to see where they go.  Bendis seems to be implying some darker, and less heroic roots for Dr. Strange, which definitely has me very interested.  This looks to be a surprising turn of events that should elevate this story and keep it feeling distinct and important.

What’s Not So Good: This issue has much of the same problems as last month’s did in that there’s only so high I can grade a book that is almost entirely action.  Worse still, it’s action that pits the Avengers exclusively against faceless, nameless, and voiceless demons.  These demons attack in such numbers and are so void of personality and distinguishing features that it’s impossible to ever really feel them as legitimate threat, and certainly not a special or unique one.  As a result, I never really felt invested in the action or its high stakes, and certainly not to the extent that Bendis desired.  It was fun action, sure, but it also felt insubstantial and superficial.

Daredevil #510 – Review

by Andy Diggle & Antony Johnston (writers), Marco Checchetto (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Foggy and Dakota find themselves hunted by the Hand while Iron Fist and Luke Cage find themselves swayed by the Kingpin.

What’s Good: One of the things that’s made the last couple of issues of Shadowland, or the last couple of issues of Daredevil for that matter, somewhat underwhelming has been that they’ve tried to focus on too many things at once, winding up feeling insubstantial and mediocre throughout.  Daredevil #510 goes against this trend and is a significant improvement throughout.

Instead of even attempting any half-assed gestures towards focusing on Matt and his shift in character and internal struggles, Daredevil becomes a book focusing on Daredevil’s friends, particularly Dakota and Foggy, a wise choice given that these two are integral to the Daredevil franchise who we don’t get to see in any other book.  This makes this issue feel more meaningful and more necessary.  While I would, of course, rather that Daredevil be devoted to shedding light on Matt’s character, Diggle and Johnston’s decision to focus on Dakota and Foggy at least gives the book a strong direction and a unique one.

It’s ultimately a good choice if only because Dakota and Foggy are naturally sympathetic characters.  Not possessing any superpowers or martial arts prowess, it’s easy to root for them amidst the madness of Shadowland.  When they’re assaulted by a horde of ninjas, the threat feels a lot more real and the danger much more substantial; this isn’t a case of Luke Cage busting the faces of a horde of faceless goons, but rather, this is two people fighting for their lives in a dingy apartment hideout.  Honestly, Dakota and Foggy felt more heroic this month than any other characters have in the entirety of Shadowland.

Ex Machina #50 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher

The Story: Ex Machina concludes with glimpse of the years following Mitchell’s time as mayor.

What’s Good: I can’t recall feeling so sad after reading the final issue of a series, not only because of the fact that a favourite book is concluding, but due to the content of the issue itself.  Ex Machina #50 is an emotionally devastating and draining experience for long-time readers who have become tied to Mitchell Hundred’s journey.  It’s poignant to be sure, but it’s hard to see this as anything but a tragedy.

But it’s not “true” tragedy, which is perhaps why it’s so emotionally affecting.  Mitchell Hundred does end up in a good position, professionally anyway, at issue’s end.  He has more power than ever and, in a stunning final couple of pages, is revealed to have ended up very near the pinnacle of American politics.  Of course, it’s all bittersweet to the extreme, because while Mitchell Hundred the politician has flourished, Mitchell Hundred the man finds himself an isolated wreck, irrevocably ruined and alone.  In the end, it’s as though these two sides of Hundred were ultimately impossible to maintain simultaneously, particularly under the weight of superheroics and alien powers.  Mitchell gets his power, but he paid the price.  In that sense, it’s more tragic than Hundred just ending up dead in an ending that is completely dire; this situation sees Hundred trapped in his professional position and forever rueful for what he personally lost, or destroyed, in the process.

And it’s that sense of loss that this gives issue a retrospective feel that is absolutely perfect for a final issue.  In projecting into the years going forward from his battle with Suzanne and his term as Mayor, Hundred ends up dogged by his past, hounded by it as it grows increasingly rotten.  This is brilliantly personified by a dream where he’s visited by his other-dimensional enemies, who, of course, visit him in the form of a twisted version of himself.  Meanwhile, in the real world, this is shown in the form of Bradbury, who on the one hand finds himself in ruins, but also finally lets his feelings for Hundred be known.  It’s a wonderful representation of the old Mitchell Hundred and that “past life” in its current state; rotten and deteriorated, but still not barren of its sincerity.

DMZ #56 – Review

by Brian Wood (writer), Nathan Fox (art), Jeromy Cox (colors), and Jared K. Fletcher (letters)

The Story: Wilson faces the destruction Chinatown and is faced with a hard choice.

What’s Good: Wilson has long been a favourite character of mine in Brian Wood’s DMZ, and I doubt that I’m the only one.  The character is a perfect balance of unassuming and intimidating.  Thus, the fact that this is a one-shot centered on Wilson already puts this issue in my good books.

Certainly, this is a strong outing for Wood.  The tone is brooding and heavy, while also fatigued and worn out.  There’s a constant sense of Wilson’s burden, as the story has a crushing, unrelenting sort of weight and pressure to it.  Some might say that this issue is slow-moving or ponderous, or that not enough happens, but I’m inclined to say that that’s the point.  It creates a despairing atmosphere of doom and “heavy lies the crown,” which is far more effective than a running gunfight could ever be.

The plot, centered around Wilson’s precarious position in the war’s current state, is also solid and it’s refreshing to see a one-shot like this be so in line with the series’ current continuity.  The hard choice Wilson is faced with is a great touch by Wood; it painfully defines Wilson’s position in Chinatown, not just for us, but for the character himself.  Essentially, he is forced to choose between the actual responsibilities that his leadership position entails and the pride and ego that not only arises because of that position, but are fundamental parts of it.  It’s a crushing, though elegant, conflict of doing what a leader should do versus being what a leader should be, and the extent to which these two things are the same, yet different.  Suffice it to say, the climax of this all is touching, powerful, and, as is suited for Wilson, both grandiose and resigned.

Daredevil #509 – Review

by Andy Diggle & Antony Johnston (writers), Roberto De La Torre (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Dakota and Foggy come under attack and Matt Murdock finds an unlikely ally.

What’s Good: Much like last month, Daredevil spends time with Dakota and Foggy, which does a fine job of distinguishing it from Shadowland while also dodging some of the major problems that miniseries has had thus far in diffusing its attention among an overly varied cast.  I’m always happy to spend time with Dakota and Foggy and they definitely have a grounding effect on the book that is much appreciated.  Even when the “tight-pants brigade,” as Dakota calls them, shows up for the inevitable assist, it’s only the Luke Cage/Iron Fist duo.  Things feel much more contained, controlled, and a bit less impersonal as a result.

I was also pleasantly surprised by the sudden appearance of Daredevil’s new volunteer.  It’s another marker of the dire straights that Matt’s fallen into and I can’t wait to see the dynamic that the character creates in Shadowland, and how she’ll end up operating alongside the other personalities present there; if Diggle plays his cards right, I can see her really complicating things for everyone.  Either way, the character is a welcome presence and this was easily the highlight of the month.

Shadowland #2 – Review

by Andy Diggle (writer), Billy Tan (pencils), Victor Olazaba (inks), Christina Strain (colors), and Joe Caramagna (letters)

The Story: Luke Cage and Iron Fist try to talk to Daredevil and the Kingpin gets a little demonic help.

What’s Good: This issue tries to expand on the characters involved in Shadowland in an attempt to expand the book into a true event, rather than just a bi-weekly Daredevil.  Certainly, it’s great to see the Kingpin back again and looking to play a big role.  Diggle writes the character’s voice very well and fully capture that suave, Wilson Fisk tone.  I like the idea of Fisk teaming up with heroes for his own benefit; I’ve always enjoyed it when villains find themselves teamed with heroes, as it leads to a lot of dysfunction and distrust.  In this case, it also highlights the dark position that Daredevil currently occupies.  I look forward to seeing where this goes and Kingpin’s presence is definitely a strong point.

Another additional character that works very well, in at least the little time we get with him this month, is Ghost Rider.  The build-up to his entrance is fantastic, and totally misleads you until you see that leather boot.  Diggle cleverly makes Ghost Rider sound like some magical Japanese warrior for good, so when Ghost Rider shows up with his gruff dialogue, it’s a surprising touch of comedy.   His dynamic with Fisk is also really fun for this reason; the Kingpin attempts to speak in the stilted tone he expects a demon to converse in, while Ghost Rider talks like an average guy.  It’s great stuff and Billy Tan draws the character really, really well.

Madame Xanadu #25 – Review

by Matt Wagner (writer), Laurenn McCubbin (art & colors), and Jared K. Fletcher (letters)

The Story: A 1960s ad-man starts to hear the people around him say horrible, horrible things.

What’s Good: What a downright creepy and generally unsettling story…  I’m beginning to get the sense that Extra-Sensory is more a horror arc than anything else, and this month’s offering is far more disturbing than last month’s, which already had its grisly moments.  This month’s issues focuses on hearing and, indeed, the things protagonist Spencer Wilkins thinks he hears are really vile; I was quite honestly shocked at how little Wagner held back.  This imagined dialogue is appalling and, Vertigo or not, there are a couple places where Wagner definitely pushes the envelope, often in creative fashion.

But it’s not just the sheer vulgarity and graphic content of this imagined speech that makes the comic disturbing.  There’s a sense of “wrongness” that dogs the issue throughout.  It’s not just these malevolent little imagined speech bubbles either, though they do interrupt and disrupt not just Spencer’s life, but the comic as well.  It’s also the narration.

And boy, is that narration creepy as hell.  Early on, though the narrator seems purely of the omniscient, personality-less sort, it shows little suggestions of sentience.  These little signs grow and grow until the narration, and the narrator, takes on a life of its own in reaction a sudden plot twist that I won’t spoil.  Suddenly the narrator is as much in communication with Spencer as us.  Not only does this bring us closer to the story, it also brings this demonic presence a lot closer to the reader.  The result is an experience that is skin-crawling.

Daredevil #508 – Review

by Andy Diggle & Antony Johnston (writers), Roberto De La Torre (art), Matt Hollingsworth (colors), and Joe Caramagna (letters)

The Story: Foggy and Dakota try to get to Shadowland to talk some sense into Matt while Hell’s Kitchen finds itself in a state of martial law.

What’s Good: This issue of Daredevil does an absolutely fantastic job of establishing the mood and atmosphere of Shadowland, immersing us in the grim NYC of Matt Murdock’s construction.  If Shadowland #1 set the narrative groundwork for this event, this book sets the tonal groundwork.

In this sense, Daredevil #508 feels like it puts meat on Shadowland’s bones.  Hell’s Kitchen feels nightmarishly sinister and Diggle and Johnston do solid work in putting forth a really oppressed environment.  Daredevil’s Hand ninjas create a sense of foreboding, particularly given how they seem to be everywhere.  It’s a paranoid atmosphere where Daredevil and his ninja are constantly watching.  More than anything, we really get the sense that Matt has reshaped and isolated Hell’s Kitchen; the roadblocks are ugly and cops are not welcome.  I loved how in this new Hell’s Kitchen, wearing a badge is dangerous to oneself, not protective.

Things only get darker when we see Matt’s new brand of justice in action.  His dealing with a group of thieves is unsettling and darkly iconic.  It puts an evil, nasty twist on a traditional, superhero action and it’s sure to give chills, especially thanks to De La Torre’s efforts.

Speaking of De La Torre, it’s great to have him back on Daredevil and he’s really well suited to this arc.  Everything is bleak, pitch dark, grimy, and generally unpleasant in the best way possible.  It’s the very darkest sort of noir artwork you can ask for, really, and that suits Shadowland perfectly.  De La Torre’s gritty style only makes Hell’s Kitchen all the more sinister.

DMZ #55 – Review

by Brian Wood (writer), Andrea Mutti (art), Jeromy Cox (colors), and Jared K. Fletcher (letters)

The Story: Forced into close contact with his targets, an undercover commando comes to learn the truth about not just the residents of New York, but also himself.

What’s Good: The first in a series of one-shots, I really enjoyed the concept behind our protagonist.  It makes sense that the US, or the Free States for that matter, would have agents in deep cover in the DMZ; it’s a really cool theme that I’m surprised hasn’t been investigated before.

The writing itself is really well-done, focused on emotional and ideological conflict, juxtaposition, and incomprehension.  The narration provided the protagonist seems sharp, cynical, and contrary to what we’re used to seeing and thinking about the DMZ, and yet, seeing through his eyes, it does make sense why he would see the DMZ and its inhabitants in the manner that he does.  While I can’t say that we ever fully agree with or support his opinions, they certainly do follow a consistent form of logic.  Furthermore, despite his disdain for the DMZ and the war, there’s also a sense of fatigue and war-weariness behind all the cynicism that suggests a commonality that the protagonist shares with the very people he so distrusts.

Wood’s portrayal of Zee and the bunkered down community of the DMZ is also outstanding as ever, yet another testament to the vitality of the living, breathing world of the DMZ.  There’s a sense of togetherness, goodness, and trust that really is touching.  The ease with which one war-wounded character comes to lean on the protagonist, opening up to him wholly was really well-done and a perfect example of the sort of fellowship and inter-reliance fostered by desperation and hard-times.

The high-point of the issue is how this affects, or rather pulls in, the protagonist.  Wood does a fantastic job of showing the commando’s pre-conceptions shattered and, naturally, how this leads to unfavorable and traumatic self-reflection. Perhaps the most impressive aspect of this issue is how much Wood made me care about two characters whom I’ve never seen before and who we never even know the names of.  I suppose that’s appropriate, given that this issue is very much about understanding, not only of the DMZ, but also of oneself, and just how interrelated both these arenas can be for Wood’s characters.

Andrea Mutti works very much in the spirit of regular series artist Riccardo Burchielli.  As a result, everything feels business as usual for DMZ.  However, I do have to say that his work on the protagonist’s flashbacks were really stylish and emotionally evocative.