Original Sin #1 – 8 – Review

By: Jason Aaron (Writer), Mike Deodato (Artist), Frank Martin (Color Artist), VC’s Chris Eliopoulos (Letterer), Julian Totino Tedesco (Cover Artist)

The Story: “I spy with my little eye” … something postmodernly existential.

The Review: We should have known better. The Original Sin “event” series was originally billed as a mystery surrounding the question of “Who Shot the Watcher?” But we should have known that detective comics are more of a DC thing (quite literally, if you think about it), and remembered that Marvel/Timely’s origins has always been in monster and horror books. In that perspective, it makes total sense that this event has been in essence a suspense and horror title. Think about it. We have giant eyeballs being held aloft and, in the final issue, acting as if they’re alive. We have repeated stabbings and blood, obsession with death and secrets, some esoteric alien beings, and, ultimately, one of those “horrible irony” twisted endings for the main character.

Daredevil #6 – Review

By: Mark Waid (story) Javier Rodriguez (art), Alvaro Lopez (inks)

The Story: It’s a whole new low of villainy when nuns are your victims.

The Review: Even though I’ve picked up quite a few Marvel titles in the last year, I can’t say I’ve decamped altogether from my DC leanings. Case in point, I’m always up-to-date on the major going-ons in the DCU even if I’m not reading any of the relevant titles. Not so with Marvel. Lately, I’ve seen Original Sin stamped all over the place, but I still have almost no idea what it’s about. Something to do with somebody blabbing crucial secrets that makes everyone miserable?

Fortunately, Waid gives me just enough to understand the spark for this current arc, in which we reverse course from Matt’s bright, bouncy adventures in San Fran back to the grim, soul-sucking investigations of New York City. Actually, in terms of crossover premises, Original Sin is very promising in that it allows each participant to deal with the ramifications of their personal revelation on their own, no interference or collaboration with extraneous characters necessary. Now, that’s a crossover idea I can get behind.

Amazing Spider-Man #4 – Review

By: Dan Slott (Writer), Humberto Ramos (Penciller), Victor Olazaba (Inker), Edgar Delgado (Color Artist), Chris Eliopoulos (Letterer)

The Story: The Amazing Spider-Silk: With great power comes great reclusiveness.

The Review: In this tie-in to the Original Sin event, Spider-Man learns of a great conspiracy, a never-before-seen story that ties another person to Peter Parker’s fateful day when a radioactive spider bit him. No, I’m not talking about The Thousand. That was a different never-before-seen/shared-origin character. I’m talking about the new character that’s been subplotted until now, and she makes her appearance as Silk.

Now, I usually don’t follow comicbook press releases, so perhaps I’m misunderstanding the premise of Original Sin, in that I thought it might have something to do with Peter Parker himself. Rather, he learns the “sin” of a completely different person– Ezekiel, a character who belonged to an era that flirted with making Spider-Man’s origin more “mystical.” And while Peter/Spidey certainly displays a bit of individual agency in this issue, overall it’s really a story about a totally different character.

We can celebrate a new person of color, too, as Cindy Moon appears of Chinese ethnicity, although I wonder if it’s a bit too on the nose to give her the codename Silk. Her costume consists of webbing generated from her fingertips, but the result is more like a mummy than a superhero. One with lacy upper arms. The costume is nicely rendered by Ramos, but I wonder if it’s one of those where it will only look best under the pencil of the original artist. Overall, I give it a pass, though. It’s a bit too generic and feels incomplete.

Uncanny X-Men #23 – Review

By: Brian Michael Bendis (writer), Kris Anka (artist)

The Story:Alison and the Terrible, Horrible, No Good, Very Bad Day.

The Review: Last month Uncanny X-Men’s first arc came to a rather definitive end. We saw the resolution of the vast majority of the title’s plot threads including Mystique’s rule of Genosha, Dazzler’s imprisonment, Hijack’s dismissal, S.H.I.E.L.D.’s war with the New Xavier School, and the overarching Sentinel plot. Given this significantly cleared agenda, it’s not surprising to see an Original Sin banner proudly flown across the cover.

Event tie-ins are frequently frustrating issues, but for any readers considering waiting for the next “real” story arc to begin, Uncanny X-Men #23 is worth picking up. “The Last Will and Testament of Charles Xavier” is a thematic tie-in at best with not a single mention of the events of “Original Sin”. Even if it were connected to “Original Sin”, this is barely a part of the “Last Will” story. Despite the unambiguous cover, this issue has a clear purpose and that’s hooking readers and setting up the first slew of new conflicts for the book’s second ‘season’.

In this role, as something of a ‘soft pilot’, the book is pretty great. Bendis provides the much needed fallout from last issue’s events, rededicates himself to interpersonal drama, and introduces multiple new plot threads.

One of the best things that Bendis does in this issue is step back and give the title a dose of perspective. We’re all able to accept some pretty wacky things while still holding a comic to some standard of logic and realism, but Bendis has his cake and eats it too by reminding us just how crazy it all is. The results are humorous but make enough sense in the characters’ world no to distract from the story. While one example from She-Hulk has been getting a lot of attention, the best one comes in the opening pages as Bendis reminds us of what it means to be an ant among gods.

Fantastic Four #7 – Review

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

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

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

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

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

Fantastic Four #6 – Review

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

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

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

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

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

Mighty Avengers #11 – Review

By: Al Ewing (Writer), Greg Land (Penciller), Jay Leisten (Inker), Frank D’Armata (Color Artist), VC’s Cory Petit (Letterer), Francesco Francavilla (Cover Artist)

The Story: 

Who’s the black New York cop
On the “freak beat” with a hero squad?
DAD! Ya damn right.

Who is the man that would throw down
With a were-beast man?
DAD! Can you dig it?

Who is the cat that will team up
With Afro Blade and his goggles?
DAD! Right on.

They say that Cage’s dad
Is a bad mother – (Shut your mouth)
But I’m talkin’ ’bout his DAD – (We can dig it)

He’s a complicated man
Who’s been hidin’ all this stuff from his son
(Luke Cage!)

The Review:
I’m not sure how much it was planned to have this issue coincide with Father’s Day weekend in the U.S., but it sure was appropriate. This issue is all about Luke Cage’s dad, James Geary, and an untold tale of what we can dub the “70s’ Mighty Avengers.”

I’d like to get the familiar criticisms out of the way and take the opportunity to add one more. First, yes, Greg Land displays his usual strengths and weaknesses. In particular, I’d point out the double-page spread of the Kaluu-Blade fight as a strength, and the utter lack of any visual context with the page-turn appearance of “the Bear” that does nothing more than serve as an opportunity to show a very Land-y fashion pose. The colorist is also to blame on that one. Really, the only thing connecting that “panel” to the ongoing story is the dialogue.

Mighty Avengers #10 – Review

By: Al Ewing (Writer), Greg Land (Penciller), Jay Leisten (Inker), Frank D’Armata (Color Artist), VC’s Cory Petit (Letterer)

The Story:
Sad times on the Blue Area of the Moon, and prices aren’t the only things being slashed at the Biggest Buy store.

The Review:
One thing that’s rapidly characterizing Al Ewing’s run on Mighty Avengers is a good, conscientious use of continuity, both in context of the book itself and in the Marvel universe overall. This issue in particular picks up ongoing subplots and, even with a cross-over into the narrative of the Original Sin, does well to stand on its own as a solid example of comicbook storytelling.

The events of the Original Sin storyline show up twice here: One, as the Avengers battle a Mindless One in New York, and Two, as Blue Marvel checks in on the Watcher’s family. The battle sequence is quick– only three pages– although it offers Photon a key moment, where she builds a powerful attack that lays the monster low. It’s a nice moment for Photon, where she also explains a bit about her previous experience with NextWave. Unfortunately, it’s not a very clear explanation. It’s equally unfortunate that after her attack she only appears one more time, if you count being in the background of a small panel with her head cut off by the frame as “appearing.”

The more extensive use of the event brings Adam Brashear/Blue Marvel to the Watcher’s “family,” namely Ulana, his “wife,” and their baby. This naturally extends from the Brashear’s friendship with the Watcher (long-standing continuity, apparently), but it also provides a way for him to deal with the events of previous issues and the loss of his own family. It’s effective characterization for Brashear, while also providing a lot of humanity (for lack of a better word) in memorial for the Watcher. (That “humanity” is doubly ironic since the scene explores many quite alien concepts.)

Original Sin #2 – Review

Jason Aaron (Writer), Mike Deodato (Artist), Frank Martin (Color Artist).

The Story: Who holds the eye?

The Review: The answer to the above question has more than one answer, as this issue we learn the identities of a trio of characters who hold one of the Watcher’s eyes. The character reveals are seriously out of left field, certainly not the usual suspects  which is a wonderful change of pace from the usual annual event tradition of recognizable heroes, villains and narrowed focus. Much as I delighted at the oddball team-ups that occurred in the first issue, the villain partnership that is presented in #2 feels incredibly fresh and exciting. The mystery angle of this series is quickly displaying how effective it is at throwing curve balls at, and surprising readers. Lets hope that the remaining six issues continue this trend.

The story’s scope continues to grow with this issue as more heroes become involved, Avengers, X-men, street-level heroes and newer faces like Nova join the manhunt for Uatu’s murderer. Not all of the characters play key roles in the issue but their inclusion does give the series the star power it needs for it’s summer blockbuster status. Where the issue does really shine is when it focuses on Nick Fury, clearly the star of the series, taking on a not-so-Mindless One in his flying car above New York. Aaron writes a fantastic Nick Fury, utilizing an array of outlandish spy gadgets to interrogate and later dispatch of his quarry with Steranko-esque style.

Original Sin #1 – Review

by Jason Aaron (Writer), Mike Deodato (Penciler), Frank Martin (Color Artist).

The Story: Nick Fury comes out of retirement to solve the case of the Watcher’s murder.

The Review: Opening issues to event stories always seem quite difficult to pull off, there is always a hefty amount of set up to achieve and pieces put into play whilst still telling an entertaining story on a larger than normal canvas. Jason Aaron and Mike Deodato manage to achieve all of this and more in the first issue of Original Sin which has been marketed as a cosmic murder mystery, the issue feels very different to either the politics of Civil War or the paranoia of Secret Invasion which helps make the event feel fresh.

The writing in this issue feels a lot more character focused than in a lot of event books, with Nick Fury taking something of a starring role, cast as the ‘retired and tired gumshoe being dragged back for the case of the century’. The diner sequence in this issue is a great way to introduce readers to our protagonist as Nick Fury along with other old soldiers of the Marvel Universe attend their regular ‘meat night’. It’s a great way to show how the history between these characters continues to inform their interactions in the present and feels like a very natural conversation between a very natural grouping of characters.

The opening sequence is also incredibly cinematic, ably rendered by Mike Deodato who could not be more of a perfect fit for this Noir murder mystery tale, the book is appropriately dark and shadowy which helps to really sell the tone and mystery of the story. Deodato frames certain panels with such a striking use of shadow that it can’t help but leave an impression upon the reader; the panel revealing Stephen Strange and also the panel showing the Mindless Ones writing in a warehouse immediately come to mind as some of the best examples of the artist’s use of dramatic lighting to great effect in the issue.

Aside from the mystery of the Watcher’s killer there are multiple other mysteries at play in the issue, the most obvious is Fury’s investigation of ‘the unseen’, its unknown at this point who or what exactly the unseen is but this issue succeeds in building mystery and suspense around the answer. The second mystery at play is somewhat more subtle, on first reading it appears that Fury himself is responsible for recruiting the investigation team consisting of some delightfully oddball groupings, however the way the characters refer to their boss is curiously vague. The only time we see the person directing the teams efforts on panel he is of course draped in shadow, also he is shown to be holding a glowing green object much like the growing shrapnel that is later retrieved from the Watcher’s skull. At this point it’s too early to tell if it’s Fury, someone else or a red herring but it’s a very enjoyable feeling knowing that the creators are confident in the mystery of their story enough to play with the readers, even in the first issue.

C2E2 Report: Wolverine – 3 Months to Die

 

Though I didn’t plan it this way, my final panel of C2E2 was Marvel’s Wolverine: 3 Months to Die. And while I regret not being able to see a couple of the later panels, I can’t say that it was a bad note to go out on. Full of interesting questions and big announcements, it was definitely one of the most exciting panels of the weekend. And so with that in mind, I’ve decided to skip ahead and write about it early.

Before beginning, Mike Marts warned us that, “in true Marvel fashion you should stay till the end of the credits. And on that ominous note he introduced our panelists, Charles Soule, writer of nearly everything including The Death of Wolverine and Thunderbolts; Jason Latour, writer of Wolverine and the X-Men; Russell Dauterman, the artist on the upcoming Cyclops ongoing; Jordan White, the fantastically mustachioed editor of Deadpool and Thunderbolts; Mahmud Asrar, the artist on Wolverine and the X-Men; and Greg Pak, who might have seemed a strange addition to those who had not yet heard the rumors.

The panel started with Dauterman, who was unequivocal in his glee and honor at being invited to work on Cyclops alongside Greg Rucka. Dauterman attributed much of his love of the X-Men, Marvel, and comics to X-Men: The Animated Series. With an impish gleam in his eye, Jordan White immediately leaned forward and invited us to take part in a ukulele sing-along of the show’s classic theme song, despite its lacking any discernible words. Unfortunately the internet has thus far failed in its basic purpose by not providing a video of the event, though a quick search can probably turn up video of other instances. Regardless, take my word that it was extremely well received.

Marts then turned to Wolverine and the X-Men. He asked Mahmud Asrar who his favorite character to draw was. Asrar had trouble with the question, saying that they’re all growing on him, but settled upon Storm. Latour mentioned that the series has been juggling quite a bit but that we’re getting to the point in the opening arc where things start to fall.

Then Marts pulled up the covers for Wolverine 8-12, the titular “3 Months to Die” storyline, one at a time. I imagine the reaction was just about exactly what Marvel was hoping for but, of course, it’s hard to deny the striking power of the images.

While the first of “3 Months to Die”’s five issues drops in June the title is entirely literal, as Charles Soule’s The Death of Wolverine will be released weekly in September. Soule described the miniseries as hitting fast and hard and explained that it would consider how Logan explores his own mortality after over a century of life and relative safety. He also revealed that each issue will look at a different time in Logan’s life and, by extension, another Wolverine.

Original Sin #0 – Review

Mark Waid (Writer), Jim Cheung & Paco Medina (Pencilers), Justin Ponser (Colorist).

The Story: Sam Alexander bonds with Uatu the Watcher over their paternal issues.

The Review: Daddy issues, all of my favorite heroes from Jon Snow to Scott Summers have them. I would never have listed Uatu and Sam Alexander as part of that group before reading this fantastic issue that sets up Marvel’s big summer event with a quiet, character driven prelude.

I’m not entirely sure how much of Uatu’s origin that was revealed in this issue was the invention of Mark Waid and how much (if any) had already been established but this story injected a lot of pathos and tragedy into a figure that has always been slightly lacking in depth of characterization. Much like with his stellar work on Daredevil, Waid shows a fantastic knack for taking the established framework of a character’s history, personality and powers and putting a unique spin on it. Throughout this issue Waid concretely explores the background of Uatu and his race, explains why the Watcher’s watch, the reasons behind their vow of non-interference as well as the why of Uatu’s seemingly constant struggle to uphold said vow.

Another unexpected treat within these pages was the inclusion of Nova, I’ve been following the Nova book with varying degrees of interest as it’s gone on but assumed that his inclusion in this #0 issue was just part of Marvel’s attempt to promote the character. While that may be true to an extent, his inclusion in this issue feels organic and vital as seeing the Watcher through a relatively fresh set of eyes allows the reader to view him in a different light.