Avengers A.I #4 – Review

by Sam Humphries (Writer) André Lima Araujo (Artist), Frank D’Armata (Colorist)

The Story: Vision tries to calm the people of the Diamond from Dimitrios while the rest of the team try their best to pick up this A.I. city.

The Review: Better be ambitious than be dull. From my perspective, it’s always more entertaining to see an author try to infuse some newer or expansive elements rather than play it safe. It’s not always the safest way to write a solid issue in terms of plot and characterization, but comics have a particular potential for craziness, especially cape comics.

It is why it’s especially disappointing to read this issue of Avengers A.I., as Sam Humphries barely use many of the interesting additions he created for his series. While he does try to add some twists to the conflicts of the book and to some characters, it either doesn’t go far enough or simply never connect in a relevant way to the issue as a whole.

The first place where Humphries seems to go astray is with the Diamond, the strongest concept of the series so far. Full of potential and with some of the better concepts already in place thanks to the previous issue, the advancements and some of the good ideas seems to be dropped in favour of the plot, with Dimitrios and Vision being put to the forefront instead of any development of this decidedly great idea. It’s a shame that the Diamond is delegated to the background, both literally and figuratively to put super heroics to the forefront, diminishing in the process what could have separated this title from the more regular cape fare.

Avengers A.I #3 – Review

Sam Humphries (Writer) André Lima Araujo (Artist), Frank D’Armata (Colorist)

The Story: Vision learns about a whole society of A.I living in a place called the Diamond as the rest of the team discovers how humanity resents robots now that Dimitrios just did his thing with their bank accounts.

The Review: New series have a hard time. They have to sell you their concepts, their characters, their themes and make sure they can hold on the reader’s attention for the long game. Whether they are independent titles or capes, they have much of the same trouble, though of varying degrees if they try something that hasn’t been tried before.

Such is the woe of Avengers A.I, a title that try to incorporate the idea of sentient artificial intelligences trying to be accepted as peoples by the regular populace. While the idea of a whole slew of beings having trouble being recognized isn’t anything new (cue X-Men joke), there were some decidedly interesting ideas that could be developed from such a premise. However, the previous issues never really did take advantage of the setting and the themes, which was definitely disappointing. Still, does Sam Humphries manage to make the most of it this time around?

Surprisingly, yes, as he brings a very interesting idea that truly does relate to the theme of artificial intelligence in a scene focusing between Dimitrios and Vision. Introducing the Diamond, a whole digital city full of various artificial persons and programs living in a society that is unique to them. It is a wonderful concept that gets explored in a small dose in this issue, as some of the rules, their roles and how they perceives themselves is touched upon a bit while Vision and Dimitrios share some small dialogue between each other. It’s almost a shame that the humanity versus A.I debate is one of the bigger focus of this issue, as this concept has so many potential, it demands to have more focus put on it.

Avengers A.I. #2 – Review

By: Sam Humphries (Writer), André Lima Araujo (Artist), Frank D’Armata (Colorist)

The Story: As the team deals with a Sentinel, Dimitrios appears on stage to preach his message.

The Review: Pacing is important. It may seem like an obvious and bland statement, yet it is also true. If a comic goes on too fast or does not allow enough space for its plot and character to properly develop and become interesting, it makes for a mess of a comic that turn out to be rather unsatisfying for the readers.

In an unfortunate matter of fact, this is exactly what plagues this issue of Avengers A.I. as Sam Humphries storm through a lot of concepts, ideas and scenes in order to bring it to a point that could have been explored further down the line. While the idea of a quantum hyperactive being, a sentinel gaining sentience and the arrival of Dimitrios could make for some potentially good action and plot, everything seems rushed in order to arrive to a certain point, leaving these elements as vague or simply laid out in inconclusive terms.

One of those elements that could have benefited the most from a slower pace would be Alexis, a new character that had been introduced as the big reveal in the final page of the latest issue. Instead of revealing to us who she is or how the character reacts to what she is, she is simply thrown in, moving her from point A to B without us readers seeing how and why she got there. The introduction of the character is not helped as she is barely explained, without motivations or true showcase of her ability beyond origami. Mystery characters can become interesting, yet there is a need for a basis for the readers to care, something that Humphries does not provide.

Ultimate Comics The Ultimates #27 – Review

By: Joshua Hale Fialkov (Writer), Carmine Di Giandomenico (Penciler), Lorenzo Ruggiero (Inker), Jim Charalampidis (Colorist), VC’s Clayton Cowles (Lettering & Production)

Review: I didn’t know quite what to expect from Fialkov’s run on The Ultimates. Previously I was only loosely aware of his work on I, Vampire, and even so he was a pretty unexpected announcement when the time came for DC’s post-Geoff Johns Green Lantern plans. Those were some pretty huge shoes to fill, so maybe things worked out best the way they did. Or maybe not. I mean it’s not like Sam Humphries was a tough act to follow – my thoughts on that are well documented – but even so, what he’s achieved here is remarkable. Under his stewardship The Ultimates has evolved from a book that I’d come to borderline despise with every ounce of my being to one that surprises, thrills and horrifies (in the vey best way). As far as the Ultimate universe goes, it’s a revelation.

In this issue our heroes are either already round beaten, or in the process of being beaten. Following the recent last few issues’ Infinity Gem-fuelled madness – whereby Reed Richards, Hulk, Quicksilver and a funky version of Kang the Conqueror have teamed up to rule/save/destroy the universe – the Ultimates are scattered and lost in a world of hurt. Cap and Hawkeye are Kang’s prisoners, rooted in a jail from which there seems no escape. Ben Grimm (does he even go by ‘The Thing’ in the 1610 anymore?) and Susan Storm are being chipped away piece-by-piece, literally, by Quicksilver. Thor’s facing an unfeasibly over-powered Hulk. And Tony…well, Tony’s predicament is the worst of the bunch.

Really, there’s no concern in spoiling the Reed Richards’ interrogation of Tony Stark in this issue; the cover tells you almost all you need to know. Tony is strung up in a lab, prostate and paralyzed as Reed digs into his brain in the search for an Infinity Gem. Say what!? Yeah…Tony’s brain tumour was actually a magical space gem all along, which kinda explains the whole ‘Little Anthony’ situation. This scene underpins the majority of the issue, and Fialkov revels in the horror. And horrific it is. The most pertinent corollary I can think of is the infamous ‘Brain Dining’ scene in Hannibal, minus the cannibalism. Reed’s also a much more refined tinkerer, and an even more sadistic captor – he keeps Reed conscious and cogent throughout, taunting and mocking Tony’s pleas for compassion and surrender. It’s a brilliant scene, stuffed as it is with dialogue almost as sharp as Reed’s scalpel and a sense of dread that builds up to a truly macabre climax. That bit I won’t spoil.

Avengers A.I #1 – Review

By: Sam Humphries (Writer), André Lima Araujo (Colorist) Frank D’Armata (Colorist)

The Story: The self-replicating virus that killed Ultron is kind of becoming a problem. Thankfully, Hank Pym has a solution.

The Review: Sam Humphries is a strange beast. No, I do not think that he is a rather weird creature rather that he kind of baffles me as a writer. He seems to be able to bring new ideas to the table, to be willing to shake up the status quo in the books that he is writing, yet not all of these qualities managed to give us a book that I can truly say satisfied me. I’ve read his Uncanny X-Force a bit and I am kind of sorry to say that I was less than impressed by his tenure on Ultimate Comics: Ultimates, which made me drop the title. Why am I actually giving him a chance then when he has disappointed me a number of times?

Simply enough, it is because I like robots and Hank Pym, which made me willing to give him a chance on this title featuring both these elements. However, does he succeed in giving us an issue that is compelling enough for us readers to warrant coming back for another issue?

Ultimate Comics The Ultimates #24 – Review

By: Sam Humphries (Writer), Joe Bennett (Penciler), Ruy José (Inker), Matt Milla (Colorist), VC’s Clayton Cowles (Letterer)

Review: I’ve taken a l’il sabbatical from my Ultimate Comics Ultimates review duties of late. Partially this is the fault of Bioshock Infinite and Injustice: Gods Among Us – both of which give Heroin and Marshmallow Fluff a run for their money in the addiction stakes – and also because I thought it best to give Sam Humphries a break. Most of his issues I’ve…well, ‘savaged’ is a strong word. I’ve ‘lightly rebuked’ them? Yeah, that sounds better. However I honey-coat it though, here’s the main gist; this has not been a good run. At its best Humphries’ Ultimates has read like a parody comic flirting dangerously near Robot Chicken territory while at its worst it’s been one of the most depressing uses of a Marvel licence since *dry-heaves for a few minutes* that Hasselhoff Nick Fury film *vomits all over his keyboard*.

Ultimate Comics Ultimates #22 – Review

By: Sam Humphries (Writer), Joe Bennett (Penciler), Ruy José (Inker), Matt Milla (Colorist), VC’s Clayton Cowles (Letterer)

Review: I have trouble sleeping some nights. It’s this recurring dream I have: every comic writer I’ve ever trashed in print lines up and takes turns kicking me right in the nuts. On and on it goes. Brian Wood’s been getting a few jabs in there lately. Joe Keatinge nearly took ‘em clean off the other week. But even in the grip of deep sleep my body physically convulses when Ultimates writer Sam Humphries steps up to the plate; by Christ, that man must be able to power a Pedalo at an impressive rate of knots with those well-developed calves. And that’s not even the half of it. I always know that at the back of the queue stands Jeph Loeb, a &$@!-eating grin on his face and steel-toed,  rocket-powered boots on his feet. Bring it on Loeb, I’ve had worse; I read Ultimatum…twice.

Uncanny X-Force #2 – Review

By: Sam Humphries (Writer), Ron Garney (Penciler), Danny Miki with Scott Hanna (Inkers), Marte Gracia with Israel Gonzalez and Wil Quintana (Colorists), VC’s Cory Petit (Letterer)

The Review: One of my big comic book regrets of late is that I didn’t pick up Remender’s run on Uncanny X-Force. I borrowed the odd issue from friends but didn’t get the big picture, and from what I hear the whole run is an epic Must Read; I’m basically waiting for Marvel to package the whole thing up in an Omnibus edition so I can try and read it all in one massive sitting. Anyway, the point is that as well as missing out on some great storytelling, I also feel that I’ve missed out on some key moments which inform Sam Humphries’ turn on the title.

This feeling was a bit more pronounced with the first issue (lots of vague plot points discussed between Storm and Psylocke and glimpsed in flashback panels) but the sense still lingers here. This, along with the general bluster that dogs the books composition, makes things a little hard to follow. I can’t quite work out whether I like it or not. There’s good and bad, and I’m not sure if any one side really wins out.

Ultimate Comics Ultimates #20 – Review

By: Sam Humphries (Writer), Scot Eaton (Artist), Rick Magyar w/Andrew Hennessey & Dave Meikis (Inkers), Matt Milla w/Andy Troy (Colorist), Clayton Cowles (Letterer)

The Review: If Jeph Loeb hadn’t irrevocably depleted my levels of Ultimate-based rage with the debacle that was Ultimates 3/Ultimatum, I’m pretty sure I’d be tearing this comic to bits with my teeth right now. As it stands, I’ve grown used to the Ultimates occasionally being neglected by Marvel’s quality control department like it was a red-headed stepchild and, as such, Sam Humphries’ run has elicited little more than a ‘meh’ from me most months. This month however, something in me snapped; we Ultimate fans deserve better than this.

Okay, so let’s start with possibly the biggest problem: the art. Since the wonderful Esad Ribic hit the ‘Eject’ button, departing Ultimate Comics Ultimates alongside Jonathan Hickman, the title has largely taken on an uneasy Boy’s Own look which felt totally at odds with the mature themes it was seeking to explore. It’s been difficult to take the Civil War-vibe and political posturing seriously with everything looking so bright, puffy and rounded, and that sense of disparity lingers here like a bad smell. For me, this is one of those Marvel titles which requires its art style to have one foot firmly rooted in the grimy, gritty ‘real’ to be truly effective. Bryan Hitch, Carlos Pacheco, Leinil Yu – who I feel have produced some of most definitive treatments of the Ultimates – all had a knack of conveying that sense of widescreen action that is so key to Mark Millar’s original blueprint. Scott Eaton’s work, much like Luke Ross’ before it, just feels too squeaky clean and fails to imbue enough drama into the scenes of volatile Hydra rebellion which lie at the heart of Humphries’ story.

As for Humphries, he’s certainly trying his best to make things interesting. There’s a double-agent plot, Hydra member melodrama, a shadowy organisation bent on unleashing a team of anti-Ultimates and Thor and Susan Storm investigating the secrets and whereabouts of the Infinity Gems/Gauntlet. That’s a hell of a lot of ground to cover in 20 pages and inevitably some of the spinning plates were destined to take a tumble. Frustratingly, what I found the most interesting element of all was the Thor and Susan Storm vignette, but with space at such a premium 2 pages is all Humphries could afford that story this month – the same is true of the “shadowy organisation” bit.

Uncanny X-Force #1 – Review

By: Sam Humphries (Writer), Ron Garney (Artist), Marte Gracia, Israel Gonzalez (Colorists)

The Story: Psylocke, alongside Storm and Puck, gets on a case of hive-minding drugs thanks to a tip given by Wolverine.

The Review: This book has an incredible challenge ahead of itself. Not only it is a first issue which needs to captivate readers with some unknown characters and setting, but it is the direct follow-up to a beloved tenure on the title by Rick Remender. Writer Sam Humphries has some huge shoes to fill on this title.

Thankfully, there seems to be some potential for this new volume of the series, as there are a lot of elements that are taken and followed from the previous run, while there are some new ideas and characters added to the mix to make this worthwhile. There’s the definitive touch of Remender inside this issue, but Humphries does not shy away from new directions.

Ultimate Comics Ultimates #18 Review

By: Sam Humphries (Writer), Luke Ross (Artist), Matt Milla (Colorist), Clayton Cowles (Letterer)

The Review: Sometimes it’s hard being an Ultimate Comics fan. If it isn’t Jeph Loeb sadistically eviscerating all of your favourite characters, it’s encountering an element of snobbishness from the 616-only crowd. “Grubby little pockets universes,” they’ll sneer in a Gollum-like manner, “Is the anti-Precious! Unclean! Unclean!” With a heavy sigh you might have the energy to point such doubters towards Warren Ellis’ run on Ultimate Fantastic Four, Millar’s Ultimates 1 or 2 or pretty much any volume of Ultimate Spider-Man in an attempt to change their minds. More often that not you’ll just tell them to go stick their head in a sandwich toaster. What you should definitely not do is show them a copy of Ultimate Comics Ultimates #18; such an ill-advised course of action would only lead to disaster, mockery, and an evening spent crying into the pillowy rump of your beloved Ultimate Blob plushy.

John Carter: The Gods of Mars #5 – Review

By: Sam Humphries (story), Ramón Pérez (art), Jordie Bellaire (colors)

The Story: Poor John Carter just can’t manage to keep his wife for long, can he?

The Review: You know one thing the old-timey storytellers knew how to do really well that modern ones either avoid or screw up?  They knew how to bring their heroes to the brink of a happy ending, then wrench it away in the most heartrending way possible.  It’s a very melodramatic fictional tactic, one that can easily go too far awry, but done right, it packs an emotional wallop.  Don’t tell me you saw the ending of Casino Royale without feeling for Bond.

Considering the corny—but tasteful—quality of this mini, you would’ve thought an ending where Carter and Dejah reunite and Issus goes down for good, leaving Barsoom in the light of a new era of pace, was inevitable.  But when—spoiler alert—the issue ends and none of those things happen, it leaves you in disbelief and sympathy for our hero.  This series has been calling out your inner child and it’s with a child’s disappointment that you go through the conclusion.  It’s as if you’re re-experiencing a bittersweet ending for the first time.

John Carter: The Gods of Mars #4 – Review

By: Sam Humphries (story), Ramón Pérez (art), Jordie Bellaire (colors)

The Story: This–is–Barsooooom!

The Review: As I explained to Jim in the comments to my review of The Avengers, I like to review and grade everything on this site according to what legal minds call a “partially individualized” test.  It means while I do make a big effort to be as objective as possible, I also give some weight to what the creators’ intent.  It doesn’t really make sense to evaluate, for example, a cartoon on Nickelodian in the same way I do for a literary masterwork.

So when it comes to a pulpy piece of sci-fi, I definitely offer a lot more leeway for cliché and silliness than I would with almost every other genre.  Obviously, the intention with these things isn’t to create some radical new form of storytelling; all these stories really want to do is provide an entertaining diversion that’s almost comforting in the way it relies on classical conventions.

John Carter: The Gods of Mars #3 – Review

By: Sam Humphries (story), Ramón Pérez (art), Jordie Bellaire (colors)

The Story: People throw swords at you to show moral support.  This really is a different world.

The Review: I personally view the purely written mediums of poetry and prose as superior to every other form of art because of how much substance they can convey in even the most restricted circumstances.  Because your own experiences and imagination are supplying all the visuals and drawing out all the subtext (and there’s much more subtext to be had because, well, there’s more text), you invariably get more out of the written word than any other medium.

For that reason, films, television, and comics all suffer because of the limitations of time and space.  When you indulge in a movie, a TV episode, or a monthly issue of some title or other, you reasonably expect something major to happen each time, an expectation you don’t strictly hold against chapters of a novel.  Exposition consistently causes suffering in other forms of storytelling because they must come out in the dialogue, and that takes time away from moving the plot forward.

John Carter: The Gods of Mars #2 – Review

By: Sam Humphries (story), Ramón Pérez (art), Jordie Bellaire (colors)

The Story: Whoever wrote the gospels on Barsoom clearly didn’t do his research.

The Review: Among the many plot elements John Carter sort of threw out there, yet never felt the need to elaborate upon, was the exposure of the Therns as false gods.  So much of Barsoom’s culture revolves around these mysterious figures that such a revelation should have made much more of an impact, but it came off as little more than a vaguely interesting plot twist.  If the producers expected a couple sequels to develop the storyline, they may be very disappointed.

So it’s left to this miniseries to reveal how Barsoom will deal with their whole spiritual dogma getting turned on its head and inside-out.  And by “Barsoom” I mean the planet as a whole, since this issue reveals that pretty much every single race has the wool pulled over their eyes.  Just as the Therns hold themselves out as “a holy race” and prey upon the common Martians and Tharks, the Black Pirates of Omean consider themselves “the first born” and prey on the Therns in the name of Issus—who just so happens to be the same divinity the Therns claim to act for.

John Carter: The Gods of Mars #1 – Review

By: Sam Humphries (writer), Ramón Pérez (artist), Jordie Bellaire (colorist)

The Story: Spend some time on Mars and Earth religions start looking pretty good, eh?

The Review: Even though I found John Carter visually exciting, bordering on spectacular, ultimately the whole movie fell flat from uneven pacing, clumsy structure, and blandness in the plot and character.  What’s particularly frustrating about the underwhelming quality of the movie is it belies the rich potential of the story itself.  There’s a minor epic to be had here, if we can find the right people to bring it out.

From the initial look of this issue, Humphries may be one of those people.  He dives right into the action, refusing to tarry with fancy narrative techniques or swaths of exposition.  Right away, he understands that a story like this works best at a breakneck pace, so he never allows you to linger for very long in quiet before the pulp kicks up again.  Almost as soon as Carter awakens to find himself back on Barsoom, he’s surrounded by danger and must fight for his life.  And would you have it any other way?

Within eight pages, Carter’s already on the verge of death, prompting the timely arrival of a valuable ally.  Tars Tarkas serves a valuable role in the plot by not only ciphering necessary information for Carter’s (and our) benefit, but also generating a lot of warmth through his obvious affection for his Earthman friend.  Much of the feel-good factor of this issue comes from the pairing of these unlikely buddies: “John Carter, my heart is glad you have returned.”  “Tars, you steely-eyed buzzard—the feeling is entirely mutual!”