New Avengers #19 – Review

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

The Story:  Norman Osborn explains the mission statement to his new Avengers and Victoria Hand plays her…hand?

The Review:  Every now and then, as a devoted comic reader, you find yourself reading something that’s just mind-numbingly stupid.  New Avengers #19, for me, is one of those times.

There is so much within this general plot that is so poorly conceived that even a diamond hard suspension of disbelief would find itself fractured.

With respect to this “HAMMER War,” Bendis tips his hand a bit and what we get is….a complete redux of Dark Reign, only shittier because we’ve seen Osborn’s plans fail once before already.  Even these new (and even more D-list) Avengers themselves ask Osborn (as I suppose many readers will as well) what makes this effort by Osborn any different from his last efforts under Dark Reign.  Norman’s answer is so vapid and empty that it can’t even be called an answer at all. Seriously, one of his reasons is that they now have a “Hulk.”  Right, because that’s more impressive than having the freaking Sentry and a GOD on your team? This is simply the same shit all over again and even though it failed once, we’re going to see it again.  Just because.

I remember when Dark Reign started up, a lot of people had believability issues.  Would the American government really give so much power to a former supervillain?  Well, given the very public failure of Osborn and how his general craziness was exposed for all the world to see  in Siege, this second effort by Osborn only becomes all the more unbelievable.  We get the same old scene of Osborn and his Avengers rushing in to save the day and hence get in the good graces of the American public while upstaging the New Avengers.

Are you kidding me?  Are we really going to see the American public embrace Osborn who is currently an ESCAPED PRISONER with NO government backing?  Really?  How can this even be a plot point?  The result is either going to be really stupid or an incredibly cynical take on the American people, possibly both.

And don’t get me started on Hand’s treatment.  I can’t help but feel that all the potential in Hand, who I called one of the best things to come out of Dark Reign back at the start of the Heroic Age, is flushed down the toilet this month.  All that cool stuff about the character proving herself, redeeming herself, all that back-and-forth banter with paranoid ol’ Spidey…it’s all for nothing, as Bendis goes three steps backwards with the character.

Avengers Prime – Graphic Novel Review

by Brian Michael Bendis (writer), Alan Davis (pencils), Mark Farmer (inks), Javier Rodriguez (colors), and Chris Eliopoulos (letters)

The Story: Steve Rogers, Iron Man, and Thor find themselves trapped in a strange, Asgardian realm and under attack from Hela.

The Review:  Sometimes you get a comic that is not at all what it was advertised as.  Judging from the preview of the first issue of Avengers Prime, as well as Marvel’s hype around the miniseries, you’d think you were getting a comic that was heavily reliant on the aftermath of Siege.  You’d also think that you were about to get a thrilling comic focused on Steve, Tony, and Thor yelling at each other about the events of the last ten years of Avengers continuity.

Oh, thank God that this couldn’t be further from the truth.

Funnily enough though, for the first few pages, that’s exactly what you get.  And really, those first few pages are by far the weakest portion of the book.  Then out of nowhere, the comic entirely shifts and you end up getting a continuity light (Steve Rogers falling in love with an elf chick), high fantasy comic that is barrels of old school fun for everyone.

Of course, when you say “high fantasy,” Brian Bendis most likely isn’t the first writer that comes to mind.  In fact, he’s probably not the last one either.  However, Bendis actually acquits himself really well here.  There’s something about the new setting and genre that revitalizes Bendis’ work, giving freshness to it.  You don’t really get any of the usual Bendis foibles of mischaracterization and irritatingly repeated lines of dialogue.  Instead, you get a comic that’s all fantasy ass-kicking and when there are “moments” between the Big Three, they feel genuine and sincere, and certainly more than enough to put a smile on your face.

Journey Into Mystery #622 – Review

by Kieron Gillen (writer), Dougie Braithwaite (pencils), Ulises Arreola (colors), and Clayton Cowles (letters)

 

The Story: Loki goes on a quest to discover the secret behind his elder self’s demise.

The Review: This is quite possibly the best work of Kieron Gillen’s career, or at the very least, it’s among that work.  Regardless, this should be star-making work and I will seriously lose faith in comic-reading humanity if that isn’t the case.

But I’m getting ahead of myself, so let’s get into the nitty gritty.

What truly makes this issue special is the excellent use Kieron Gillen makes of the new child Loki.  By putting Loki on a magic-infused, fantasy genre quest, he gives off an epic feel that gives off a hint of Rick Riordan’s Percy Jackson novels and their ilk.  The one special kid who goes on a heroic, epic quest.  It’s an awesome formula, and Gillen’s putting it to use in the Marvel Universe is nothing short of magical and absolutely unlike anything Marvel’s doing right now but also a fantastic and fresh use of the fantasy Thor corner of that universe that makes the very most of the tools at hand.  It also makes kid Loki more likable than ever.

And that’s crucial too; Gillen writes the hell out of kid Loki.  It’s impossible not to absolutely adore him.  Gillen keeps Loki indisputably a kid, but one who’s hyper intelligent with a mind that’s ever active.  This makes for a character that’s easy to root for and wonderful to read, one with motivations and ambitions that are compelling.  It also leads to some real laugh out loud moments, particularly when it comes to Loki’s eagerness to explore Midgard (including the internet forums!), completely opposite to his Asgardian brethren.

Thor #618 – Review

by Matt Fraction (writer), Pasqual Ferry (art), Matt Hollingsworth (colors), and John Workman (letters)

The Story: Asgard finds itself beseiged by World Tree refugees.

What’s Good: Epic.  That’s a pretty apt description of Fraction’s story thus far, and this issue only cements that.  With refugees coming in from all over the World Tree, there’s a sense of great migration, with Asgard as a final sanctuary.  It’s a massive story and one that suits epic fantasy.  It feels downright big, and when you see all the Asgardians raise their weapons into the air and vow to fight and defy Thoth to the last, it’s a major fist pump moment, sort of like when you first watched the start of the Helm’s Deep sequence in the Lord of the Rings movies.  In other words, it’s pure fantasy comic goodness.

It’s also interesting seeing how Fraction uses Thor this month.  As has occasionally been the case with his Iron Man comic, Fraction seems comfortable with allowing other characters take the spotlight a bit, and the result is some fun character dynamics (Volstagg humorously telling Balder that he’s a crappy king).  It also makes Thor feel all the more pivotal to the book.  Having characters watch him from a distance, or having him show up to interrupt a conflict only makes the character seem, well, mightier.

Pasqual Ferry’s artwork continues to be a joy.  With all the goblins and storm colossi and various critters that storm Broxton this month, Ferry also gets a chance to let his creative juices flow.  The end result is another really visually fun issue.

I also should mention that readers complaining over Fraction’s pacing of this series should be happy this month.  The story definitely feels like it’s moving forward and building momentum and there’s a definite sense of progression.  Things are building up to a fever pitch, stands are taken, and the pieces are just about set, with the story and conflict to come being crystal clear.

Thor #617 – Review

by Matt Fraction (writer), Pasqual Ferry (art), Matt Hollingsworth (colors), and John Workman (letters)

The Story: Thor awakens the resurrected Loki and Dr. Eric Solvang finally finds someone to listen to him as Uthana Thoth continues to expand his dominion.

What’s Good: In all honesty, if you’ve liked Matt Fraction’s first two issues of Thor, you’re going to like this one for pretty much all of the same reasons as the quality remains utterly consistent.  It’s still the epic, quirky mix of fantasy and old school sci-fi that’s had me raving over the last couple of months.

Beyond that though, this issue introduces an elephant into the room: a resurrected Loki.  I’ll admit, while I was curious, I was also a bit miffed; Loki’s death was a big event at the end of Siege and was examined nicely by Kieron Gillen, and he’s already being brought back from the dead?  It seemed hasty.

Well, I was wrong to doubt Matt Fraction, as this is far from simply bringing Loki back.  The Loki Fraction introduces is essentially a new character to the series.  I won’t spoil the surprise, but what Fraction does here is utterly ingenious, essentially making an old character completely new and fresh both in personality and what he stands for.  There’s huge potential here.  Furthermore, Loki’s human alter-ego, a child street hustler in Paris, is an absolute delight to read in all his carnie goodness.

I also was surprised by how well Tony Stark functioned in this book.  It’s a character Fraction knows very well, but one that also works very well as a middle-man between the quantum cosmologist Eric Solvang and the Asgardians.  He’s basically a big name Marvel Universe figure who serves as a bridge between these two very disparate genres who both occupy that same universe.  It’s well-done by Fraction.

Art-wise, Pasqual Ferry and Matt Hollingsworth deliver another knockout, even in an issue that’s a bit more restrained, focusing more on everyday environments.  The work is still brimming with character, both comic booky and incredibly polished.  Art-wise, there’s nothing not to like here and I really loved Ferry’s goblins, who made the last page funnier than it should have been.

Siege (Hardcover)-Review

Written by Brian Michael Bendis, Pencils by Oliver Coipel, Michael Lark, Jim Chueng, with art by Lucio Parillo, and colors by Laura Martin, John Rauch, Matt Holligsworth, and inks by Mark Morales and Stefano Gaudiano.

If you haven’t read this yet, there may be spoilers, but if you’ve been reading Marvel, all of this is known already.

Siege may go down in comic history as Marvel’s last big event before everything became an event. At only four issues, it’s hard to imagine that this series is supposed to conclude ten years of Avengers stories, but it does conclude a good three or four, at least from Civil War on. Not only that, but it unites the solo stories of Thor, Captain America, and Iron Man in a way that actually makes a lot of sense. Siege wouldn’t have worked without all three of them, and on a story level, they needed each other to finally defeat Norman Osborn and put down the Sentry.

In case you’ve been living under a rock, Siege is the final battle of Osborne’s Dark Reign. Loki manipulates him into attacking Asgard, which forces Steve Rogers, Iron Man, and Thor to work together for the first time in years. It’s an event designed to do one thing: show why these three Avengers are so important to the superhero community. You can throw anyone you want onto an Avenger team, but when Cap (any Cap, it seems), Iron Man, and Thor are united as one? Well, shit gets done. If this event did anything, it rekindled the magic of superheroes. Civil War, Secret Invasion, and Dark Reign was such a, well, dark time for Marvel that seeing these three heroes come together was an amazing effect. People might not like Bendis, but he’s crafted the tone of the Marvel Universe perfectly over the years to make “the big three” coming together really mean something.

And while we’re on it, let’s talk about Bendis. Most people hate to admit it, but he is one of the best superhero writers out right now. He knows how to craft a story—but that doesn’t mean he always knows how to tell it. Avengers Disassembled was a good concept but poorly executed. House of M was an improvement, but the last couple of issues faltered too much. Secret Invasion was close to being really great, but it was too long and that last issue fell really flat even if the outcome was cool. So how does he do with Siege? Near perfectly, actually. It’s always the end issue that has fans going “okay, now Bendis is going to drop the ball.” But he doesn’t. Every issue is actually really well told, with important things happening. Maybe it’s the shortness of the series that did this—Bendis didn’t have time to drop the ball. That’s not to say Siege is perfect, but out of all of his events, Siege is the best written.

So, why isn’t it perfect? Well, there are a few things missing that might mean four issues were too short. It was a big event, but it could have been bigger. One issue of pure battle (like issue 7 of Secret Invasion) would have served it well. Also, and I know I might be chastised for saying this, the X-Men needed to be involved. Before you decide to hate me, hear me out. The semi-big event before Siege that Marvel made such a big deal about was Utopia, which pitted the Dark Avengers against the X-Men and finished with Cyclops starting his own island nation for mutant. Marvel kept saying and are still saying that the X-Men would be much more integrated with the rest of the Marvel Universe. So, when Captain America is leading the Avengers to Asgard, where are the X-Men? We get one panel of Wolverine and Cyclops watching the news, but I highly doubt that if they saw Cap leading the charge and they were in need of help—say, when the Hood’s army of super villains arrives—he would have stayed home. The Avengers may have appeared in Second Coming (not doing too much), but if Marvel really wanted to unite their universe, Siege was the place to do it. Cap, Iron Man, and Thor could have still saved the day; I’m not saying the X-Men should have done that, but they should have had much more of a presence considering that Osborne is trying to do to the Asgardians what he has already done to the mutants—drive them out.

Thor #615 – Review

by Matt Fraction (writer), Pasqual Ferry (art), Matt Hollingsworth (colors), and John Workman (letters)

The Story: A new age for Thor and Asgard begins, as an ominous threat fills Asgard’s void and rages across the metaverse.

What’s Good: Thor fans can breathe a sigh of relief; Matt Fraction arrives and his first issue is a great one.

While it’s difficult to make sweeping judgments after only one issue, I think that it’s fairly clear that Fraction has a very good understanding of the characters and how to use them.  Thor is appropriately brooding and stoic; his bittersweet feelings about Loki, summarized this month in a kind of informal quasi-eulogy, are a highlight of the issue and are very well written and minimalist enough so as to be affecting.

Yet, Fraction also seems aware of the character’s potential as a comedic straight man.  Fraction shows himself to have an incredibly strong handle of the Thor/Donald Blake connection and dynamic.  I had forgotten what a joy this element of the series can be, what with Blake having been absent for some time.  The chemistry between the two is light-hearted and very funny, with Blake even serving as an unlikely adviser.  A couple of his comments on Thor’s behavior even border on making the comic feel amusingly self-aware.  And I’m not even getting started on Fraction’s Volstagg, who can make even the most otherwise boring scenes funny.

Perhaps the most promising aspect of this first issue, however, is what it does generically, mixing sci-fi and high fantasy.  The issue feels like several things elegantly melded together that should be utterly disparate, but somehow come together to form a kind of fresh, sleek, and completely distinct whole.  You have scenes of blue-skinned evils battling sword-wielding demonic barbarians on a snowy plain transitioning to a discussion of “quantum cosmology.”  It sounds utterly insane, and perhaps it is, but it gives the book a unique life and tone that make it unlike anything else out there.

Thor #613 – Review

by Kieron Gillen (writer), Rich Elson (pencils & inks), Jim Charalampidis (colors), and Joe Sabino (letters)

The Story: Thor journeys across hell on his quest for Eir-Gram while Tyr tries to hold the line.

What’s Good: In this issue, Kieron Gillen’s latest story-arc really feels like it’s come together into something really special.  There’s a greater sense of craft and purpose that leads to a thoroughly entertaining and page-turning experience.

Part of the reason for this is Gillen’s use of narration.  The narration only accompanies the scenes depicting Thor’s quest, but it lends it an epic feel that makes it seem all the more grand and Odysseus-like.  It makes Thor’s journey seem even bigger and more inspired.  It’s also proof of Gillen’s skill as a writer, functioning as an extremely clever way for him to condense Thor’s trek into only a few pages, without making the reader feel cheated or the material rushed.

Better still is how Gillen even goes so far as to bring humour and self-awareness into the book through this narration.  The narrator actually turns out to be a visible character in the comic whose sole function is, well, narration.  He’s actually narrating Thor’s quest for Mephisto as well as us, which somehow turns Mephisto into a reader much like ourselves, almost putting him on our level of experience.  Apparently Mephisto is so powerful, that he’s actually able to read, or listen to, the comic book that he’s in.  It gets even more fun when Mephisto even offers criticism of the narrator’s “writing,” and by extension, Gillen’s.

While Thor’s journey is certainly epic, Gillen also continues to strengthen Tyr as a character.  Gillen has not only brought Tyr back in his run, but also expands the God of War further, making him both conflicted and badass and more compelling than ever.  It’s easy to make a god of war a two-dimensional ass-kicker, and Gillen is doing anything but.  This is a Tyr forced to live up to, and negotiate, that very stereotype despite the fact that he is very capable of feeling fear.  There’s a great shame complex to the character that I love reading.

Thor #612 – Review

by Kieron Gillen (writer), Doug Braithwaite (pencils), John Rauch & Andy Troy (colors), and Joe Sabino (letters)

The Story: Thor and Tyr rush to the rescue as the Disir lay siege to Hela.

What’s Good: In heading to hell to battle zombie valkyrie, Kieron Gillen’s Thor has managed to regain its identity, distancing itself from Siege and giving a story and atmosphere directly opposite to the big event storytelling of earlier this year.  The result is a comic that is entirely unique from anything else currently being released by Marvel and, for a book like Thor, that’s a very, very good thing.  It’s a natural move for Thor to fully indulge itself as a book based in mythology.  Having a sword and sorcery adventure in hell just feels right, offering a fantasy yarn in a medium often more influenced by science fiction.

While I love the tone and the setting, what sets this issue far above last month’s is the character-work.  Take the Disir, for example.  Gillen has already made them into a credible threat and continues to do the same this month, fashioning them as Asgardian bogeymen who are nigh-on invulnerable.  What makes them more compelling, however, is that this month Gillen makes one among their number, Gondul, not only lack confidence but actually be fearful of Thor, constantly predicting the failure of the Disir’s plans and their inevitable doom.  This added a refreshing layer to villains that would otherwise risk becoming the typical, cackling, overconfident sort.

Thor #611 – Review

by Kieron Gillen (writer), Rich Elson (art), Andy Troy (colors), and Joe Sabino (letters)

The Story: The souls of the Asgardians who fell during Siege come under attack in Hel.

What’s Good: It sure feels good to see a good old fashioned Thor story, rife with occult baddies, Hela, and trademark Norse heroism.  The last couple of pages in particular are something of a “hell yeah” in that last regard as Thor literally leads his men to hell.  That’s pretty damned awesome in concept alone and very, very “Thor.”

What makes it even more effective, however, is how Gillen has subtly made this upcoming war in hell into something of an echo of Siege itself.  In doing so, perhaps this story arc can be seen as a kind of redemption for the Asgardians.  Hela has turned herself into a castle to house the souls of the departed Asgardians from the attacking Disir and Thor and his band, at issue’s end, go to relieve the besieged.  Essentially, they’re fighting another siege, in hell, to save those who died in, Siege.  It’s really well orchestrated and I’m quite impressed with Gillen’s being able to find such an effective parallel to recent events.

Gillen does a great job with these Disir, who are really, really creepy.  The demonstrations of their power are also pretty impressive and, in one case, explosive.  I’ve got to say that Gillen doesn’t hold back one iota on the gore and violence.  One particular trick pulled by the Disir late in the issue is downright shocking.  All told, their used very effectively by Gillen.  I also thought it was pretty cool to see Hela back in action again.  In fact it’s just cool to see her in an important role again and a sign to me that it’s back to business as usual for Thor and that we’re leaving the event behind.

On art, I generally like Elson’s work.  It has a painterly feel that sort of reminds of classic fantasy pin-ups, which really suits Thor.

Thunderbolts #145 – Review

By Jeff Parker (writer), Kev Walker (artist), Frank Martin (colorist)

The Story: Luke Cage and the all new Thunderbolts have been tasked with cleaning up the fallout from ‘Siege’, but they’ll have to survive their encounter with Baron Zemo before they get a chance to prove themselves.

The Good: Holy crap, it’s a rare thing when this happens but I actually enjoyed this issue more than the last one! Let’s get this out of the way right now: this is one hell of an amazing creative team. Parker, Walker, and Martin have, in a mere two issues, left an indelible impression on this book that I find to be unique and, more importantly, a whole lot of fun to read. Parker’s assembled a wonderful roster here that balances redemption and bastardry in a way that I think is going to create wonderful tension throughout the team. Of Parker and Martin, I can only say that I’ve found a complete art team that I genuinely look forward to seeing every month. Remember how last month I said I wasn’t totally sold on Walker’s version of Juggernaut? Yeah, well, there’s a particular shot of him flattening a forest that completely convinced me Walker knows what he’s doing with the character.

Oddly enough, one of the things I enjoyed most about this issue was the sense of disarray that nearly crippled the team throughout the issue. It makes sense when you think about it, that a team this raw would barely even trust each other, much less know how to work together efficiently. This is still a team very much willing to betray each other for the sake of self-preservation, and that’s exactly the kind of dynamic we need to be seeing on the Thunderbolts right now. And being introduced to The Warden was an especially poignant moment. I feel like he has turned a new page in his life and is no longer the hero we grew up loving and loathing in equal measure. My hope is that, in future issues, he will become a voice of reason and perhaps even the emotional anchor that will bring this team together.

Avengers Prime #1- Review

by Brian Michael Bendis (writer), Alan Davis (artist), Mark Farmer (Inker)

The Story:  Thor, Iron Man, and the original Captain America try to iron out their differences in the aftermath of Siege when the trio are pulled into the Nine Realms against their will.

What’s Good: Bendis and Davis deliver a first issue that will prove to be a blast for any Avengers fan out there.  While Avengers #1 a few weeks ago proved to be a mixed bag for many readers and felt much like Bendis doing his best impersonation of a traditional Avengers tale, Avengers Prime fires on all cylinders and succeeds where it’s much more hyped sister title faltered.  Much of this is due to Alan Davis’ and Mark Farmer’s amazing artwork.  Davis’ renditions of the Earth’s Mightiest Heroes’ Big Three just feels right.  He brings the perfect amount of grandeur to the proceedings.  One only needs to open this issue to the initial double-page splash that opens the story to see what I’m talking about:  the fallen city of Asgard, burning in the distance, while our three heroes watch in grief.

It’s not only an awe-inspiring image, but appropriately sets the tone for rest of the plot.  Not only does the artist efficiently sell the big set pieces and action scenes, but he does a hell of a job with his character work.  For example, there’s a scene where Tony and Steve get lost in an argument that’s been brewing for years, and Thor solemnly asks them to please leave if they’re only there for his sake.  Davis close-up of the God of Thunder’s eyes as he speaks says everything that Thor isn’t saying with words, and it is a sobering moment.  Another wonderful beat in the story that is all artwork in it’s success is the silent page where Steve, having just defeated a small army of troll-like creatures, spies a shield on the ground, and as he picks it up, there’s a small hint of a grin that crosses his face.  It’s a great capper to a fun little scene that Davis knocks out of the park.

Thor #610 – Review

by Kieron Gillen (writer), Doug Braithwaite (art), Andy Troy, Doug Braithwaite, & Paul Mounts (colors), and Joe Sabino (letters)

The Story: The heroes of Asgard come to grips with Siege’s aftermath, while Thor concludes his unfinished business with his clone.

What’s Good: This issue of Thor does what needs to be done in positioning the series, and the Asgardian status quo, moving into the Heroic Age as a time of rebuilding.   I like where this series is going.  Partly, it’s because not everything is being reversed; for instance, I like the fact that Balder is going to remain king.

Then there’s Kelda, who’s left in a very interesting position after this month’s issue.  This is most particularly due to the painfully “sort of, but not quite” return of a much beloved character.  Just seeing this character in an issue of Thor that isn’t a flashback was a heartwarming moment that’ll fill any reader with a desperate kind of hope.

I’m also pleased that Thor’s clone is dealt with.  This is a piece of history that needs dealing with and this resolution is perfectly timed by Gillen.  The character is a clear representation of Civil War and the past and thus, having this character dealt with is a symbolic step forward, away from the past and into a fresher, brighter new era.

Siege #4 – Review

by Brian Michael Bendis (writer), Olivier Coipel (pencils), Mark Morales (inks), Laura Martin (colors), and Chris Eliopoulos (letters)

The Story: The battle with the Void concludes, leading to the dawning of a new chapter for the Marvel Universe.  Oh, and two major characters die.

What’s Good: The majority of this book is one gigantic fight with the Void.  This big stuff and the sense of scale are pretty dwarfing, as is the sheer number of heroes involved.  That being said, amidst all the battling, Bendis is very particular in how he uses his heroes and who lands what blow.  If it wasn’t clear before, it is now: Siege is an Avengers book more than anything else.  As our heroes team up on the multi-armed Void, you get a kind of nostalgic feel as you realize that we’re basically seeing another classic scenario where the Avengers team up against a big monster.  And what a team-up it is.  Bendis goes for the always fun “everything but the kitchen sink” dynamic, as the Avengers throw themselves at the former Sentry.

That being said, what’ll get most people talking are the two major deaths.  While one is fairly expected, the other really is something of a surprise, especially given the character in question’s natural ability to get out of scrapes.  What’s even better is the way in which the character goes out.  I couldn’t have imagined it being done any better, as he/she does so purely because he/she acts entirely contrary to his/her pattern of behaviour.  For a brief moment, he/she makes a stand and becomes perhaps the most heroic figure in this entire book.  It’s a major moment of redemption for the character.

On the art, this is some more amazing work from Coipel.  The explosions are jaw-dropping, the burial of the dead character above (a cremation in the Sun) is touching, and the Void looks truly terrifying.  As far as being a big-time artist, Coipel has most certainly gone far above and beyond earning his stripes.

The best thing about the issue though is its end and where it leaves the Marvel Universe.  It truly feels like a fresh beginning and will surely leave Marvel fans excited for what’s to come.  Oh, and Steve Rogers ends up in a very, very interesting position.

Dark Avengers #16 – Review

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

The Story: The aftermath of Siege is explored and the fates of the Dark Avengers cast are glimpsed.

What’s No So Good: Yes, I am reversing our usual review format, but why I’m doing so will soon be abundantly clear.

The first half of this issue just isn’t particularly inspired.  Don’t get me wrong, it’s not at all bad or underwhelming, it’s just a bit by the numbers.  A couple of pages of Siege replay, Moonstone and Hawkeye make a futile escape attempt, and Daken goes Jason Bourne.  It’s decent action, but it’s the sort of ho-hum aftermath stuff that writes itself.  The mediocrity is such that I can’t even find a great number of words to write about it.

Mike Deodato also takes on a completely different approach this month, going for a brighter, more “digitally painted” feel.  For the most part, this works out really well and delivers a polished, epic feel, but there are points where you’ll be lamenting the lack of defined lines that comes with this style.  Also, I’m not a fan of Deodato’s take on Phobos, who looks like a cherubic five year old under his hand.

What’s Good: The second half of the issue is a completely different beast that is so strong it completely wipes away any and all memories of the mediocre first half.

The major shift starts with a scene between Thor and Phobos, as Thor informs the boy of his father’s death.  It’s tragic, and yet there’s also a “passing of the torch” sort of feel.  The conversational dynamic is superb, as Phobos’ dialogue is so uncompromising that while Thor sounds elevating and lofty in his praise of Ares, Phobos essentially deadpans him.  The God of Fear manages to look and sound like both a wounded, realist adult and a frustrated, torn child, with the latter being deeper below the surface.

Thunderbolts #143 – Review

By Jeff Parker (writer), Miguel Sepulveda (artist), Frank Martin (colorist)

The Story: Asgard lies in ruins as Norman Osborn’s own empire falls to pieces around him. With the assembled might of Marvel’s heroes poised to emerge victorious, Osborn’s team of covert operatives must decide whether to go down fighting or betray their boss for a greater good.

The Good: This version of the Thunderbolts comes to a satisfying conclusion while paving the way for what I genuinely hope will be a weirder and more interesting team roster. As soon as I’d read that the likes of Crossbones, Juggernaut, and the god damned Man-Thing would join the new Thunderbolts, well, this current team became a lot less interesting. But at least they went out on a high note, attempting a Dirty Dozen kind of mission to steal the Spear of Odin with the kind of reckless bravado that only a band of villains with nothing to lose can successfully pull off. I like that kind of attitude, especially when Parker complicates things by making Paladin, Ant-Man, and Ghost realize they do have something to lose and that maybe some ideals are worth fighting for after all. There’s a tense and frenzied atmosphere in this issue, a desperate sense that these villains know the battle is lost and that all they can do now is scurry about and claw at each other like drowning rats as they fight for survival. Parker did an admirable job pacing this issue and choreographing every fight for maximum impact, and when smoke clears and the dust settles from those battles, and we’re left with those great splash pages of Cage and Jessica looking out over The Raft, damn it all if it didn’t make me excited for the Heroic Age to arrive!

Thor #609 – Review

by Kieron Gillen (writer), Billy Tan, Batt, & Rich Elson (art), Christina Strain & June Chung (colors), and Joe Sabino (letters)

The Story: Loki faces the consequences, Kelda stands and fights, and Volstagg picks himself up.

What’s Good: With Thor not being present this month, several supporting characters pick up the slack.

Kelda, a character I’ve enjoyed since JMS introduced her, still strikes a sympathetic portrait.  Her defending Bill’s parents was touching and it was nice to see them come together.  Of course, it’s always a blast just to see Kelda kick some ass.  She’s one of those characters’ whose potential we’ve never been sure of and I’m glad to see her in a more empowered position this month.

Having a similar “fist-pump” moment this month is Balder, who reminds the world why his name is “Balder the Bright.”  Gillen does his best to make Balder personify the Heroic Age.   When he lights himself up to rally the troops and owns the Hood in a Matrix-like fashion, it’s all kinds of awesome.  Balder has bumbled around quite a bit and it’s nice to see him take up position as the quintessential hero.

Siege: Secret Warriors #1

by Jonathan Hickman (writer), Alessandro Vitti (artist)

The Story: Phobos, the youngest member of Nick Fury’s Secret Warriors, and son of Ares, God of War, is dismayed to discover that his father has fallen in battle.  Recalling a promise made to his dad, the young God of Fear goes on a mission to get restitution from the person he holds responsible: The President of the United States!  Meanwhile, Nick Fury spends some quality time with the resurrected Steve Rogers during the Siege of Asgard.

What’s Good: The Siege specials that Marvel has published this month have fallen all over the map in turns of quality.  They’ve ranged from amazing (Loki) to forgettable (Captain America), and this one-shot centering on the Secret Warriors’ part in the war firmly plants itself in the “solid” category.  It’s also nice that, of all the specials, this story definitely deserved to be told considering it’s connection to the death of Ares, a huge moment in the parent title’s proceedings.

Phobos’ reaction to his father’s demise was handled fittingly.  I certainly didn’t expect him to break down and cry like a baby, but there’s always the worry that a writer might go for the melodrama in an issue like this, thereby sacrificing pre-established personality traits.  I shouldn’t have worried, as Hickman makes sure that Phobos responds in the only way he knows how: by getting revenge.  The writer’s choice as to who becomes the focus of our protagonist’s ire was an unexpected one, but upon retrospect makes perfect sense.  While the Sentry is certainly the man who pulled the trigger in Ares’ death and Osborn is, by that definition, the one responsible for loading the gun, then the President can easily be considered the one who supplied them the weapons.  Phobos’ decision to go straight for the supplier, so to speak, was a welcome plot direction that gave this issue a breath of fresh air.  Hickman also takes advantage of the story to reiterate that the God of Fear is a one bad motherf***er.  Watching as he tears his way through a small army of Secret Service agents with only a sword supplied some very cool visuals.  The character’s badassness is assured with his sign-off at the end of the issue:  “The God of Fear.  Son of War.”  Hardcore, man.

New Avengers #64 – Review

by Brian Michael Bendis (writer), Mike McKone (art), Dave McCaig (colors), and Albert Deschesne (letters)

The Story: The Hood regroups and Loki makes a shocking move to help combat the unleashed Sentry.

What’s Good: It’s been a long time since I actually, genuinely cared about the Hood and what the future holds for him.  That Bendis makes me want to see more of the character is no small feat.

In focusing most of this issue on the Hood, Madame Masque, and their crew, Bendis ends up putting the Hood in a very, very interesting place post-Siege.  It’s the sort of thing that could spawn a new ongoing series, or at least a limited series.  Suddenly unsure of himself and afraid, this Parker Robbins presents an intriguing character whose future adventures are sure to be something to enjoy.

Bendis also bolsters the Masque/Hood relationship further, which only aids this new direction for the character.  She becomes Parker’s crutch and motivating force, while also being a total badass.  It’s strange; by issue’s end, it’s clear that these two are still villains, but I find myself oddly rooting for them.  To further highlight this, Bendis has a rather cool scene that parallels Madame Masque and the Hood’s relationship with that of Hawkeye and Mockingbird.  While on opposite sides of the hero/villain dichotomy, the love shared by both couples is equally genuine.

The other big news, of course, is the big twist involving Loki.  Loki performs a, well, fairly heroic action, as he actually helps the Avengers.  No, not Osborn’s Avengers.  After the role Loki’s been in for the last few years, this was a really cool, out of nowhere moment that made my eyes go wide.  I only wish it was given more space but even as such, this ruled.

Then there’s Norman Osborn’s role in the issue, as Bendis continues to try to paint him as at least a little sympathetic as Siege falls on his head.  Norman’s good qualities are dwelt on, as he is shown to be capable of loyalty and integrity in his relationship with the Hood.  It’s an issue where he doesn’t quite come off as the simple, cackling, totally rotten villain.

The art on this issue is also gorgeous, as Mike McKone does his best Stuart Immonen impersonation.  Indeed, I struggled to tell the two apart here, were it not for McKone’s Mockingbird, a character that Immonen draws to absolute perfection.  This is great stuff all around that is just plain fun to look at, with McKone’s Hood and Masque looking especially strong.

Siege: Loki #1

by Kieron Gillen (writer), Jamie McKelvie (artist)

The Story: We take a break from the Siege of Asgard to discover what Loki’s been doing all this time.  Turns out the God of Mischief has grown tired of being a slave to the destinies of the Norse Gods and wants to be free of that particular yoke.  Through machinations involving Hela, Mephisto, and an ancient race of cannibalistic Valkyrie, the god of lies sets about acquiring his freedom.

What’s Good: I, like 99.9% of the human race, love to be right.  So when I saw the creative team behind the Phonogram series were behind this one-shot, I was very happy.  You see, this just meant that their work would be exposed to a much bigger audience and everyone would be able to get in on the Gillen/McKelvie love.  Thus, I’d get to look around as their fanbase grew and think to myself, “I loved them before they were big.  I was first.”  Pretension?  Yeah, probably.  But you know what?  Who cares if I’m a jerk as long this title gives some wonderful creators more publicity?!  And, man, with their spotlight on Loki, they more than show that they deserve it.

Kieron Gillen has had a few months of practice for this special as he’s been writing Thor recently.  He continues to show that he has a good handle on the Asgardians and their world here.  Not only does he expose the reader to a new group of characters with their roots in the history of our favorite Norse gods, but he leaves us salivating for more of them.  (Note:  You can actually get more of these characters in New Mutants #11, also written by Gillen, which acts a nice companion piece to this story!  Ask and ye shall receive, faithful reader!)  The scribe also shows a confident command of Marvel mainstays Mephisto and Hela.  Mephisto in particular had some great lines that felt perfect when spoken by the devilish ruler of hell.  However, it being his book and all, Loki steals the show completely.  Gillen has the rogue down cold, really emphasizing his amusement with playing games with people and causing mayhem.  One gets the sense from this tale that Loki is suffering from the most likely malady of an immortal: boredom.  He manipulates because it entertains him to see how his pawns will react and, more importantly, because he can.  That freedom to do anything is what, according to Gillen, drives the character.  It’s an interesting take and one that I feel makes him more interesting.

Not to be outshone by his scripter, Jamie McKelvie delivers wonderful artwork.  I’m going to go on the record here and say that no other artist has captured Loki quite as perfectly as McKelvie has here.  Slightly androgynous, serpentine, and eyes devoid of sympathy or love.  Just as Loki’s words enchant you  into listening to whatever he wants you to listen to, the artist’s rendition of Loki keeps your eyes on the villain at all times.  Kudos go to his portrayals of Mephisto and Hela as well.  The former is given an uninterested, almost bourgeois-like attitude to his facial expressions while Hela is equal parts sex and scare.  Great job all around.

Thor #608 – Review

by Kieron Guillen (writer), Billy Tan, Batt, & Rich Elson (art), Christina Strain & Matt Hollingsworth (colors), and Joe Sabino (letters)

The Story: Siege continues as Tyr defends Asgard from the Hood and Volstagg tangles with Thor’s clone.

What’s Good: Volstagg is really a formula that never fails at this point.  He’s always a great mix of tried-and-true comedy and stalwart heroism, and as such, he’s put to good use this month in his battle with Thor’s clone.  Guillen has a good amount of fun in making Volstagg run yet also knows not to disregard the other half of what makes Volstagg successful.  All comedy aside, we also get enough heroism out of Volstagg to cheer for, as well as a reminder of the fact that the character, for all his bluster, is afflicted by emotional trauma after the events that led to Siege.  Guillen touches on this with perfect timing in a moment of solemnity in the midst of all the fist-pumping.

Kelda, on the other, shines if only due to the conversational dynamic she has with Bill’s family.  Her elevated language compared to the more every day tones of Bill’s family play off really well with each other, reflecting the real divide between two parties that share the same emotions.  It, as well as her appearance, brings the gap between god and mortal to the fore, making the scene all the more tragic and bittersweet.

Art-wise, this is a really great issue.  Billy Tan continues to churn out some of the best work of his career on Thor and his depictions of a crumbling Asgard are astounding.  Meanwhile, the other half of the book is handled by Rich Elson, who’s painted style, aided by positively glowing colors, feels, well, very Asgardian and mythic.  Normally I hate books that have two artists with two such different styles working on it, but this actually works, with the division of work being handled quite deftly.  Tan and Elson handle different scenes and characters from each other, so if anything, it helps thematically, enhancing the gap between Asgard and Midgard (what with Tan’s style being the more Midgardian).

New Avengers #63 – Review

by Brian Michael Bendis (writer), Mike McKone (art), Dave McCaig (colors), and Albert Deschesne (letters)

The Story: The motivations of Luke Cage, Jessica Jones, Ronin, and Mockingbird are explored in the days leading up to Siege.

What’s Good: This is probably the best issue of New Avengers to come around in some time, and it’s largely because it avoids many of the pitfalls that other comics in its position often fall prey to.  Simply put, everything in this comic that happens feels like it means something.

Take the dialogue for instance.  This issue is surprisingly heavy on character moments and conversation.  Before you run for the hills, it’s definitely pleasant to see that none of this dialogue is the sort of circular, pointless chatter that Bendis is often accused of.  All of it feels emotionally significant and necessary, giving life to the characters while also having them discuss subjects that need addressing.  It’s all pitch-perfect, with every character both feeling very human and true to their voices and personalities.

After this book, it’s hard not to feel like you’ve gotten to know Clint, Bobbi, Luke, and Jessica a little better and even if this isn’t the case, you’ll probably like them all as people just a bit more.  Heading into a cataclysmic series of events like Siege, that’s exactly the sort of thing Bendis should accomplish, as it makes the fight more than just a bunch of random faces scrapping on the page.  It’s also pretty cool that both conversation scenes also give little glimpses of what’s to come for the characters post-Siege.

And sure enough, it works.  After these dialogue portions, the action suddenly becomes meaningful despite the plethora of characters involved.  Luke’s grumbling and Mockingbird’s loving, mischievous glance at Ronin make the fight mean so much more.  In big events like these, it’s often easy to lose track of the participants as individuals, but thanks to the time he invests this month, Bendis bucks the trend.  The battle isn’t just about plot progression in the Marvel Universe, it’s about the people involved and the individual struggles of each of them within the massive, swirling melee.

I also have to mention that McKone draws a wonderful Mockingbird.  I’ve always liked the characters current design, but Bobbi really looks dynamic and lovable under McKone’s hand.

Dark Avengers #14 – Review

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

The Story: Victoria Hand deals with dissension in the ranks and the Void makes his presence known.

What’s Good: This issue is a solid issue largely because it’s based entirely on perhaps the two best things to come out of Dark Avengers: Victoria Hand and the Osborn/Sentry relationship.

While Hand has spent much of the series in the background, verging on blandness at times, Bendis has made huge strides with the character in the past few issues.  She has become more brazen and empowered and we’ve really gotten know her on a more individual and personal level.  That trend continues here, as her relationship with Osborn becomes a major focus, with her almost achieving a kind of parental role over the disgruntled and desperate HAMMER director.

It’s great to see someone stand up to Norman, sure, but the care and concern Hand expresses actually made me feel bad for Osborn.  I had to remind myself that he’s still the bad guy.  That’s the mark of a great character in Hand and Bendis is really ensuring that she sticks around in the Marvel Universe post-Dark Reign.

The Sentry/Osborn stuff is great once again if only because one really, really gets the sense that Osborn has bitten off more than he can chew and the blade truly is over his head.  Negotiating the Void is not the cakewalk that manipulating Bob was.  Still, Osborn’s frustration-fueled bravery was enjoyable and, when seeing him directly confront a rampaging and all-powerful Void, I had to again remind myself that Osborn was not a good guy.

Mike Deodato throughout all this provides some absolutely fantastic artwork.  His depictions of the apocalyptic environment wrought by the Void truly are hellish.  Deodato simply does some great work in his massive drawings of urban landscapes and it’s really stunning stuff, as are his illustrations of a souped up Sentry.

Seige #2 – Review

By: Brian Michael Bendis (writer), Olivier Coipel (penciller), Mark Morales (inker), Laura Martin (colorist)

The Story: Osborn has managed to start his war with Asgard pretty well. He’s got Thor down, the Asgardians are on the ropes and things look good, until Ares clues in that Osborn wasn’t entirely truthful. Divine blood is thicker than water and Osborn’s got to pay. But then, Ares has a problem: Sentry.

What’s Good: Coipel is always a treat to watch. My comic reading experience here slowed waaaay down, just to admire the beautiful pencils, inks and colors. Steve Rogers has a very definite look under Coipel’s inks. Ares, with or without helmet, is an awe-inspiring figure. The Sentry’s motion is so fast as to disappear in some panels in a style that reminds me a lot of Gene Colan’s art. The other artist that Coipel really reminds me of is Paul Smith, especially Wolverine. While Daken stalks Thor in Broxton, he looks so much like his dad did under Paul Smith in the Uncanny X-Men or in the X-Men-Alpha Flight miniseries. And for the fans of more gruesome content, you may wish to check out this issue if you want to see what Wolverine and Ares look like from the inside. I won’t explain – it’s worth the look…

The events Bendis has set in motion are a big deal. That’s good for a story and I’ll give you some examples of stuff that matters. Sentry is now a bad ass. Not only can I tolerate his presence, I actually like this brutal punisher that Osborn has on a leash. Captain America and Bucky are sorting themselves out, for the long run. They are each deciding who they will be. Osborn seems to be coming closer and closer to a comeuppance. Ares fights Sentry and it ain’t pretty. Steve rallies the divided troops. For a lot of reasons, this series is showing that it matters; events in this book will affect the rest of the MU.

New Avengers #61 – Review

by Brian Michael Bendis (writer), Stuart Immonen (pencils), Daniel Acuna (art & colors), Wade von Grawbadger (inks), Dave McCaig (colors), and Albert Deschesne (letters)

The Story: The Avengers find themselves embattled against the Hood’s newly Norm stone-powered goons.

What’s Good: This issue is essentially divided into two separate, but parallel stories as the two Captain Americas battle the Corrupter and Living Laser while Spider-Woman and Spider-Man team up against Mandrill and Griffin.  All told, both sides are enjoyable and lead to an easy, readable book.

Spider-Man in particular is a joy to read.  It’s always a pleasure in New Avengers when Bendis is able to give him any form of extended attention.  The Spider-Man/Spider-Woman is certainly a surprisingly fun one.  Bendis exploits the gender dynamics, the similarity of their aliases (and surprising lack of actual similarities in abilities), and the opposition of Jessica Drew’s dour demeanor with Parker’s signature wackiness.  It makes for really fun reading, with Spider-Woman making for a very, very enjoyable straight-man.  Bendis’ use of Jessica’s Skrull detector as a kind of comic device certainly got a laugh out of me.

The Hood’s goons also show a kind of self-awareness that I appreciated.  They’re typical villains, and it’s weirdly fun to seem them trucking on, well aware of their being typical and their poor success rate.

On art, I really enjoyed both Immonen and Acuna’s work.  Both clearly have a field day with these D-list villains, giving them a campy, Technicolor sort of feel.  Immonen’s over-the-top drawings of the Corrupter are a definite highlight and his cartoonish sensibilities give the characters and actions a kind of fun vitality.  Acuna’s painted artwork is gorgeous, and does a lot to legitimize these relative no-namers.  The final splash, one of Mandrill and Spider-Woman, makes the ridiculous baboon actually appear horrifying.