New Avengers #14 – Review

by Jonathan Hickman (Writer), Simone Bianchi (Artist), Adriano Dall’Alpi (Colorist)

The Story: As the Illuminati watch how another universe reacts to the incursion events, Doctor Strange hits a new market for more power.

The Review: To have hope is to let ourselves be open to disappointment. While it is always a nice thing to see our expectations be met in any circumstances, cautious optimism is always a good manner in which to approach things, lest our hype be our downfall.

It may have been the way I like this series and the author that made the latest issue rather disappointing for me, making any of the ideas and their executions rather unsatisfying. With that being said, it is with a less optimistic prospect that I ended up reading this issue.

Surprisingly, this one ended up being better than the latest one, but not by a colossal margin. The interesting dialogue and the numerous ideas that made Hickman a respected writer are there, with the scenes involving Dr. Strange being rather entertaining as well as ominous. Showing the sinner’s market, one in which deals are made for immaterial goods and other such things, there are a lot of expansive ideas thrown at the readers. With some hefty explanations and a certain madness mixed in that makes this setting, there is a lot of potential for grander ideas to bloom here, with Hickman showing that he can play with pas continuity as well as create seamlessly.

Another area in which he plays and create is the alternate Earth, this one numbered 2319. Switching things up with another set of Illuminati as well as some variations on the general Marvel universe, there is indeed some creative moments here and there that does manage to entertain as well as play with the themes of the series. Introducing new elements and deepening the explanations to some previously told, this issue is one that does surprise as well as develop in ways that readers might not expect.

New Avengers #13 – Review

by Jonathan Hickman (Writer), Simone Bianchi (Artist), Adriano Dell’alpi (Colorist)

The Story: An incursion event happens on another Earth as the Illuminati try to find a way to travel to other universes to observe such things unfold.

The Review: I am someone who craves high concepts. A comic that tries to be ambitious has better chances to work with me than others, especially in terms of cape comics. It’s go big or go home, usually, as far as ideas go. Smaller book can satisfy, of course, yet huge events and impossible high threats have a certain allure to them, don’t they?

However, despite the level in which the conflict is set and how everything unfolds, large concepts needs a proper execution in order for them to properly have an effect on readers. If things are too large and a bit incomprehensible, how can anyone be expected to follow if everything is too obscure for even the initiated?

It’s unfortunately one of the problem that plagues this issue a bit, as Hickman throws incredibly fascinating ideas in this issue, yet some of them aren’t fully developed or revealed enough in depths for readers to fully appreciate them. While the idea of an Illuminati group from another universe, one with Magneto, Captain Marvel, Shuri and Charles Xavier replacing the likes of Namor and Doctor Strange is actually really clever. The alternate manner in which the events of Infinity unfolded in the Earth they are in (Earth-23099) is very interesting, with the terrigenesis having a very different outcome along with some key differences in characters.

Thanos Rising #4 – Review

By: Jason Aaron(story), Simone Bianchi/Riccardo Pieruccini (art), Ive Svorcina (colors)

The Review: I’ve read a lot of negative commentary about Marvel’s “serious” reimagining and back-story creation for Thanos, but I love it.  A big purple planet-eating Hamlet is just what I need during the long, hazy days of summer.

The Shakespearean melodrama of this series is quite evident. Seconds after giving birth to him, Thanos’ mother (Sui-San) attempts infanticide but is stopped by her husband. Because of his unique mutation, Thanos grows up brilliant but socially isolated, constantly searching for that which will bring his life meaning. He discovers murder and ensures his destiny as a monster through matricide, a crime he commits attempting to discover and remove that element of his mother that created the monster in the first place. Heavy stuff.

On the cover of this issue, Thanos’ stance and body language remind us of the countless actors that have portrayed Hamlet and contemplated the skull of Yorick unearthed by the gravediggers in Act 5, Scene 1.  Thanos is a melancholy “prince” who, having failed to discover his fate on his home planet of Titan, searches the universe for the meaning to his life, leaving a trail of broken females, fatherless children and dead planets in his wake.  He has rejected science and art and love and has embraced the only thing that seems to make sense to him – death. After destroying yet another nameless civilization, Thanos gazes out across the annihilation that he has wrought and asks “When did mass murder become so very…dull?’  He reassures one of his victims that the murder of his family and the destruction of his world was nothing personal, saying “If it’s any consolation, I chose this world purely at random. I bore no grudge against you or your people. The deaths of your family meant absolutely nothing to me.”

Thanos believes love compels him to kill, but the woman for whom he kills is a phantom, witnessed only by him and with whom he regularly converses and by whom he is sexually frustrated.  He is called “Thanos the Destroyer” but the men that serve on his crew secretly refer to him as “Thanos the Mad”. Discovering that his muse is actually Death, Thanos contemplates suicide by incinerating himself and thinks “One step. One step was all it would take”. In other words, “to be or not to be.”  Thanos elects life for himself, Death for himself and death to everyone else. Thanos has become Death’s avatar and his first stop is the place where it all started, his home world of Titan.

Thanos Rising #3 – Review

By: Jason Aaron (Writer), Simone Bianchi (Artist), Ive Svorcina (Colorist)

The Story: Thanos goes away from Titan and tries to leave a normal life as analyzed by him, which somehow mean being a pirate and siring as many offspring’s as he can.

The Review: How were you introduced to Thanos, the Mad Titan?

It may seems like a pretty simple question, yet it is a vital one considering the potential point of view one may have on this issue and the part of the series as a whole. Me, I was presented to this stunning villain by a pretty great story called The Infinity Gauntlet where I was shown a character that seemed to be caught in a moral conundrum unique only to his being, one that made him act in ways that seemed logical, yet also insanely. In this story, he acquired ultimate power only to be deprived of the only thing he wanted, resulting in him going mad with powers and fighting cosmic beings and entity. It was a grand tale that gave me a character that was truly fascinating to see, as we could understand his motivation even though he was committing universal genocide on a scale unheard of in comics.

Thanos Rising #2 – Review

By: Jason Aaron (Writer), Simone Bianchi (Artist), Ive Svorcina (Colorist)

The Story: Thanos grows tired of school and a lot that entails to it as he tries to make his own discoveries at his own paces, leading to some revelations about just what kind of a person he is.

The Review: These are strange times for Jason Aaron. With multiples series written by him coming out at the moment, we are treated to superb books like Thor: God of Thunder or to books that are struggling like Wolverine and the X-Men. This mini-series about Thanos, though, has been unfortunately much more akin to the latter, with the first issue of this mini-series being kind of a letdown. Considering the talent behind it, can this issue redeem the direction and the general atmosphere that we know both the artist and writer can deliver?

Thanos Rising #1 – Review

By: Jason Aaron (Writer), Simone Bianchi (Artist), Simone Peruzzi (Colorist)

The Story: Thanos reminds himself of his youth as we are told the circumstances of his birth and his early years.

The Review: Who doesn’t love Thanos? Most comic’s fan, when asked that question, would probably have no idea just who could truly dislike this character, citing Infinity Gauntlet, Annihilation, The Thanos Imperative amongst classic stories involving the genocidal psychopath in love with Death. With such a pedigree behind the character, we always knew that when that character shows up, the stakes were high and that we would see some truly memorable things happen.

However, what exactly do we know about Thanos, beside the obvious? With a big appearance of about five seconds in the post-credit scene of The Avengers, a lot of new readers might be curious as to who that big ominous character was, which is most assuredly one of the main reason this series was created in the first place. Still, is there enough here to satisfy both new readers and old fans alike?

Astonishing X-Men # 30 – Review

By Warren Ellis (writer) Simone Bianchi (pencils) Simone Bianchi and Andrea Silvestri (inks) Simone Bianchi, Morry Hollowell, and Simone Peruzzi (colors)

The Story: Good ‘ol death legs, a.k.a. Forge, makes his final move against the Astonishing X-Men as Ellis’s and Bianchi’s Ghost Boxes arc comes to an end. After tracking Forge down to Wundagore Mountain, the X-men learn what his plans are to fight an inter-dimensional war using his “new mutants” and the X-men themselves as fodder. However, with a little help from above in the form of Agent Brand, the X-Men, as expected, escape but leave terrible consequences in their wake.

What’s Good: Well, if you’re a fan of the way Ellis had been telling this story, as I am, then this issue is a total winner as all the things that have made his tenure so far excellent are in play, to the max, here. I’m not going to lie: the way this series is so far paced reminds so much of Planetary and this is a good thing, despite the formulaic approach.  It’s not just the sci-fi vistas that Ellis takes the reader to, but also the pacing, and the sweeping character moments like Beast has at the end of this issue where everything is spelled out and left open at the same time.

I also have to applaud Ellis for going deep into X-Men past mythos with Forge and Wundagore Mountain, while bringing in Brand and elements from the current X-history. The whole package just works and I hope that his series stays isolated from Dark Reign.

I’ll get to Bianchi’s work below, but regardless of my criticisms, this book looks like nothing else on the stands and when he gets it right, his work is exceptional. The problem is that….

What’s Not So Good: is that he gets a lot wrong. For example, characters do not look consistent. Not only that, but his designs look nothing like what we’ve been sold these characters are supposed to look like. Check out Wolverine on page number…..oh wait comics don’t have page numbers anymore….whatever….towards the end of the book. It’s a profile of Wolvie and he looks like a 60 year old man. It seems like Bianchi decided for some reason or another to use a model for that one shot and it comes from nowhere and looks like no Wolverine we’ve seen before.

As far as the story itself, I would have liked to see more of the threat that the X-Men were facing from the other dimension. Although, the giant hand was very cool, I would’ve liked to see more of that kinda thing.

Conclusion: I hate slamming artists because I respect them so much and there is no way I could do even one line that they draw so effortlessly. That being said, the art near cripples this issue, which I would give an A if it looked differently. I will sat that Bianchi has an insane amount of talent, but it just comes out strange and distracting, most of the time in this series (kinda like another artist on the other X-Men series. I’m talking to you Greg Land). However, word is that Phil Jimenez is taking on art duties next arc and I look forward to seeing all that go down. Kudos to Ellis for re-establishing Astonishing X-Men as “the” X book on the stands. Now, just get the book out on time, will you?

Grade: B

-Rob G

Astonishing X-Men #29 – Review

By Warren Ellis (Writer), Simone Bianchi (Pencils & Inks), Andrea Silvestri (Inks), and Simone Peruzzi, Christina Strain, & Laura Martin (Colors)

Some Thoughts Before The Review: Astonishing X-Men should be better than it has been, especially considering both the talent involved and how long the wait is between issues. The biting humor and high-concept storyline work quite well. The muddy, (sometimes ridiculous) artwork and fairly plodding pace, however, does not.

The Story: The penultimate chapter of “Ghost Boxes” reveals more of the details behind both the ghost boxes and the artificial mutants. In addition, the X-Men learn about Forge’s involvement in a secret war between alternate realities. The information comes mostly from some brutal interrogation techniques used by the team.

What’s Good: I know it sounds terribly simplistic, but the good stuff about the current form of Astonishing X-Men keeps being good in Astonishing #29. Warren Ellis does a great job writing some of the characters (especially Emma Frost) and his storyline continues to be dense and intriguing, but not overwhelming (though it still feels like the plot’s moving a bit slow). The interrogation scenes are particularly amusing, given that they are written with an edge rarely seen in an “X” book that isn’t called X-Force.

What’s Not So Good: Just as the good stuff remains good, the bad stuff remains bad. The artwork is a mess of highs and lows that is incredibly frustrating to look at. For every panel (or page) that looks damn near fantastic, there are a handful that can be described as (feel free to pick more than one) inconsistent, muddy, unclear, or just downright silly looking. Wolverine is shown with a hilariously flat face on two occasions. Cyclops seems to have some relation to Angelina Jolie. Storm is actually lacking facial features in one panel. I could go on, but I assume you get my point. I know how good Simone Bianchi’s work can look. That’s why I have to come down so hard on the art in Astonishing.

Conclusion: The good outweighs the bad in Astonishing X-Men #29, but not by as much as I’d like. The writing rocks for the most part, but the book as a whole is weighed down by the art and the pacing.

Grade: B-

-Kyle Posluszny

Astonishing X-Men #27 – Review

By Warren Ellis (Writer), Simone Bianchi (Pencils & Ink Washes), Andrea Silvestri (Ink Washes), and Simone Peruzzi (Colorist)

The Story: The mystery surrounding the now deceased Subject X and the strange electronic box grows deeper as the X-Men work to unlock whatever secrets may be held. The investigation winds up involving Agent Abigail Brand from S.W.O.R.D. and a five mile chunk of land in China that’s considered to be an intelligence dead zone.

What’s Good: Warren Ellis is slowly, but surely, unraveling one hell of a science fiction story with his first Astonishing arc. By allowing the reader to learn things only as the team does, Ellis ensures that each issue leaves you wanting more. It works extremely well, and makes for a fairly dense read. This is why it helps to have so much character work and entertaining (sometimes hilarious) dialogue throughout the book. The story could easily become overwhelming without the witty exchanges helping make everything a bit more digestible for those new to Warren Ellis’ style of science fiction.

What’s Not So Good: The artwork and, in a minor way, the pacing. I honestly can’t think of another series that hits such artistic highs and lows within the same issue. For every gorgeous or cool looking scene, there are others that look far too muddy. For every great character shot, there are facial expressions that are absolutely ridiculous or totally inappropriate (for the given scene). It’s the very definition of hit or miss and, quite frankly, this story deserves better.

As for the pacing, I only mention it because all the fun character work does little to actually advance the plot. Normally, I wouldn’t even bother mentioning it because I happen to enjoy Ellis’ banter quite a bit, but some may find the story already moving slow enough without all the added team moments.

Conclusion: An extremely entertaining chapter in what is quickly becoming a fantastic sci-fi story. The only thing holding this one back is the inconsistent artwork, but what damage it does is far from critical. This one’s worth it for the story alone.

Grade: B+

-Kyle Posluszny

Astonishing X-Men #26 – Review

Warren Ellis (Writer), Simone Bianchi (Pencils & Ink Washes), Andrea Silvestri (Ink Washes), and Simone Peruzzi (Colorist)

The second chapter of the Ellis/Bianchi run on Astonishing X-Men is all about deepening the mystery surrounding “Subject X,” the suspect in the bizarre murder that kicked off the storyline. While enjoyable to read, not a whole lot actually happens that can be readily understood due to the nature of the plot. The team investigates Chaparanga, a spaceship graveyard constantly being scavenged for parts, and (far too quickly) locates and confronts the suspect. That’s pretty much it.

I think I like what Warren Ellis is attempting to do with his first Astonishing arc, but too much is left up in the air at the end of this issue for me to be completely certain. Things could really go anywhere from this point on because Ellis piles on the questions without offering anything resembling an answer. That said, his writing is effective and entertaining. The team interaction is well done (if a bit heavy on the clever quips) and he does an excellent job building the sense of mystery surrounding Chaparanga, Subject X, and whatever the hell else is going on. Ellis has me hooked, but I hope that he offers a few explanations for what’s going on next month.

While Simone Bianchi can produce some truly spectacular looking work, the visuals in this book are ridiculously inconsistent. For every great looking scene (the spread of Chaparanga) or character shot (Subject X and Wolverine have a few), there are a few things that bother me. The action is poorly choreographed, the panel layout is occasionally annoying, and worst of all, the characters’ faces seemed to change throughout the book (Emma’s face looks to be made of putty at times). It is almost as if Bianchi just can’t keep up with the story Ellis is trying to tell. I was shocked to see that this book made it out on time, but I would be more than willing to wait longer if it meant the visuals would improve.

Astonishing X-Men #26 is tough to grade because so much rests on what comes next. The groundwork is in place for a compelling story, but I have no idea what story might wind up being. For the time being I am willing to give Ellis the benefit of the doubt and grant him one issue to do nothing but raise questions without penalty. That said, I can’t possibly let Bianchi off the hook quite so easily. The inconsistent visuals are honestly weighing the series down. I give Ellis a B+, but the book gets a…(Grade C+)

-Kyle Posluszny

Astonishing X-Men #25 – Review

Warren Ellis, (Writer) Simone Bianchi, (Artist) and Simone Peruzzi (Colorist)

Not to take anything away from the excellent run by Joss Whedon and John Cassaday, but this issue of Astonishing X-Men begins what might be my most anticipated creative run of the year. Warren Ellis became one of my favorite writers with his incredible work on the Thunderbolts, while Simone Bianchi’s preview art for this series left me wanting much more. Needless to say, I came into this issue with high expectations. Suffice to say, I think many will think this issue suffers a bit because it has to establish the new status quo. Personally, I wasn’t disappointed.

Astonishing X-Men #25 kicks off with the team already relocated to San Francisco – an event that will be taking place in Uncanny X-Men #500. Armor mulls a new code name, Beast is his usual amusing self, Storm drops in to rejoin the team in order to gain information for the Black Panther, Wolverine is fighting a hangover, Emma Frost is being, well, Emma Frost, and Cyclops is just happy the team has regrouped. Things are pretty calm at the start of this arc as Ellis takes his time reintroducing everyone with some great character moments. Soon though, a call comes in from the San Francisco P.D. and the team is off to do some consulting work regarding a mysterious, possibly mutant, death. Overall, this is a smooth transition to the new creative team and while I wish things moved forward a little bit more in this issue, a solid storytelling foundation is now in place.

I expected Ellis to do some awesome things with these characters and, sure enough, everyone gets a chance to shine. The banter throughout the book is a lot of fun to read and I am happy to report that none of the charm of Whedon’s run has been lost during the creative switch. The storyline already feels like a classic Warren Ellis tale and I look forward to his more scientific approach to the intricacies of mutation. I wish there was a bit more of the new main storyline in this issue, but things are off to a compelling start nonetheless.

Simone Bianchi’s artwork is a treat to look at throughout the issue, but a part of me wishes the entire book could have been done without coloring. The pencil work loses something with the coloring as parts of the book look muddy and it feels as though some detail was lost here and there. A little more vibrant color palette would have been welcome as well, as everything feels rather…dim. Despite my criticisms, this is still a good looking book all around and I look forward to seeing what Bianchi has in store for us as the series goes on.

Astonishing X-Men is a good start for the new creative team. The character moments are spot on, the artwork is excellent and, at times, stunning. This arc looks to have a lot of storytelling possibilities. If you liked Whedon’s run, be sure to give Ellis a chance. (Grade B+)

– Kyle Posluszny

A Second Opinion

The first few pages of this book bored me out of my mind. I had all but written it off when things finally took a more interesting turn. I love the fact that the team is welcomed by the San Francisco community and law enforcement. I also like how Warren Ellis attempts to get away from the costumes (like Grant Morrison did), even if for just a little while. There’s nothing like a nice little mystery mixed with some good science fiction to get things started. I have no doubt Ellis’ run here will be full of fun, entertaining concepts.

Simone Bianchi’s art is beautiful as expected, and his panel work very interesting. But drawing pretty pictures doesn’t mean you’re a good storyteller, and this is something Bianchi’s going to have to work on. In a way, his work reminds me of Chris Bachalo’s body of work. It’s always great on the eyes, but awful in execution. There’s also a lot of inconsistencies, especially when it comes to Storm. Sometimes she looks like this beautiful goddess while other times she looks like Jay Leno’s African cousin.

As much as the reintroduction of the team roster bored me, I absolutely loved the maturity and camaraderie shown between Cyclops and Wolverine. It’s never been easy between these two, but this issue finally shows that there’s been some growth over the years and it’s just written brilliantly. Please, let’s keep this forward momentum going. The X-Men is all about evolution and after undoing nearly everything Grant Morrison did, maybe – just maybe –  Marvel editorial will be smart enough to let things stick this time. (Grade: B+)

– J. Montes