Uncanny Avengers #17 – Review

by Rick Remender (Writer), Steve McNiven, Jay Leisten (Artists), Laura Martin, Justin Ponsor, Matt Milla, Larry Molinar (Colorists)

The Story: The fate of the Earth is decided as the heroes fight for the survival of everyone.

The Review (with spoilers): Rick Remender can be a bit dark at times. With his penchant to throw several hardship and put his characters through many severe miseries, the writer knows that it’s through adversity and conflicts that actions actually hold a lot more weight. Through his work on Uncanny X-Force, his Fear Agent and many other of his books, there is a tendency to make the life of everyone there as hard and painful as possible.

With this in mind, it seems that Remender took this particular quirk of his to a whole new level. In this very book, which is the finale of a long story-arc that got started in issue five of this series, the heroes lose. Despite all the effort of everyone on Earth and aboard the ark, Exitar manages to destroy the Earth, shattering it to multiple small pieces as the attempts of everyone to save it fail.

In a genre where the usual good versus evil fight is painted in a low amount of grey, this kind of ending is something that is decidedly unusual, something that defies the norms established. Using the traditional non-ending to make things continuous for the next issue, the conclusion to this saga is something that is a bit disconcerting, yet in a good way.

Still, the ending isn’t the only thing of matter in this issue, with plenty of the strengths of Remender being on display here. With a penchant for merging dramatics with plenty of action, this issue is able to switch the focus from one character or set of characters very well, enhancing the scope of things as they escalate to their paroxysm. The way Remender switch from Thor, Wasp, Captain America to the heroes left on Earth makes for a very exciting narrative that makes the buildup to the conclusion that much more effective.

Uncanny Avengers #16 – Review

by Rick Remender (Writer), Steve McNiven, John Dell, Jay Leisten (Artists), Laura Martin (Colorist)

The Story: Thor and Captain America bring the pain to the Apocalypse twins as the world reacts to the apparition of a celestial here to execute them all.

The Review: While Rick Remender, like every single writer there is, has his share of strengths and weaknesses in terms of plotting, there is a certain something in which he excels: action. Considering the fact that super hero stories are massively known for being action-driven more than anything, it is a nice thing to know about a specific writer. However, plot should never take a back-seat in a book, which means a certain balance must be maintained in order for any capes comic to work well. Does Remender provides what is necessary for his tale of grand proportion to continue in a way that is satisfactory?

In many ways, the writer does advance the story in ways that count, providing many excitement and upping the ante for the characters. Knowing very well that super heroes are beings that usually faces high threats and confronts situations that are far larger than them, Remender gives an emphasis on action without sacrificing much in terms of the scope of the tale. While the overall action focus heavily on Thor and Captain America, the story does allow readers to understand how big it is, involving other characters from the Marvel universe in the cataclysm that is yet to come. It is event-worthy storytelling dedicated to a single issue, which does allow for a good level of excitement and entertainment on the page.

Still, despite the fact that everything feels big, it’s really the action that sells the whole issue. The fight between Thor and Uriel is something that is decidedly fast-paced, yet not so that the impacts of their words and blows comes off as secondary in importance. It’s the son of Archangel against the god of thunder and those two powerful beings duke it out in a most satisfactory way. With snippets of characterization thrown in for good measure, it doesn’t simply devolve to mindless fisticuff anywhere in the issue, with the motivations being inserted for good measures in the dialogue. Let’s just say that, in a way, the dialogue of Thor does get to the point rather quickly.

While the issue is mostly dedicated to Thor and Uriel, there are still scenes given to Captain America and Wasp, with some good developments done by these characters. While not everything they do or participate in tend to result in payoff straight away, their scenes do add to the general rising of tension, building up to the general whole that is about to blow up in the coming issues. The conflict escalate and their part in the action does not detract from the rather amazing events on display here.

Uncanny Avengers #15 – Review

by Rick Remender (Writer), Steve McNiven, John Dell, Dexter Vines, Jay Leisten (Artists), Laura Martin (Colorist)

The Story: As Wasp fights the revived Sentry, the plan of the Apocalypse twins takes a rather sinister turn.

The Review: With the way the previous issue went down, I suppose it’s fair to assume that Rick Remender is not kidding around with this storyline. While I did enjoy this series in a general way, there was always something holding it back a bit. Either it was too much buildup for not enough payoff or the fact that the cast was so divided it provided for too many subplots at the same time, the book had its problems. However, with the arrival of Steve McNiven and the rather explosive last issue, does Remender actually succeed in upping the ante for this title?

It finally seems that yes, Remender actually did end up giving the gravitas and the high energy this title needed in some of its previous issues. Due to many elements handled very well, he is able to give the fans that were following the book quite a lot of great moments as he continues to make the conflict bigger with each issues.

Where he goes right, in a way, is in how he switch the focus on other characters instead of those that were in the conflict where those who died were situated. Putting Captain America, Wasp and Thor on the spotlight, he is able to not only rotate the focus a bit more on some characters that did not receive that much focus to begin with, but get in their head as well. We get to know how Captain America perceives this team and how he thinks he failed them, how Wasp sees her super heroic side and how some characters reacts to some unseemly news. It seems a bit of a waste to put characters like Sunfire, Havok and Wolverine on the side, yet he does quite a lot with this trio of characters in order to advance his plot.

Uncanny Avengers #14 – Review

by Rick Remender (Writer), Steve McNiven, John Dell (Artists), Laura Martin (Colorist)

The Story: As Wanda and Simon prepares to betray the Apocalypse Twins, it seems that Rogue and Sunfire have other ideas about what they should do. Hilarity ensues.

The Review: Well, I can’t properly review this one without actually spoiling a lot of what happens here. so here’s the regulatory warning.

*Spoiler Alert*

Now that this is dealt with, let’s get into the heart of the matter. Death in comic books have become gradually cheaper as years went on, with many issues actually presenting them in their solicits as points of sale. Their importance and impact now being significantly lower, they have become gimmicks that have lost quite of their charms, since most of them are then retconned or repaired sooner or later. It’s easy to become jaded now when a character dies in the end of an issue or when an issue promises to be important because someone will die. It’s a simple fact.

Rick Remender goes forth here and actually goes on to ”kill” three of our protagonists here. With the word kill used in this way, some of these deaths are either too big or simply dubious, as some of these characters are either too big to simply go away ( I sincerely do not believe that Scarlet Witch will actually die, considering she’s supposed to star in the next big Avengers movie by Joss Whedon).

Despite the overall negativity of the previous statement, credits should be given to Rick Remender for not pointing death as a big finality of his storyline as he actually does not give character cheap deaths or simply waves them away in a nonchalant way. The way Rogue, Wonder Man and Scarlet Witch are mortally wounded is done in a way that adds drama and gravitas to the story, with their deaths having a direct impact on the story and the relationship between those characters. Despite the fact that it could be perhaps seen as overkill, this issue does actually use these deaths rather well by putting them in a much better context than what could be normally seen.

Guardians of the Galaxy #3 – Review

By: Brian Michael Bendis (Writer), Steve McNiven, Sara Pichelli, John Dell (Artists), Justin Ponsor (Colorist)

The Story: As J-Son, king of Spartax and father to Peter Quill, is acting like a royal jerk, the team has to be rescued from captivity.

The Review: I had my doubts about this series. Being a huge fan of the previous volume, I just didn’t know if Bendis could pull the big cosmic ideas that Dan Abnett and Andy Lanning threw in each and every issues. Worse yet, he had changed a couple of elements that I loved from the previous iteration in favour of adding some elements that were most probably due to editorial demands more than anything. It’s easier to sell the book if Tony Stark is in it after all, with the character being one of the breakout stars from the movie universe they had created. I had tons of reasons to be wary of such a move on a property I loved.

Now, I’d like to tell you that this issue blew me away, that my fears were silly and that Bendis has a brilliant future ahead on this title, but that would be partly true. I am mitigated after reading the conclusion to the first arc, as there are several elements that work and some that just don’t. It’s a mixed bag of quality with some pretty nice things and some that just felt wrong to me.

Guardians of the Galaxy #2 – Review

By: Brian Michael Bendis (Writer), Steve McNiven & Sara Pichelli (Penciler), John Dell, Mark Morales, Steve McNiven & Sara Pichelli (Inkers), Justin Ponsor (Colorist), VC’s Cory Petit (Letterer)

The Review: Something about Guardians of the Galaxy still seems a little…off. It’s definitely an enjoyable read but Bendis doesn’t quite seem as at home with space opera as he does with the more earthbound drama of books like All New X-Men, Ultimate Comics Spider-Man or (and I know this is a bone of contention) Age of Ultron. A big hint lies in that this, his first story arc, is centred entirely around Earth and its position of Universal importance. 2008’s GOTG crew never set foot on Earth once and was no poorer for it. The much maligned Green Lantern movie could barely slip the surly bonds of Earth and look how that turned out. When you’ve got an  entire universe at your disposal – a limitless expanse of planets and alien cultures for your cast to explore – ditching your characters on Terran soil at the first opportunity ends up feeling a little uninspired.

Guardians of the Galaxy #1 – Review

By: Brian Michael Bendis (Writer), Steve McNiven, John Dell (Artists), Justin Ponsor (Colorist)

The Story: Peter Quill meets his father and has an argument with him. After, he meets Iron Man and fights some Badoon.

The Review: Take a good look at the ‘’Story’’ section up above. This may sound like a very brief summary of what happens in this issue, which this section usually serves for, but unfortunately this is pretty much spot on what happens here, without spoiling the ending.

Indeed, one of the major flaws of this first issue would be the decompressed nature of the story, as Bendis really takes its time with a lot of things. Decompression isn’t necessarily a bad thing in comics, as some storylines can be enhanced by a longer structure and some emphasis on reaction from the core cast of the book. However, decompression can also seems like a cheap attempt at making a story that could be told in two to three issues longer, to fill out a trade, something that we also call ‘’writing for the trade’’. Now, this would be much too soon to properly classify in which category GotG will fall in, but judging from this issue, it would seem that the latter would be the correct answer.

Guardians of the Galaxy #0.1 – Review

By: Brian Michael Bendis (Writer), Steve McNiven (Penciler), John Dell (Inker), Justin Ponsor (Colors), Cory Petit (Letterer)

The Review: The following things will occur during the course of this review. First, I’ll obviously be giving my heartfelt opinion on Guardians of the Galaxy #0.1 – my treatise on the best flavour of Ramen Noodles will have to wait for now (in brief though: Chicken). Second, I will muse somewhat on how awesome it is to have Bendis back on such winning form – when he’s writing like this, the Marvel Universe is a much better place. Thirdly, I will use the term “cosmic restructuring” again and again and again – because this series is undoubtedly the keystone of that process, the linchpin of Marvel’s interstellar ambitions.

This cosmic restructuring has its beginnings elsewhere. Iron Man #6 technically kicked things off by relocating the Armored Avenger to Space (not that this changed much other than the landscape and the suit, but hey, it was a start). Nova #1, released last week, was far more integral to the

Captain America #3 – Review

By Ed Brubaker (writer), Steve McNiven (pencils), Jay Listen (inks), Justin Ponsor (colors), VC’s Joe Caramagna (letters & production)

The Story: Ameridroid (!) draws Cap out for a battle, while Sharon must contend with Baron Zemo.

What’s Good: We as readers are very lucky that Steve McNiven is penciling this issue. Extended fight scenes (which is essentially what this issue is) can become dull and repetitive very quickly, but thanks to McNiven’s pencils, this ends up being quite a lot of fun. There’s not a whole lot to sink your teeth into in terms of character development (although Steve Rogers does have one very nice moment towards the end, contemplating Ameridroid’s nature), but what this book does provide is the sort of fast and fun action that comics do better than any other medium out there. Brubaker does an excellent job of using the tools at his disposal to create an excellent series of action set pieces that are well paced and a great deal of fun to sit back and take in. The action gives McNiven an excuse to really let lose for the first time in the series as well, which is a pleasure to watch unfold.

Captain America #2 – Review

By Ed Brubaker (writer), Steve McNiven (penciler), Jay Leisten with Dexter Vines (inkers), Justin Ponsor (colorist), VC’s Caramagna & Cowles (letters and production)

The Story: Cap finds himself face to face with the menace that is Hydra once again. This time, however, he has a young and wholly-unexpected ally by his side: the dimension-hopping Jimmy Jupiter.

What’s Good: First thing’s first: the artwork in this issue is absolutely outstanding. This is one of those books I would happily buy even if there were no dialog whatsoever–the images of Cap, Hydra and their battle scenes are themselves worth the price of admission here. (At least they are if you’re a Cap fan, which I most decidedly am.) There are very few panels here that aren’t poster-worthy in their own right. Just fantastic work, on the part of the entire art team: the pencils are beautiful and detailed, the inking adds to, rather than distracts from, the final image, and the coloring is serviceable indeed, and does nothing to detract from the look of the page.

Brubaker’s Captain America is still very much what you would expect when picking up a Brubaker Cap book, which (at least for me) is a very good and comforting thing. Although the story itself suffers from movie tie-in syndrome (see below), Steve Rogers himself hasn’t missed a beat and has reclaimed the Captain America mantle very solidly indeed.

Captain America #1 – Review

By Ed Brubaker (writer), Steve McNiven (pencils), Mark Morales (inks), Justin Ponsor (colors) and VC’s Joe Caramagna (letters & production)

What’s Good: Ed Brubaker has been touting Cap #1 as a fresh start for the series almost since it was announced, and he is absolutely true to his word. This issue functions as a handy catch-up on Cap and his allies as characters, as well as some of their history together. It is also heavy on the WW II flashbacks, which will help orient any movie fans who might try the comic, as well as a treat for a Cap-in-the-40s junkie like me.

Steve McNiven lives up to the high bar that the preview pages set, and delivers a beautiful product. (There were a couple of times–especially on Cap’s shield throws–that I didn’t quite follow the action at first glance, but that’s a very small complaint when held up against his work as a whole.) While it lacks the excellent, gritty feel of the old Cap series, Justin Posnor’s bright, primary-focused colors help sell the book as what it is: a super hero tale. Coupling this with McNivin’s pencils makes for a fantastic visual experience.

Nemesis #4 – Review

By: Mark Millar (writer/creator), Steve McNiven (art/creator), Dave McCaig (colors), Clayton Cowles (letters) & Nick Lowe (editor)

The Story: The final confrontation between DC police chief Morrow and cop-killer Nemesis.

What’s Good: Ummm… it sets up nicely for a sequel?  It does finally let the reader in on what the story is/was, but it’s a little annoying to have the twist right at the end.

A lot of McNiven’s art is quite good.  I still really enjoy the character design of Nemesis himself.  We don’t see a lot of white in comic books and it is a really powerful color.  In a lot of ways, white reminds me of vibrant red hair that some artists put on female characters.  Colorist Val Staples was kinda enough to enlighten me that part of the reason why white (or red) is so powerful is that we just don’t see it in nature.  We see a lot of off-white, but very little WHITE, so it really catches our eyes when we see it.  Gotta wonder how he keeps it clean though.

What’s Not So Good: Honestly, this issue was a huge anti-climax.  Last issue had a hugely bloody scene where Nemesis just destroys a squad of corrections officers with his bare hands.  It may not have been everyone’s cup of tea, but you read it and said, “Whoa!  They’re not pulling any punches!”  Then you saw that when Nemesis kidnapped cop Morrow’s teenage kids, he artificially inseminated his daughter with his son’s seed and said, “Double Whoa!  Really not pulling any punches!” [Note: Although you do know that Millar toyed at least briefly with the idea of having the daughter get pregnant the old fashioned way and decided that was too icky.]

So, it was a huge disappointment that this issue didn’t have anything anywhere nearly that daring.  Morrow is given a kind of Sophie’s Choice moment, but that plays out pretty predictably and isn’t as shocking as what happened last issue.  And, then, I just wasn’t happy with the ending at all.  I won’t spoil it, but after building up Nemesis as a really cool villian, the ending turns this entire series into a long #0 issue that is just prologue to a longer story.  There is promise for the future, but I feel a little used buying 4 issues to get to this point.

Nemesis #3 – Review

By Mark Millar (writer), Steve McNiven (artist), Dave McCaig (colorist)

Reading Mark Millar’s Nemesis, I can’t help but fondly remember my own youth and those halcyon days of holding kittens underwater and giggling as they tried to claw their way to freedom, pushing cripples down stairs and savoring the fear in their eyes as they fell to their doom, and lighting homeless people on fire, drinking the glass of water that could have put them out, and pissing in the corner of the alley as they writhed and screamed in agony.

OH COME ON I’M KIDDING!!! What kind of sick fuck do you take me for!? Wait, don’t answer that. Where was I going with this? Oh, right: Nemsis is a comic that takes great pleasure in its own awful, Evil nature, and I love it dearly for that very simple reason. With this issue though… Uh, wow, this comic has gone Col. Kurtz on readers and truly fired with both barrels. And you know what? I still love it!!!

Nemsis is based on a basic, yet deeply disturbing premise: What if Batman was a Bad Guy? What if that Bruce Wayne archetype, that same young, wealthy, aristocratic kind of man about town saw his parents gunned down by lawmen and vowed to dedicate his life to destroying the forces of law and order? It’s not necessarily a new idea, I understand that, but Millar gives it a level of polish and gloss unlike anything we’ve seen in recent memory and yet that is easily worth the price of admission.

In Nemesis, readers are rewarded with a character who is thoroughly evil, yet strangely alluring in his civility and demeanor. That is, until he’s putting a fucking baton through your eye! Utterly detestable, yet grotesquely irresistible, you can’t help but be immediately engaged in this villain’s murderous crusade against The Man, and it’s not often we find ourselves so enthusiastically rooting for the bad guy like this! Nemesis is that rare breed of villain who is so utterly convinced that his way of thinking is the Right Way that you are often inclined to believe him despite what your paltry sense of morality tells you to believe contrary to the fact. His every action is expertly calculated to achieve some elusive, yet clearly vindictive endgame against supercop Blake Morrow, a man who, while clearly being the prototypical Good Guy of this twisted tale, has yet to actually earn our respect or admiration.

Funny how Millar fucks with our expectations like that, isn’t it?

Wolverine: Old Man Logan Giant-Size #1 – Review

By Mark Millar (Writer), Steve McNiven (Pencils), Dexter Vines w/Mark Morales (Inks), and Morry Hollowell (Colors)

Some Thoughts Before The Review: I’ll be honest and admit that I’m pretty torn about the conclusion of Old Man Logan before even reading a single page of it. Why? The $4.99 price tag.

The Story: Logan gets revenge against the Hulk clan…

What’s Good: As far as violent, brutal confrontations go, Logan’s strike against the members of the Hulk family is top-notch. The blood flies early and often as Logan’s rage is let out in full force. It’s entertaining as hell and suitably epic from start to finish.

While Mark Millar tosses in some cool dialogue here and there (“People piss themselves when I get angry.”), the majority of Giant-Size Old Man Logan is almost entirely a showcase for the talent of Steve McNiven and his art team. McNiven’s pencils are nearly flawless and do an excellent job of detailing the carnage that Logan unleashes. Simply put, the gore is something to see for those that like it bloody. Also, thanks to Morry Hollowell’s colors and the inking done by Dexter Vines and Mark Morales, nothing gets lost in all the chaos. Everything pops off the page in a way that really shows what McNiven is capable of.

The action is what you should buy Giant Size Logan for, but that doesn’t mean that action is all the book has to offer. Mark Millar wraps his tale up rather well and leaves the door wide open for more exploration of the universe that he’s created. In addition, a few of the slower moments of Giant-Size Old Man Logan deliver what I like to call “poster-worthy moments,” courtesy of Steve McNiven and his team. Wolverine staring at the Hulk kids, claws out… quite badass and iconic if you ask me.

What’s Not So Good: The biggest problem I have with Giant-Size Old Man Logan is how quickly it’s over. For $4.99, the comic is one hell of a fast read. Sure it’s pretty satisfying and damn impressive looking as a whole, but the extra padding that is supposed to help justify the price tag (cover images and pencil/ink work) just simply isn’t worth the extra buck.

Another complaint I have is that, occasionally, Steve McNiven’s storytelling seems to be a bit off. There’s either a jump in the action or the panel/page is a bit hard to follow. The best example of what I’m talking about comes when something tears through members of Hulk’s family. I’m still not entirely sure exactly what takes place in that scene or even how that scene came to be.

Conclusion: The great-looking Giant-Size Old Man Logan definitely caps Millar’s Wolverine arc well. That said, I’m not entirely convinced it’s worth the price tag. Check it out, but just be aware that, outside of the visuals, you aren’t getting as much as you might think for your five bucks.

Grade: B

-Kyle Posluszny

Wolverine #72 (Old Man Logan Chapter 7) – Review

By Mark Millar (Writer), Steve McNiven (Penciler), Dexter Vines & Jay Leisten (Inkers), and Morry Hollowell w/ Nathan Fairbairn & Paul Mounts (Colorists)

Some Thoughts Before The Review: “Old Man Logan” is definitely going to go down as one of the most memorable Wolverine stories ever told. The concepts, the characters, and the crazy action sequences come together in a way that recalls some of the best blockbusters of all time. Sure it demands that you accept a few things in order for the story to work to the fullest effect, but I’m more than willing to do so since the entertainment factor is so high.

The Story: As the Red Skull, the current President of the “Old Man Logan” version of the U.S., contemplates and remembers the past in his trophy room, he receives two bodies and the super-soldier serum that got Hawkeye executed and Logan gunned down. But one of those bodies isn’t quite dead yet…

What’s Good: AWWW SNAP! Yeah I hate the expression too, but it fits Wolverine #72 so well that I just had to use it. While I won’t explain why the expression is so adequate in order to avoiding spoiling the fun, I will say that, from start to finish, the seventh chapter of “Old Man Logan” is just a blast to read and look at. It’s jam packed with moments that are memorable both visually and as part of one hell of a fun story.

Mark Millar does a particularly great job of handling the Red Skull’s personality. Evil, satisfied, cocky, arrogant, and even reflective; the Red Skull’s appearance gives the arc yet another memorable twist on the Marvel universe. From the opening with Captain America to the brutal trophy room showdown, the Red Skull absolutely dominates the book in a way that I didn’t expect.

As for the artwork…well what more can be said, really? It looks about as fantastic as expected and is unrelentingly brutal in a way rarely seen in a non-MAX title. The big fight scene is extremely satisfying and ends with a visual that won’t soon be forgotten.

What’s Not So Good: The only real big negative about Wolverine #72 is how fast it reads. It’s over in a flash and leaves you wanting more. And unfortunately, who knows when more will come considering how long the wait has been in between issues.

Conclusion: The latest part of “Old Man Logan” may just be the best yet in some ways. It isn’t deep, but it sure is a hell of a lot of fun. The visuals are memorable, the Red Skull is awesome, and the shit…well it finally gets real.

Grade: A

-Kyle Posluszny

Wolverine #70 (Old Man Logan) – Review

By Mark Millar (Writer), Steve McNiven (Pencils), Dexter Vines & Mark Morales (Inks), and Morry Hollowell & Justin Ponsor (Colors)

Some Thoughts Before The Review: Simply put, Wolverine #70 is,  in many ways, a make or break point for the entire “Old Man Logan” arc. While I’ve enjoyed the slow burn storytelling, the unique setting, and the rather fresh take on Wolverine, I’m ready for some answers. And considering that the entire storyline is based around the “What If?” styled premise of Logan being a pacifistic farmer, there had better be a damn good reason behind the berserker’s rather unique (taking his past into account) new lifestyle choice. The ball is firmly in Mark Millar’s court. Time to find out if he can deliver something that finally makes the fundamental concept of “Old Man Logan” truly satisfying.

The Story: How much can I really say without spoiling the surprise? In Wolverine #70, Mark Millar finally reveals the reasoning behind Logan’s decision to keep his claws inside for over fifty years. As you probably guessed, the reasoning involves lots of bloodshed and general brutality.

What’s Good: While I have a few complaints about the big reveal, the good definitely outweighs the bad throughout the entire issue of the latest “Old Man Logan” chapter. And the credit for that goes almost entirely to Steve McNiven and his team. The action during the big flashback is brutal, visceral, violent, and extremely satisfying; thanks to the outstanding and surprisingly memorable visuals. It goes a long way towards making up for the rather simplistic story by keeping the reader engaged enough so that the focus is more on the ride than the details. I know that sort of sounds like a negative, but it actually works in the book’s favor quite a bit if you think of the arc as the comic equivalent of a bombastic blockbuster/popcorn flick.

What’s Not So Good: I know that more than a few people are going to take issue with the explanation for Logan’s pacifism. And in all honesty, I don’t think I can blame anyone that does. Long story short, the whole plan the villains use against Wolverine just doesn’t stand up to scrutiny all that well. In addition, the chaos that results from the plan seems to ignite far too easily considering all the factors that seem to be at play. I could go into a bit more detail about why the events are frustrating to me, but I could end up spoiling something. And I wouldn’t want to do that.

Conclusion: Wolverine #70 rocks as long as you don’t think about it too hard.  That said, in regards to the grade, I still have to acknowledge the lingering disappointment that exists in the wake of the big reveal.  My suggestion? Just open it up, soak in the bloody visuals, and enjoy the ride…

Grade: C+

-Kyle Posluszny

Wolverine #69 – Review

By Mark Millar (Writer), Steve McNiven (Pencils), Dexter Vines (Inker), and Morry Hollowell (Colors)

Some Thoughts Before The Review: The Old Man Logan story has been quite good up to this point, but the wait between issues is definitely proving to be a momentum killer. When I picked up chapter four today, I found myself wondering about what had happened so far and whether or not I even cared anymore. That is never a good sign. So, needless to say, Wolverine #69 is saddled with a bit of baggage.

The Story: Logan comes up with a daring plan to rescue Clint from his daughter, but it doesn’t go quite as planned. Soon, Logan finds himself in the Moloids lair as they feed upon the remains of his pursuers. Also, the issue provides a few more glimpses into what happened during the battle that left the heroes dead and the United States of America forever changed.

What’s Good: As usual, the artwork in this book is something to behold. Quality stuff all around from one of the best in the business. As for the story, while a bit slow, it works well because it hints that the best is yet to come, as the secrets of the past and present are slowly revealed. I simply can’t wait for next chapter to finally add some real meat to the overall tale.

What’s Not So Good: The wait between issues hurts this book a bit since it comes across as pretty underwhelming; considering how long it took to finally hit store shelves. While I very much appreciate the time and effort being put into the work, I can’t simply ignore the fact that very little actually happened in this issue. That said, the ending almost makes up for how little ground this chapter covers.

Conclusion: Old Man Logan, while action-packed at times, continues to employ slow-burn storytelling. While it works well enough for me (and I can mostly bear the wait), I suspect that most readers will find this issue a bit lacking, considering how long they had to wait for it. This may be a good book, but it doesn’t exactly move the plot forward a whole lot.

Grade: C+

-Kyle Posluszny

Wolverine #68 – Review

By Mark Millar (writer), Steve McNiven (pencils), Dexter Vines (inks), Morry Hollowell (colors)

At last, we get to see the Spider-Mobile in real action. Sure, Wolverine and Hawkeye have taken it off a cliff and brought it through some rugged encounters, but when you see it doing what it was made for, you’ll be nothing but smiles. With this issue, Wolverine inches ever so closer to losing his pacified status, and honestly, that turned me off a bit. For the record, nothing aggressive has officially been done yet, but there’s a hint that we may see it coming sooner than later. I’m hoping those claws don’t pop out at all during this run; I want to see a different side of Wolverine and I want to see him stay true to his convictions. Will it last? Probably not, but it’ll be entertaining to see how much crap he can take.

What’s there left to say about Steve McNiven that hasn’t already been said. He delivers the goods again (along with his supporting art team), and this defeated world is brought to life by the details he instills in every panel. The covers are probably the only instance where this run has failed (in my opinion). They’re too pedestrian, too bland and there’s no excitement that screams, “Pick me up!” Like Logan, it feels a bit neutered. Thankfully, the innards reflect none of that.

Hawkeye, once again, steals the show, but it’s his daughter who ups the ante in the end. There’s a lot to be said of this future – it’s the wild west – and its citizens are as ruined and savage as the landscape. What started out as Unforgiven-inspired has quickly moved into Road Warrior territory. And if you know Road Warrior, we’re in for some intense action.

At least I know why she’s called Spider-Bitch now. (Grade: B+)

– J. Montes

Wolverine #67 (Old Man Logan) – Review

By Mark Millar (writer), Steve McNiven (pencils), Dexter Vines (inks), Morry Hollowell and Christina Strain (colors)

The first things that’ll come to your mind after reading this issue is: That cover was really misleading. Who did Peter Parker “pork” to get a daughter like that? And, wow… nice outfit.

I’m not going to ruin anything for you, but this is the future story of the Marvel Universe that only Mark Millar could tell. The book reeks of his ability to shock, charm, and entertain you on an almost effortless level. The odd part is, thus far, Logan’s been nothing but a “Negative Nancy”. He’s an old, defeated dog who broods about his business and avoids confrontation. But I suppose the fun part is waiting for the proverbial “pot to boil” and see him unleash hell down the line. If it doesn’t happen, color me surprised. But you know what? I think keeping him restrained is not only a challenge to the character, but to the Millar, himself.

If you’re expecting a ton of Wolverine goodness, forget it. Hawkeye does most of the heavy lifting (even driving), and for a blind man, that’s pretty impressive. But if you think that’s all silliness, wait till you see what he does in the middle of the issue – it’s hands down, one of the funniest and most memorable moments in comics that I’ve read all year. Millar has a knack for that between this book and Kick-Ass (and if you read issue #3 of that series, you know what I’m referring to).

Steve McNiven and his creative team are again at the top of their game, handing us some beautiful pedestrian moments and plenty of striking imagery. It’d be easy to play this story close to Earth X (design-wise), but thanks to the color palette and more “dirty” design work, that’s been completely avoided. McNiven creates a color cast of misfits of all shapes and sizes and its this uniqueness that sets him apart from other artists of his caliber. The details he puts into his panel work will have your eyes scouring for easter eggs and clues of this strange world. This comic is fun, and in the end, that’s all we readers really want. (Grade: A-)

– J. Montes

Wolverine #66 (Old Man Logan) – Review

By Mark Millar (writer), Steve McNiven (pencils), Dexter Vines (inks), and Morry Hollowell (colors)

Not to make any comparisons or anything, but this book really reminds me of Alex Ross and Jim Krueger’s Earth X maxi-series from 10 or so years back.

We’re 50 years into the future where the planet’s been overrun by super villains. How Earth’s heroes fell is not explained, but Wolverine is one of the few heroes to survive the war and continue on. He has a rural, pedestrian life now – raising pigs, two kids, and burdened with the task of finding rent money. He’s a tired, old man trying to live out the rest of his days in peace.

But when hard times fall on Logan and he can’t come up with the rent money, he endangers the rest of his family. With a proposition from an old friend, Logan decides to take a trip out from the wastelands of Sacramento to the East Coast. As timid as Logan is about this job, he knows it’s the only way to keep his family safe.

If you’re expecting a huge, fast-paced romp like Mark Millar’s “Enemy of the State” storyline (which is probably the last great Wolverine story I’ve read), you’re going to be disappointed. This is on the complete opposite end of the spectrum. Wolverine is a man who’s made peace with himself and the past. He’s a pacifist and because of that it allows the story to grow. We all know this pacifism isn’t going to last. Eventually, Wolverine’s going to go berserk and that’s part of the fun – seeing how much he can take before that feral instinct takes over.

Millar’s story moves very quickly. A lot of the dialogue is strictly expository, but very much needed for this dystopian future. Also, the geographical map of the United States shows the political restructuring of the land, and like a good roadmap, it clearly shows what’s in store for Logan and his partner. Steve McNiven’s artwork is a feast for the eyes. Even with the bland desert-like setting, there’s plenty of life to be seen within the characters. It’s painfully obvious that a lot of care went into designing them, their environment, and the outfits. It’s also pleasing to see Dexter Vines and Morry Hollowell continuing to stick around as McNiven’s support team. Without them, this book wouldn’t look half as beautiful as it does.

Old Man Logan is not a mind-blowing debut, but it will fill you with lots of intrigue. The story’s properly set up and the production values are top notch. Coming from the team who did Civil War it’s hard to really doubt the lack of quality we’ll be receiving as the story progresses. I can’t wait to see how this ties into Millar’s Fantastic Four run and/or 1985. This is like Clint Eastwood’s Unforgiven – but Wolverine style! (Grade: B)

– J. Montes

Wonderlost #1 & 2 – Review

By C.B. Cebulski (writer), Various (art & gray tones)

Noted comic book writer, C.B. Cebulski hatched one of the most crazy ideas I’d ever heard of: He decided to do a biography of his teenage years in comic book form. Personally, I think this is a dangerous idea. I mean, you’re pretty much putting yourself out there for people to scrutinize and judge, right? Well, I’ll judge him right now. Mr. Cebulski, you were one sex-crazed fiend, and your stories are not only hilarious, but stuff of legend.

Each issue is a collection of stories, chronicling different times of Cebulski’s life – and each chapter is drawn by a different artist (did I mention all the art is very good?). As I read these two issues, I often wondered what Cebulski’s motive was for telling these stories. Most of them are filled with awkward sexual situations and lots of alcohol. The only thing I could think of is he probably just thought they’d make entertaining stories. And, yes, they are very entertaining. Some of the trouble he gets himself into with the ladies are things you might see in a Porky’s or American Pie movie, but they’re genuine, and genuinely funny. And Cebulski may come off as a womanizer at times, but I’ll make a defense for him and blame the hormones. Those were some rough years!

As I finished the issue #2, one of the first reactions that came to me was, “A lot of guys aren’t going to be able to relate to this.” After all, we’re talking about comic book readers here! But, after dropping the geeky stereotypes, I conceded – maybe this will connect with some people. It connected with me, just more in a whimsical, kindred kind of way. I think most people will look past the surface and see a young man trying to figure out who he is, what his limitations are, and the species that we call women.

It can’t be easy putting those awkward years on paper like this for people to read. And with each issue running about 60 pages, you’re definitely getting a whole lot to read (and see, if you get my drift). My only reservation is at $5.99 per issue, that’s asking a whole lot from your audience – especially for an unknown, black and white book. Personally, I think it’s a small price to pay for something completely out of the norm and rousingly entertaining. (Grade: A-)

– J. Montes

Amazing Spider-Man #548 – Review

By: Dan Slott (Writer), Steve McNiven (Pencils)

Brand New Day Part 1 featured Peter Parker kissing a beautiful girl on the splash page. Part 2 had Peter giving J. Jonah Jameson mouth to mouth on the splash page. Part 3? Well, I’m not gonna spoil it for you. Let’s just say Dan Slott’s having a lot of fun with his three issue run and we’re all winners because of it.

Like last issue, this one’s loaded with humor and fun. And while I have noted that it seemed like there was a bit too much going on with all the sub-plots, Slott has somehow managed to tie-up all the loose ends within 24 pages. It’s really well done, too – no “Awww come on, this is BS” moments! I’ve been paying pretty close attention to this storyline (as non-serious as it is), and I’ve got to say, I haven’t been this engrossed by Spider-Man in years. The way Slott throws a twist on Mr. Negative’s alter ego completely caught me off-guard! Why does he look like Chow Yun Fat anyway?

Steve McNiven’s art? This guy doesn’t need anymore accolades. You know what you’re gonna get from him: the good stuff.

I’ll always hate Joe Quesada for taking MJ away from Peter and ruining continuity with poor storytelling, but I’ll be the first to admit that this new stuff is fun. Whether the next creative team will be able to build upon what Dan Slott has masterfully (and almost effortlessly) created, is something we’ll find out soon. Very soon. (Grade: A)

-J. Montes

Amazing Spider-Man #547 – Review

By: Dan Slott (Writer), Steve McNiven (Pencils)

Brand New Day continues with Dan Slott’s second issue with old web head. What’s interesting here is his use of continuity. Mr. Negative now has an interesting tie with Spider-Man’s 2007 Free Comic Book Day issue and also an early story from Amazing Spider-Man from the late 1960s. The story still feels a bit crammed with so many sub-plots going on (Jameson’s heart attack, the fate of the Bugle, Harry Osborn and company, Mr. Negative, and the thief posing as Spider-Man – whew!). There’s one instance when Spidey gets in a fight with a bunch of thugs and what seems to be a page later, he’s saved the day with no bad guys around.

Other than this minor qualm, the story is interesting, not to mention wildly entertaining. What really got me is the last page where Spidey seems to meet his doom. I’m not going to spoil it for you, but I will say it made me laugh out loud (for all the right reasons). I may have hated One More Day, but I’m really digging Brand New Day and the weekly format. It just feels right – especially with the frantic pace of Dan Slott’s storytelling. Not as strong as last issue, but a good read nonetheless.
Steve McNiven’s art is a godsend to this title and it’s a pity we’re only going to see him for three issues. I could say the same for Dan Slott, but word is he’ll eventually be back for another story arc this year. (Grade: B+)

-J. Montes