Legion Lost #7 – Review

By: Tom DeFalco (writer), Pete Woods (artist), Brad Anderson (colorist)

The Story: He’s the amphibious, humanoid telepath of your dreams.

The Review: Chalk this up to my wishy-washy nature, but I’ve always found it difficult to step away from a comic book series, even one that’s not performing so well.  Part of me wants to believe the title’s only going through a rough patch, one that may be hurdled over by the next issue.  Another part of me sees dropping the series as a kind of betrayal, especially after some significant investment—like the six months I put into Legion Lost.

Sad to say, that investment hasn’t really paid off.  This book has been crawling along for a while now, even some time before DeFalco took over writing duties, so you can’t really attribute its low performance to creative changes.  Even from a generous perspective, the title simply hasn’t done a remarkable job of establishing appealing, lovable characters nor a tight, gripping plot.

Aside from the aggressive Gates and Timber Wolf, none of the other Legionnaires have asserted much in the way of personality, at least none that you can really resonate with.  DeFalco might be trying to light a fire under these characters by injecting some drama into their interactions, but he does so at the cost of ignoring context and disrespecting Legion history.  I’m talking, of course, about Wildfire’s unexpectedly craven power play for control of the team.  It’s one thing to state, not inaccurately, that Tyroc hasn’t been very proactive in directing their mission; it’s another to take the leap to, “For the team’s welfare, you should step down as mission leader.”

What’s particularly problematic about this scene is it essentially disregards the years of friendship and experience these teammates have shared together.  It just doesn’t make sense for Wildfire to be so insensitive and callous in critiquing Tyroc, nor does it feel natural for Tyroc (especially since we’ve established him as “a diplomat,” in Wildfire’s own words) to shoot back, perhaps a bit too defensively, “That’s exactly what we need—another hothead in charge!”  To top it off, Wildfire reacts with a rather silly, antiquated, “Why, you—”  I’m surprised he doesn’t shake his fist under Tyroc’s nose just to complete the effect.

Superboy #6 – Review

By: Scott Lobdell & Tom DeFalco (writers), R.B. Silva (penciller), Rob Lean (inker), Richard & Tanya Horie (colorists)

The Story: When Superboy meets Supergirl.

The Review: Usually, I’m all for continuity respect across titles.  The sense of a shared universe feels a lot stronger when certain series make note or call attention to events happening in other books, sometimes even using them to springboard their own stories.  At a certain point, however, all that gets cumbersome, distracting, not a little bit annoying (see the constant reference captions in Suicide Squad #6).  Sometimes, you just want to focus on the story at hand, and no other.

Lobdell has the opportunity of not only writing two titles, but having those titles relate so closely to each other that he can weave one story through both.  In the hands of a craftier writer, this might produce some amazing material.  In the hands of a straightforward, middle-of-the-road writer, it feels like a lot of lost opportunities and sterile repetition.  For anyone who might follow both titles, the opening of this issue must make you feel like slamming your head against a table.  Not only does Lobdell reference the events of Teen Titans #5, he literally copies and pastes the last five pages of that issue into the first five of this one.  I’m not calling anyone lazy, but certainly I don’t think he exerted much creativity in writing that particularly scene.

Things get even more problematic when Lobdell starts bringing in continuity from other series.  Besides the fact that it feels far too soon for Superboy to be having a run-in with Supergirl, you have to question where in the context of her current story arc this scene fits in.  Not to mention the fact that the scene serves no other purpose except emphasizing Superboy’s misfortune with women and that his nature as a clone bodes ill for all, as if that hasn’t been made clear to us many, many times already.

Not really a problem, but disappointing nonetheless, is the fact that the two Super-teens part ways without much of a bond.  Both recognize correctly that they share a common loneliness in this world, and neither knows what to do with themselves from here on out.  It’s really a shame their fortuitous meeting doesn’t result in anything more than a wary connection between them.

Legion Lost #6 – Review

By: Fabian Nicieza & Tom DeFalco (writers), Pete Woods & Matt Camp (artists), Brad Anderson (colorist)

The Story: Green man from Mars, meet the time-traveling people of the future!

The Review: I’ve made these same observations before in my review of Stormwatch #6, but it really pains me to see a writer I admire depart from a title I like.  Almost always the two things are mutually inclusive; once one element disappears, the other usually follows.  True, Nicieza hasn’t exactly made this title into the barn-burner any Legionnaire fan hoped for, but at the very least he’s remained true to the Legion’s spirit and delivered a solid, if flawed, read each time.

Soon-to-be-replacement DeFalco comes aboard this issue to help Nicieza with the script.  As a result, it’s hard to tell if the writing falls flat because of his contribution or because of some decline in Nicieza’s already faltering writing.  It’s not an obvious drop in quality, but it just feels like many of the lines have gotten slightly more generic, the plot slightly more muddled, the characters slightly more one-dimensional.

The weakness is most noticeably felt in the conception of Major Nicholson, the military lady in charge of investigating extraterrestrials and metahumans that may pose a threat to the country.  She might be attempting to sound tough and informed, but she ends up sounding immature (describing Timber Wolf’s friends: “‘Faceplate’ appears to emit some kind of energy from that oh-so-stylish suit of armor—and it looks as if ‘Lenny Kravitz’ controls sonic vibrations.”) or just plain bratty (“Shut up!”).  With any luck she won’t be a long-term antagonist for this series.

Also a bit painful to read is Martian Manhunter’s dialogue.  Paul Cornell did a fantastic job on Stormwatch making J’onn out as a badass, an image Pete Tomasi kept up perfectly in his guest shot on Green Lantern Corps.  Here, when he’s not acting confused by the Legionnaires’ “evolved” minds, he’s being confusing.  For example, you’ll never understand why, when he confronted Wolf last issue, he apparently decided to take the extra step of knocking Wolf out and having him turned into the military before he begins his interrogation.

It’s also not clear what J’onn gets out of this meeting with the Legion.  If anything, his only real purpose is to assist them in rescuing Chameleon Girl.  While he vaguely mentions something about trailing them to complete some kind of “energy signature,” it’s not clear what getting that kind of information accomplishes for him or Stormwatch.  It also strikes me as a little odd that having read their minds and knowing their purpose on Earth, he’s not a little more concerned about the Hypertaxis virus threatening humanity, which would supposedly be under his purview.

Spider-Man: The Clone Saga #1 – Review

By Tom Defalco and Howard Mackie (writers) Todd Nauck (pencils) Victor Olazaba (inks), and Javier Tartaglia (colors)

The Story: As Aunt May lies in critical condition on a hospital bed, Peter is confronted by his clone, Ben Reiley, as a mysterious villain strikes against the duo. Meanwhile, Mary Jane learns she has a condition that will effect her and Peter’s for the rest of their lives.

What’s Good: A little disclaimer here: I never read the original Clone Saga as it launched right after my gradual hiatus from reading ASM. So, I come to this mini-series with fresh eyes and an open mind (sort of; more on this below). Those readers that were bothered and up-in-arms over the original Clone Saga will probably have a different experience with this read and I’d like to hear what you guys think of this issue in the comments section.

Anyway, this comic has its strong points in its heavy nostalgic feel with it’s early nineties style. It rings true as a representation of an era when the likes the likes of McFarlane and Larson were telling their stories and Peter was at a stable point at his life as far as maturity while his life was twisted by ridiculous dramas like Robots in the form of his parents invading his and MJ’s life.

After reading the most recent ASM annual, I was intrigued to learn more about this Ben Reiley character and his effect of Spidey’s continuity. To this end, Defalco and Mackie did a good job in making Reiley a solid character with a logical personality for being a clone that knows who he is. The dialogue between he and Peter normalized and became quite good in characterizing their relationship.

The art was decent, like a glossy version of 90’s Spidey, The action scenes, which was most of this book, were skillfully done with detailed scenes full of momentum.

What’s Not So Good: Well, this is whole project is pretty much Spider-Man’s version of X-Men Forever. Like Chris Claremont pining for his X-Men series that should have been, Tom Defalco and Howard Mackie were apparently losing sleep and chomping at the bit to tell their vision of the Clone Saga that never was. Look, I understand that writers/creators need to create, but part of me questions the whole validity of this product. Here is the safest thing that I can say in this vein: Comics today are much, much better than comics in the mid 90’s. MUCH BETTER. There may be no remedy to correct whatever creators and editors were drinking when they came up with the gruel they shoveled out in front of the hungry fanboy. Seriously, for the most part, comics back then were non-sensical, self-righteous, and overly dramatic affairs that turned many of us off of comics completely.

All that being said, this comic should be criticized for how it stands on its own. In this regard, I found the breakneck pacing very mechanical and cliché’.  This wasn’t an organic story, but rather everything was methodically told by the characters. Perhaps things will become more natural and flowing in the future, but this issue seemed forced and predictable. Let’s not forget that the villain remained unseen by the Parker and Reiley, and just threw stuff at them like a car, a water tower, and a biological weapon. Yeah, pretty lame.

Also, despite the action scenes being well done and Spidey looking pretty good, the art in all was uneven. Faces were inaccurate and never looked the same page-to-page. Also, the heavy shadow and tone left much to be desired.

Conclusion: As a web-head, Spidey junky I’m compelled to buy this issue. But truth be told, I didn’t really want to. It felt like spending time with an old-friend you’ve grown apart from. I will say that this issue was decent and even exceeded my low, low expectations. I think there are elements to work on here to make future installments better than this first one, but the bellowing question of “Why print this series” will continue to paint this whole affair in mediocrity. Oh, did I mention this was 4 bucks?

Grade: C

-Rob G

Ms. Marvel #25 – Review

By Brian Reed & Tom DeFalco (writers), Adriana Melo & Ron Frenz (pencils), Mariah Benes (inks), Chris Sotomayor (colors)

Ms. Marvel may not rank up with Marvel’s other top tier books, but month after month, writer Brian Reed finds a way to keep me coming back for more. In fact, I’m so enamored by this series that I recently went out and bought all the back issues on eBay. Well, with regular artist Aaron Lopresti now gone to DC (he’s going to be doing Wonder Woman, so check that out), my confidence was a bit shaken. Luckily, I was proved wrong; issue #25, may just be the best issue of Ms. Marvel yet!

I’ll be the first to admit it’s not the story that makes this milestone issue so good, but the creative team as a whole. For $3.99 you get a 32 page story that acts as another pre-Secret Invasion tie-in. Part of the story takes place in the deep past before Carol Danvers became Ms. Marvel. It gives us an early look at the Skrulls and how they tried to capture Captain Marvel and steal a space shuttle. Using quasi-vintage coloring techniques (lots of flat colors), tons of narrative, and old-school Marvel bullpen inspired art, the team of Ron Frenz and Tom DeFalco tell this story in classic fashion that’ll make any comic reader grin from ear to ear. There’s not a more perfect team working today who could have captured the nostalgic spirit of the late Silver Age. Wonderful job, guys.

For the story taking place in the present, we get Brian Reed with newcomers Adriana Melo and Mariah Benes on art. For a debut, these two ladies really know how to draw and ink a comic – I was really impressed with how they handled the action – and there is plenty. For the story itself, we spend a lot of time with Carol as she does a few mundane things (which turn out to not be so mundane), while a Skrull that’s been impersonating her wrecks havoc in her life. It’s a good story that stands quite well on its own, so if you’ve been thinking of giving this book a try, now’s the time. There’s also a very good Ms. Marvel biography at the back of the book (for new readers) along with a spread of Terry Dodson’s incredible covers from Ms. Marvel #25 and Captain Marvel #4.

It’s great to see Ms. Marvel last 25 issues. Hats off to the fans and Marvel for having faith in Brian Reed and not letting this book die. Let’s make sure it stays that way. Pick up this issue. It’s well worth your money. (Grade: A-)

– J. Montes

Amazing Spider-Girl #18 – Review

By Tom DeFalco (writer), Ron Frenz (pencils), Sal Buscema (inks), Bruno Hang (colors)

After a somewhat disappointing issue last month, Spider-Girl gets back on track and wraps up the current story arc in fine fashion. I’m really impressed; it’s like Tom DeFalco read my complaints and addressed every one of them. Right from the get-go, we’re thrust into the middle of Crimelord’s auction of Kingpin’s “secret files”. With just about the whole crime community of New York ready to bid, Hobgoblin crashes the party with the intent of being the sole owner of the files.

Little does he know that Crimelord is prepared for him. After a sniper destroys the Hobgoblin’s glider, he’s surrounded by a mob of angry thugs. It’s here that he unleashes Mindworm to do his bidding. But Mindworm, finally showing a bit of intelligence, double crosses Hobgoblin and uses his powers to take control of everyone in the room (except Spider-Girl). In a desperate move, the Hobgoblin frees Spider-Girl. Together, butt-kicking ensues.

This issue does a nice job of addressing all the questions posed from this story arc. We learn the identity of Crimelord (it’s not who you think it is!), we get the results of Ben’s surgery, Spider-Girl finally kicks the crap out of Deadspot, and we learn the fate of Mindworm and the Hobgoblin. Perhaps the only thing missed was the whole reveal of who Deadspot is. She’ll be back, for sure.

It’s great to see the creative team back in good form. I was afraid they’d hit a creative wall after the dragging we were put through last issue. Great way to end an arc. Oh and that last page with Wes, May, and Gene. Wow… just wow! (Grade: B)

– J. Montes

Amazing Spider-Girl #17 – Review

By Tom Defalco (script), Ron Frenz (pencils), Sal Buscema (inks), Bruno Hang (colors)

I hate to say it, but this issue was pretty boring. The aspect I love the most about this series is May Parker, the person. We don’t get much of it this issue. Instead the villains take center stage and sadly, they are an uninteresting lot. Why? Because while there may be a big auction taking place among crime lords, none of them posses the viciousness, charisma, or cunning as someone like The Kingpin. What we’re given instead is a bunch of washed up thugs vying for Kingpin’s scraps. It’s just not very compelling.

Wait a sec! I’m not done yet.

This story with Hobgoblin and Mindworm needs to be finished… soon. May needs to expose Detective Drasco as the Crimelord. And she needs to lay the smack down on Deadspot. I mean, for a villain who was so prominent last issue, she (Deadspot) sure is given the shaft this issue as she’s relegated to a brief cameo appearance. At least she has May somewhat concerned for her well-being, too. That’s the kind of villain I want to see in my Spider-Girl books, not these lowlifes who want to be a third string Kingpin!

The stuff I do like is fleeting at best. Gene Thompson has been trying to reconcile with May for months and once again we’re given one page where nothing is addressed. The Parkers finally receive news that Ben’s hearing can be restored with an operation. That’s good progression. What bothers me, however, is Peter nor May seem to be scoffing at the fact that the hospital will need blood samples from them. This has always been a serious issue in the past – why isn’t it now?

Ron Frenz delivers solid art, as always. Tom DeFalco, however, has dropped the ball with this story line. Hopefully, he can wrap this up by next issue and we can move on to better things. (Grade: D+)

– J. Montes

Amazing Spider-Girl #16 – Review

By: Tom Defalco (Writer), Ron Frenz (Pencils), Sal Buscema (Inks)

There’s a lot of drama going on in Spider-Girl’s life. She’s broken up with her boyfriend. Her mom’s starting a job at her high school. Hey brother may have permanently lost his hearing and his spider powers appear to be manifesting themselves. On top of all this, someone’s hired an assassin to take her out!

Little is known about this assassin other than her name is Deadspot and she can initiate a heart attack on her victim with the slightest touch. Using a special suit that renders her invisible, May’s only defense against Deadspot is her spider sense. The real question here is who hired Deadspot to kill May and how does she know her secret identity?

After last month’s 10th anniversary issue, ASG #16 marks a nice jumping on point for new readers. Granted there’s an existing story that’s continuing, it’s quite easy to catch on to what’s going on. Tom DeFalco writes in that old school Marvel style that does a little over-explaining for new readers. Sure, it’s redundant for us regular readers, and it feels a bit formulaic, but anyone that’s read Marvel comics for the past 10 to 20 years should feel right at home.

The storytelling is strictly old school fun and Ron Frenz, god bless him, just gets better with age. While many modern artists concentrate on just the characters, Frenz gives you the whole package with beautiful backdrops and dynamic angles. Unlike many of his peers, he’s a complete artist. Being someone who was raised on the DeFalco / Frenz run of the 1980s, it gives me nothing but happiness to pick up this book month after month. (Grade: B+)

-J. Montes