Chin Music #1 – Review

By: Steve Niles (writer), Tony Harris (art), Bill Tortolini (letters)

The Story: Something about 1930’s era gangsters and demonic forces and Egypt.  It’s really not very clear….

Review: This comic issue really challenges the idea of buying a comic “just to look at the art” because it looks amazing–but doesn’t have much story.

From an art standpoint, you won’t find many comics that look better than Chin Music #1.  It’s really glorious stuff.  I love all the interesting things that Tony Harris does with his panel borders.  He really turns the panel borders into part of the artwork with all these filigrees and whatnot.  I don’t know whether to wish that more artists drew inspiration from Harris or to cringe at the thought of artists doing non-expert jobs aping Tony Harris panel borders.  Regardless, if you’re interesting in seeing someone playing around with the concept of the entire page in a comic being a work of art, then this is an issue worth checking out.

Ex Machina #50 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher

The Story: Ex Machina concludes with glimpse of the years following Mitchell’s time as mayor.

What’s Good: I can’t recall feeling so sad after reading the final issue of a series, not only because of the fact that a favourite book is concluding, but due to the content of the issue itself.  Ex Machina #50 is an emotionally devastating and draining experience for long-time readers who have become tied to Mitchell Hundred’s journey.  It’s poignant to be sure, but it’s hard to see this as anything but a tragedy.

But it’s not “true” tragedy, which is perhaps why it’s so emotionally affecting.  Mitchell Hundred does end up in a good position, professionally anyway, at issue’s end.  He has more power than ever and, in a stunning final couple of pages, is revealed to have ended up very near the pinnacle of American politics.  Of course, it’s all bittersweet to the extreme, because while Mitchell Hundred the politician has flourished, Mitchell Hundred the man finds himself an isolated wreck, irrevocably ruined and alone.  In the end, it’s as though these two sides of Hundred were ultimately impossible to maintain simultaneously, particularly under the weight of superheroics and alien powers.  Mitchell gets his power, but he paid the price.  In that sense, it’s more tragic than Hundred just ending up dead in an ending that is completely dire; this situation sees Hundred trapped in his professional position and forever rueful for what he personally lost, or destroyed, in the process.

And it’s that sense of loss that this gives issue a retrospective feel that is absolutely perfect for a final issue.  In projecting into the years going forward from his battle with Suzanne and his term as Mayor, Hundred ends up dogged by his past, hounded by it as it grows increasingly rotten.  This is brilliantly personified by a dream where he’s visited by his other-dimensional enemies, who, of course, visit him in the form of a twisted version of himself.  Meanwhile, in the real world, this is shown in the form of Bradbury, who on the one hand finds himself in ruins, but also finally lets his feelings for Hundred be known.  It’s a wonderful representation of the old Mitchell Hundred and that “past life” in its current state; rotten and deteriorated, but still not barren of its sincerity.

Ex Machina #49 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: It’s the return of the Great Machine as Mitchell Hundred throws down with Suzanne, one last time.

What’s Good: Well, it finally happened.  In its second to last issue, Ex Machina finally became what no one ever thought it’d be: a superhero comic.  This makes for a really remarkable issue.  Ex Machina has been such a giant twist on the superhero genre that when it finally brings back some tried and true mechanics of that very genre, it feels shocking.  It also feels downright cool.

With the Great Machine taking to the skies once more, Vaughan and Harris hit us with some classic Superman imagery that is impossible not to smile and fist-pump at.  We get Mitchell Hundred doing the Clark Kent trademarked shirt-ripping.  Then we get onlookers on the ground pointing upwards, speculating on what some flying, and noisy, speck in the sky might be.  Seeing Vaughan turn Hundred into a bona fide superhero is awesome in ways that are indescribable.  The comic, by concept alone, has tried so hard to divorce Mitchell from superheroics that it’s really satisfying to see it all reversed, particularly given Hundred’s love for comics and superheroes.  For once, his efforts even see a grateful damsel in distress and an epic conclusion.  It’s a lot closer to the stories he was inspired by and certainly a far cry from his usual bumbling efforts as the Great Machine.

Ex Machina #47 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: Suzanne hits Mitchell where it hurts.

What’s Good: This is one of those issues that shows how gifted Vaughan is as a writer.  Despite the frequent scene changes and time-leaps, not a page or word is wasted.  Absolutely nothing feels extraneous.   Also, unlike previous issues, the politics are present, but subdued and never jarring.  Rather, they enmesh themselves with the rest of the book, fluidly emulating the desperation of the rest of the plot.

What we get is a book that is beautifully cyclical and linked.  The first “present day” scene of the issue, for example, is oddly reminiscent of one of the first scenes of the entire series.  Similarly, the flashback, depicting a child Mitchell’s disbelief regarding DC’s use of a multiverse, is an odd but comfortable parallel to the present narrative.  After all, his problems stem from his finding out about a real-world “multiverse.”  It’s wonderful stuff, and when Hundred meets up once again with his childhood friend Ray, Vaughan does an amazing job with the dialogue; it’s clearly the same two kids with a “childish” dynamic, but they’re now confined to the adult world.

Hundred’s “dream” sequence, which sees him visiting the other dimension, is terrifying and surreal thanks to Harris’ efforts.  It’s also interesting how Vaughan uses his trademark Ex Machina issue structure to embody the “weirdness” of it.  It’s between the flashback and the present day portion of the issue, as though it exists in some liminal space beyond standard time.  Seeing Vaughan break the chronological structure he’s adhered to for so long only makes this scene more uncomfortable.

The real newsmaker though is Suzanne and the major character death in this issue.  It’s a serious gut punch and it ensures that Mitchell and Suzanne’s collision course will be highly personal. It’s a merciless move by Vaughan and it’s all the more shocking thanks to Tony Harris.  The murder is rendered in uncompromisingly violent, gory fashion that will definitely drop your jaw, especially considering how sudden it is, being the only action in the whole book.

War Heroes #3 – Review

By Mark Millar (Writer), Tony Harris (Art), and J.D. Mettler (Colors)

Some Thoughts Before The Review: It sure has been a while since the last issue of War Heroes dropped, hasn’t it?! Regardless though, you just can’t keep a cool concept down. And War Heroes is definitely based around a cool concept.

The Story: A group of soldiers finds out the hard way that the terrorists have gotten their hands on some superpower pills…

What’s Good: Mark Millar is a master of the “Oh, Shit!” moment. Whether it be something brutal, something outrageous, or something crass and possibly offensive, Millar knows exactly what it takes to push his readers’ buttons. That fact is why War Heroes #3 works so damn well on a very primal level.

Let’s face it, a superpowered Al Qaeda is a scary notion. I know it, you know it, and Mark Millar sure as hell knows it. So what does he do? He powers up Al Qaeda for his story and lets one of the terrorists effortlessly tear through a group of U.S. Troops. The chaotic scene, which takes up a majority of the pages in War Heroes #3, sets up the rest of the story and really let’s the War Heroes art team shine.

The visuals by Tony Harris and J.D. Mettler do an excellent job of bringing the script’s violent, gritty desert battle to the page. Harris and Mettler’s work brilliantly captures a look that falls somewhere between rough, realistic documentary footage (the opening, for example) and a big budget war movie (the imposing super-terrorist, for example). Simply put, as far as style is concerned, Harris and Mettler absolutely nail it.

What’s Not So Good: When I finished reading War Heroes #3, I couldn’t help but think to myself, “That’s it?!” Since a large action scene takes up most of the book, it’s a very fast read that, at times, comes across as somewhat obnoxious. The reason? Mark Millar loves to write the swears. While I have nothing against adult language and realize that people use it all the time (especially in stressful situations), Millar’s choice of words borders on parody at times.

Furthermore, the biggest problem with the artwork is that, occasionally, the action doesn’t flow from panel to panel all that well. It makes the action hard to follow and somewhat confusing. For a comic that’s all about the action, it’s frustrating that the visual storytelling doesn’t always get the job done.

Conclusion: War Heroes #3 has a few problems and sort of falls into the “style over substance” category since it’s so heavy on action, but that shouldn’t stop you from picking it up. As I said before, the foundation of the series is based on a cool concept. One that’s definitely worth following.

Grade: B

-Kyle Posluszny

Ex Machina #45 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: Newly evil Suzanne Padilla makes her first move while Mayor Mitchell Hundred begins to plan his future.

What’s Good: The newly super-powered Suzanne Padilla makes for an utterly fantastic villain.  Vaughan has established a great voice for her that, after what we saw last month, is surprisingly very human and all the more successful for it.  Padilla sounds not at all like the sewer-dwelling robot of the past arc, and despite her appearance, even the lettering remains the same for the most part.  In this sense, she works better as a foil for Hundred.  Essentially, Vaughan has maintained the integrity of Padilla’s character; this new villain essentially sounds like her, with the confidence and arrogance cranked to the max.  The result is a villain that is more subtle, complex, oddly likable, and easily capable of carrying an entire arc.

Beyond this, we get from this issue what we’ve always gotten from Ex Machina.  The opening Great Machine flashback is, as always, both funny and poignantly appropriate, while all three of Hundred’s conversations with his various associates showing Vaughan’s complete mastery of his characters, each of them having the same distinct voices that we’ve come to know, with the interplay between personalities feeling natural and life-like.  The best of these was Hundred’s short conversation with Bradbury, which added well-placed humor to the book.  Vaughan has the two friends discuss some truly heavy subjects (Hundred even accuses Bradbury of murder), but all of it is done in such an affable manner.

Tony Harris meanwhile puts out some very strong work this issue.  In particular, he gets a little more creative this month with his panel layouts, which was a welcome surprise.  One dialogue scene at a firing range is especially well-done, with Harris pulling off some really slick layouts that manage to be both abstract and cinematic, the entire scene feeling very fluid.  I also love when artists use the spaces between panels to convey additional information.  I also loved Harris’ work on Padilla’s new look.  When disguising her new scars, she looks like a mysterious femme fatale straight out of a Raymond Chandler novel.  However, once exposed, she looks very alien, monstrous even.  The transition from 20s noir to the menace of modern science fiction is seamless and impressive on both ends.

What’s Not So Good: There’s a longish scene early on in the book where Wylie brings up the abortion issue, essentially trying to push Hundred into making a stand on the issue of unwanted pregnancies.  It’s too early to tell where this’ll go right now, but within this single issue, this subplot really felt out in the cold and detached from the rest of the book.  In fact, were it not for the date, I’d have believed the entire scene to be another flashback.  Ex Machina has always done a great job of combining its kookier superhero/sci-fi themes with more mundane hot-button political issues, but I’m starting to worry that as we head into this final arc, the crazy stuff has gotten a little too crazy to support this juggling act.  As a result, this political aspect of the issue felt a touch out of place and a little too low-key, and all the more surprisingly placed given that the entire series is ending.

Conclusion: Another issue of Ex Machina doing what it does best.

Grade: B+

-Alex Evans

Ex Machina #43 – Review

Brian K. Vaughan (writer), Tony Harris (pencils and inks), Jim Clark (inks), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: With his political career teetering on the edge as the threat of Jack Pherson looms, will Mitchell Hundred don the helmet and jetpack one last time?

What’s Good: The greatest thing about this final story arc has been that it always leaves you craving for more.  This month’s comic is no different; with a cliffhanger ending that’ll have you chomping at the bit.  In fact, so potent is the ending that it legitimately feels as if next month’s issue will be the last in the series, despite there being six more after it.  Also, it makes Mitchell come across as a total badass, which is pretty cool, given that he has spent almost the entire series as a self-deprecating, likable, wisecracking everyman.

Considering how deep the mystery was last month, I didn’t think that Vaughan could ratchet up the tension any further.  Regardless, he does so this month by dropping these little hints that, right now, are unintelligible and yet promise so much.  What the heck happened on “November 6, 2001?”  What’s with “Jack Pherson” (if that is him) and his biblical language?  Who is he talking to and where did he come from?  And once again, though we actually see it this month, what in God’s name is the white box?  The mystery borders upon unbearable, showing that Vaughan is doing something right.

Not content with merely creating a thoroughly engaging final arc and conflict, however, Vaughan shows himself to be tireless in his development of Mitchell as a character.  His relationship with Kremlin deepens and softens and we finally, out of nowhere, get an answer regarding Mitchell’s sexuality in a manner that is sure to hit home.

Drawing this all up, of course, is Tony Harris who, despite a rocky start in issue 41, has really started to hit his stride again.  I didn’t spot any flagrantly static, “posed” frames this month, which is often a problem for him.  Furthermore, I really, really liked how dark the colors and how heavy the inks were.  It delivered a shadowy feel that really fit the sense of impending doom and enshrouding mystery.

What’s Not-so-Good: Despite a really cool ending, there are no revelatory moments this month and though those afore mentioned unintelligible hints are dropped, nothing is made sense of or explained.  Vaughan, while not at all treading water, doesn’t give you any answers this month.  He’s clearly working to suck you in, but this also means that he’s moving at a relatively leisurely pace; though the ending promises next month’s issue will be, at the very least, action-packed.  Though great, this month’s comic is a clear set-up issue.

Conclusion: Yup, this is definitely an Ex Machina comic.  A smart blend of the everyday and the weird with fantastic character-work and one hell of an ending.

Grade: B+

-Alex Evans

Ex Machina #42 – Review

by Brian K. Vaughan (writer), Tony Harris (pencils), Jim Clark (inks), JD Mettler (colors), and Jared K Fletcher (letters)

The Story: The mystery of the white box deepens as preparations are made for the Times Square New Year’s Eve celebrations.

The Good: This issue is “slow-burn” at its finest. Vaughan knows how to thicken the plot without frustrating the reader by writing a comic that is incredibly engaging. My curiosity regarding the “white box”– what it is, and the history behind it,  is reaching a fever pitch. Vaughan, through the suspense he delivers in this issue, really caused me to become invested in the mysteries surrounding this arc. I need next month’s issue and I need it now! From the veiled dialogue to the hints of how incredibly high the stakes are, this is build-up at its finest and an ideal example of how to get one’s readers sucked into a story arc.

Speaking of that “veiled dialogue,” the conversations and dialogue in general in this issue are incredibly well done. As always with Ex Machina, every character has his or her own unique voice. That said, what makes the dialogue so strong here is the mystery, weight, and/or foreshadowing that Vaughan makes every exchange carry. Every conversation elicits a strong sense of foreboding, either hinting at horrific things to come or at dark deeds of the past. Of course, this is only further aided by Ex Machina’s continual delivery of some of the smartest writing in comics today; especially when it comes to things conspiratorial or political.

Art-wise, I’m happy to say that Harris and friends have gotten it back together after a rushed misstep last month. The static and “posed” feel of Harris’s pencils are gone, as are the strangely bright colours. This issue returns to the Ex Machina we know and love. Also, it needs to be said that I really do like Harris’s Bioshock-esque design of Pherson version 2.0. Well, that is if that ominous figure at the end of the issue really is Pherson.

The Not-so-Good: This issue does a fantastic job of doing what Vaughan wanted it to do in crafting a clinic in foreshadowing and heightening suspense. However, that does by definition mean that not a lot of plot progression takes place. While it does ensure that what will come will be all the more impactful, if you’re the sort of reader who demands brisk action and development in every $3.00 purchase, you won’t be gratified by Ex Machina this month.

Conclusion: Ex Machina readers will enjoy this very solid build-up issue. If you weren’t interested in this story last month, you definitely will be now.  The biggest crime of this issue is it’s making you rabid for answers as it sucks you into its manifold mysteries.

Grade: B+

-Alex Evans

Ex Machina #41 – Review

by Brian K. Vaughan (writer), Tony Harris (pencils), Jim Clark (inks), JD Mettler (colors)

The Story: After a long wait, the final arc of Ex Machina begins.  Mitchell Hundred has a shocking announcement regarding his political career, dark secrets from Hundred’s past are hinted at, and an ending you won’t want to miss suggests the possible return of a character from Hundred’s past.

The Good: Though I do wish we’d see more of his writing in comics, Vaughan is still razor sharp.  Writing-wise, this is the Ex Machina we all know and love: tight and witty dialogue, enjoyable action, and great plotting.  The “conversation” between reflecting panhandler and comically “out of it addict” is great, as is Mitchell’s declared love for NYC and its people.  Vaughan’s cast of characters is as enjoyable as ever.

With this issue, Vaughan has crafted a first chapter that really does its job as the opener of a new story arc.  Several hooks are planted and several mysteries are suggesedt that will all leave you salivating for issue number 2.  What is this dreaded “white box?”  What is Hundred’s coming announcement?  It’s not all merely hooks and hints though, as Hundred’s press conference and the “uh oh” ending of the issue move the plot along, with the latter in particular introducing what will no doubt be a central conflict in this arc.

With so many hints of things to come, the only fault of the writing is that it’s left me wanting issue 42 so very badly, and that’s exactly how it should be.  It got me hooked and despite revealing very little, I’m sure curtains will begin to drop next month.  I also really enjoyed the concerns of economic crisis.  Indeed, it is only 2004 in the comic, but, as Vaughan no doubt intended,  it plays very nicely with the current recession.

The Not-so-Good: While Vaughan hasn’t missed a step, Tony Harris sure has.  Unfortunately, this issue reeks of an artist cutting corners and rushing it through.

For those that don’t know, Harris is an artist who uses photo-references.  Regardless, I’ve always been a fan of Harris’ work.  He captured the series’ tone and delivered a high degree of realism and detail.  I’ve always liked his stuff.

However, things are just off here, as some frames are just flat out rushed and end up looking sloppy (see the press conference, particularly the reporters).  At other times, the issue shows the worst of photo-referencing; characters come off as static and posed (the conversation with January), a problem I’ve rarely had with Harris before.

Even Harris’ storytelling/plotting is off-kilter.  The crucial scene between Bradbury and Suzanne Padilla is just a mess, feeling as though each character was a separate image, all of them shoved into the same frame with the subsequent interactions feeling unnatural and forced.  It’s very disconcerting, particularly when some of these characters feel reproduced from previous frames with only minor adjustments.

It also appears that Harris is having some difficulties drawing eyes.  Several times, with Hundred and the panhandler, a characters sports one eye that is freakishly larger than the other.  Even worse, the panhandler starts his scene looking exactly like Mitchell Hundred, only with a beard.  Then by the scene’s end, this is halted, leading to the poor panhandler looking like two entirely different people.  It’s a damned shame considering how great Vaughan’s writing/dialogue is in this scene.

Lastly, Mettler’s colours also are a bit off, coming across as weirdly and incongruously bright during a brief portion in the middle of the issue.  It’s almost as though he had someone else take over for a few pages.

The Bottom-line: The same great writing we’ve come to expect is accompanied by a parodic, slapped together version of the art we’ve also come to expect.  Considering how long this took, it’s a bit shameful.  Vaughan’s always excellent writing saves this from being a total disaster and makes this issue still worth picking up if you’re an Ex Machina fan, but I pray to God that Harris pulls himself together.

Grade: C

-Alex Evans

Indiana Jones And The Tomb Of The Gods #2 (of 4) – Review

By Rob Willaims (writer), Steve Scott (pencils), Nathan Massengill (inks), Michael Atiyeh (colors), Michael Heisler (letters), Tony Harris (cover)

Like many Indy fans, Crystal Skull was a bust for me. That’s not to say it didn’t have good parts, it just had a little too much prequel George Lucas flavor. I spent a lot of time growing up watching the Indy trilogy. It’s a story, and a world that can translate very well to comics. Sadly, just because something can make the move to comics doesn’t mean it will.

Rob Williams’ has been passable so far. There are moments of dialogue, moments of action where it feels just like the movies, and then there’s the rest of it. For the good, the plot points hit the mark. They definitely have the “from bad to worse” feel that’s a trademark of the films. Unfortunately, much of the dialogue is hit or miss. The same deadpan humor, and hatred of having his hat knocked off remains. The problem is several unfortunate word choices. I don’t know how many times Indy needs to say “crap” in a bad situation, but it almost seems gratuitous and, enough, make a drinking game out of it.

As for the art, Steve Scott’s pencils aren’t anything special, the images are clean and clear, which is nice, but I’m still waiting for our favorite archeologist to get a little dirty and gritty. Even when Indy escapes the freshly blown cave, he looks like he just stepped out of the shower. There simply aren’t enough action scenes to get Indy to look Indy.

As for the little action in this issue, it is pulled straight from the films. Indy running to Jock’s plane, is an example of this. While it’s nice to see Jock again, the scene is just too familiar. A more positive side to that coin is the use of the red-line on a map for the travel scenes. It’s a nice touch.

Adapting a license like Indiana Jones to me, should simply be a “go big or go home” mentality. The story’s pacing is slow and it’s plot feels unpolished. We don’t know anything about this key, or it’s origin, or what it protects. Not enough questions are introduced to get you interested. As a result, it leaves the title to be too bland, or generic for such an action-packed franchise. Things might pick up, and the book might have a great climax in the end, but I wouldn’t hold my breath after two clunky issues. I’d say, wait for the trade. (Grade: D)

-Ben Berger

War Heroes #2 (of 6) – Review

By Mark Millar (Writer), Tony Harris (Art), Cliff Rathburn (Inks), and J.D. Mettler (Colors)

Two issues into War Heroes and I still have no idea what to think. On one hand it’s entertaining, shocking, and loaded with potential. On the other, it lacks memorable characters, tries far too hard to be “mature” (whatever that really means), and feels as though it’s being rushed through in order to fit neatly inside a six book mini-series.

This second issue covers all the bases for a stereotypical military boot camp story, with super-power pills altering the training exercises a bit. There are the shaky new recruits discovering what it’s like to be super-powered, a foul-mouthed drill instructor, a fight scene against a hardened veteran, and the expected bad apples of the bunch that are looking to make money by deserting after being given the pills. It all feels very familiar, almost generic, but it is also undeniably entertaining and shockingly hilarious at times (I bet you any money you won’t see it coming). I guess the best way to sum it up is that it is a Mark Millar book in the vein of Kick-Ass or The Ultimates. You should have a good idea what you are getting into just by seeing his name and the “Mature Readers” warning on the cover.

If you are a fan of Mark Millar’s writing style, then you will enjoy what he is doing in War Heroes. That said, I consider myself to be a fan, yet found myself rolling my eyes more than a few times at the “mature” elements of the story. His character work is also lacking, more noticeable now that as I write this review, I can’t really seem recall a single stand out character. I know what’s going on in the story and like where it is headed, but I just consider it to be character driven in any way.

As for the artwork, while not necessarily my style, it is quite attractive. The action flows well and everything has a fairly cinematic feel to it. My biggest complaint regarding the artwork is that almost all of the characters look almost completely interchangeable. Couple that with Millar’s indistinct characterization and you have a story with events that seem to lack a driving character force.

Overall I had a lot of fun with this chapter of War Heroes, but it is far from perfect. There needs to be some character development and fast or else the inevitable conflict will wind up feeling quite shallow. (Grade: C)

-Kyle Posluszny

A Second Opinion

Note to self: NEVER read another issue of War Heroes while on the train ride home. I know the book has a Mature warning label on the front (albeit a small one), but when I shown why, I slammed the book shut and looked embarrassingly at the old lady sitting next to me. Luckily, I live in a town (San Francisco) where stuff like this is more accepted than not. If you read this book, you know what I’m talking about. If you’ve got a phobia of the male genitalia, this book isn’t for you. I think this scene is meant to be shockingly funny, but it’s so overtly thrown in just to be shocking that it totally deflates (no pun intended) the intent.

I agree with most of Kyle’s points. The characters are completely forgettable – part of this is the Tony Harris’ fault, the other is Mark Millar’s for not giving them enough personality. So yes, this book is being kept more afloat on its concept/plot than the characters. But the last few pages, in true Millar fashion, are shocking – and that’s enough to make me want to come back next month. Oh, and the dull color palette by J.D. Mettler is awful. Not a fan. (Grade: B-)

War Heroes #1 (of 6) – Review

By Mark Millar (story), Tony Harris (pencils), Cliff Rathburn (inks), JD Mettler (colors)

War Heroes has all the makings of an epic tale, and uncharacteristically (for a Mark Millar helmed title), this book doesn’t start off with a punch to the face. Instead, it feels very restrained in its approach. Millar isn’t usually very good at writing socially relevant books unless he fills them with annoying pop-culture references. But with this book, again, he uses restraint and manages to weave a modern tale that touches on issues very close to home, all while adding a slight, yet familiar, twist that’ll keep the reader interested. Throw in some gorgeous art by Tony Harris and you have all the trappings of a blockbuster action/political thriller.

The story’s foundation rests on the escalation of terrorism against the United States and the spread of war in the Middle East. Suffering horrible attacks and a huge loss of life in the Homeland, the US finally comes up with a measure to bolster the ranks of its army: the creation of a 24 hour pill designed to give its soldiers super powers. Immediately, there’s a surge of enlistments and here’s where we’re introduced to our cast of characters.

This is a fascinating concept that feels very much like a modern twist on the whole Captain America mythos – except everyone can now be a super soldier. Hell, there’s even a Steve Rogers inspired character in the cast. We all know that the military’s full of people who want to do the right thing. But how about the opportunists – the ones that slip through the cracks? Millar touches briefly on this possibility and I’m pretty excited to see where he runs with it.

Perhaps the only thing I found lacking is the amount of time spent developing these characters. We get a few panels of each person and that’s pretty much it. Again, it’s easy to get lost in the concept of the series, but without a backbone of fleshed out characters it’s really tough to say if this book will fly or not. I have faith in Millar. He’s got a good track record.

Next issue promises us “basic training”, so I’m sure we’ll get to know our recruits *really* good. But please Mr. Millar, don’t stray too close to Full Metal Jacket! (Grade: B)

– J. Montes

A Second Opinion

I am going to have to agree with the main review on this one. The debut issue of War Heroes sets up a fantastic concept, but leaves a bit to be desired in the character development area. While I have no doubt that Millar will bring some memorable characters to the story, this first chapter leaves me wondering exactly who will stand out and how. Millar seems to be more worried about setting up the situation than the players, which works fine here, but may cause problems if people aren’t better established next issue. The artwork is attractive, though, to be honest, it really isn’t my style. Everything looks clean and detailed enough, but part of me thinks a slightly more realistic look would have fit the story better.

It may sound like I am coming down fairly hard on this first issue, but I really enjoyed what it had to offer. The concept is great, the writing is solid, and the art visually attractive. I can’t ask for much more than that. (Grade: B)

-Kyle Posluszny

Spider-Man: With Great Power #3 (of 5)- Review

By David Lapham (writer), Tony Harris (pencils), Jim Clark (inks), J.D. Mettler & Paul Mounts (colors)

Wow, this is the first issue of this mini-series that I actually didn’t hate! We finally get to see more of what will be Peter Parker’s supporting cast and we even get to see a monster or two. The wrestling career is still here, make no mistake, but it finally takes a back seat after the first half of the book (or so). From there, the story centers around Peter’s social life at school, his pursuit of Liz Allen, and how Uncle Ben discovers something awry. We also get our first look at the infamous “burglar”. The scene  as Peter lets him go into the elevator plays out fairly close to what we’ve seen in Amazing Fantasy #15, but David Lapham’s doesn’t disclose how he will play into Uncle Ben’s demise.

As with the previous issues, the wrestling career stuff is just atrocious. Not only is this detailed facet of Spider-Man’s life completely unnecessary, the cast of characters that inhabit this area are completely lame. His manager is a complete bimbo and his promoter seeks nothing but exploitation. Yet, Peter struts around with his cocky attitude and narrative with no regard to anyone but himself. Granted, there was some selfishness involved in the original story by Stan Lee, but this is just too extreme. And while I somewhat enjoyed the latter half of the issue with him working Liz Allen for a date – for her to give him the time of day and actually go to a nightclub with him is completely ridiculous.

Once again, what grounds this issue in “Spidey” reality are Uncle Ben, Aunt May, and J. Jonah Jameson. Lapham writes these characters with their classic characteristics. For someone who becomes so prominent in Peter’s life, it’s weird seeing Aunt May almost being kept in the shadows. I guess Lapham is trying to make this more Uncle Ben’s story. It works, too. I can’t help but feel for the guy.

Tony Harris does more incredible artwork in this issue. It’s, by far, the highlight of this series. He had to be happy to finally get out of the wrestling locker room and draw New York, monsters, and just more Spider-Man-esque stuff. The colors continue to be a big part of this book as well – J.D. Mettler and Paul Mounts create a world rich with color and what can I say? It’s just a feast to the eyes. Story wise, this book passes… barely. Art wise, it’s utterly beautiful. (Grade: C-)

-J. Montes

Ex Machina #34 – Review

By Brian K. Vaughan (writer), Tony Harris (penciller), Jim Clark (inker) & JD Mettler (colorist)

This is a stand alone issue, showing us Amy Angotti’s life. We get flashbacks as usual, but this time they are all related to her. Events chronicle how she grew up, met her husband as a lieutenant, and kicking ass at a bank robbery attempt. We get a couple of different points of view of previous events like Jack Pherson and Angotti fighting to bring the Great Machine down. At the end, Commissioner Angotti tells Hundred over the phone that she wants to work together with him. And just like Batman, the Great Machine receives a new signal.

Brian K. Vaughan delivers another solid story. This is, in particular, a great story for longtime fans of the series as we finally get a glimpse of Angotti’s back story. The issue also serves as ground base for future stories. Tony Harris’ art is stunning as usual. (Grade: B+)

-Daniel Yanez

Spider-Man: With Great Power #2 (of 5) – Review

By David Lapham (writer), Tony Harris (pencils), Jim Clark (inks), J.D. Mettler (colors)

*sigh* I want to love this book. I really do. Spider-Man’s my favorite character, the creative team is incredibly talented, and yet, this book fails on so many levels. David Lapham’s story is such an enigma; it’s just frustrating. I can’t remember having this much disdain for Peter Parker. Instead of the sweet tempered kid, we get a pompous jerk who is completely caught up in himself.

Now, I know it took a disastrous turn of events to make Peter realize his mantra of responsibility, but in this mini-series you don’t even want to root for him. He’s a complete jerk and I was honestly cheering for him to fail. The only people I genuinely care about are Aunt May and Uncle Ben. The disrespect and crap Peter puts them through is just outrageous.

Once again, the only beacon of light comes from Tony Harris, Jim Clark, and J.D. Mettler. Every page they do is just pure magic. Props also go out to Joe Caramagna for making the lettering pop out in a flamboyant, but fun way. I love David Lapham as a writer and artist. But this story just isn’t working for me. I’ll keep reading, hoping things improve, but my doubt is running high. I can understand if you’re trying to teach Peter Parker a lesson in humility, but this is ridiculous. A person this pompous doesn’t deserve to wear that outfit.

Marvel says it wants Spider-Man to be care-free and fun again, but this book is anything but. Peter Parker is a complete emo, filled with teenage angst and zero charisma. (Grade: D)

– J. Montes

Spider-Man: With Great Power #1 (of 5) – Review

By: David Lapham (Writer), Tony Harris (Pencils), Jim Clark (Inks), J.D. Mettler (Colors)

Make no mistake, I’m a huge fan of David Lapham’s body of work – especially his earlier Valiant work. The Batman story he did a couple of years ago? It was pretty good. His Terror Inc. mini-series is fun. And being that Spidey’s my favorite character, I was really anticipating this storyline.

Alas, Spider-Man: With Great Power reminds me of something John Byrne did about a decade ago with Spider-Man: Chapter One. Honestly, who’s idea was this? How many times must we read a different take on Spider-Man’s origin. The fact that this story takes place now (with pop culture references to Jay Leno and Dave Letterman), makes this story more dismissible. Yes, it’s the classic story of Peter Parker and Lapham doesn’t miss a beat on who he is and what happens to him – but it’s all just a retread. Sure, Lapham adds some new story bits with Flash Thompson, Liz Allen, and Peter’s wrestling career, but because this story isn’t true Spider-Man canon, it’s completely useless.

There is one thing that shines in this book, however: the art. I’m not sure if I’ve seen Tony Harris’ art before, but good lord, this guy can draw. No, really, this guy can really draw! J.D. Mettler also adds a lot of depth with his colors; this is one beautiful book!

I suppose if you’re new to Spider-Man or new to reading comics, this could be a nice introduction to the character, but it just feels like another origin story forced down our throat. I mean, didn’t we just get Mythos: Spider-Man last June (yet another re-telling of Amazing Spider-Man #15)?

The biggest insult is that this book is $3.99! Who decides this stuff?! I’m sorry, despite the gorgeous art, I can’t recommend this book. We’ve read this story too many times. It’s time for something new. (Grade: C-)

– J.Montes