While we may not always have the time to review all the comics we get every week, we do try and provide a snapshot of the latest releases, mixing the good with the not so good.
This week also sees the continuation of Matt C's Byrne FF project.
DARK REIGN: THE HOOD #1
Writer: Jeff Parker
Art: Kyle Hotz
Marvel $3.99
Stewart R: The 1950s and ‘60s was the era of the superhero, the late ‘70s through to the turn of the century saw the rise of the anti-hero and now Marvel seem to be telling us that ‘everybody loves a villain’. Honestly, there’s almost as many titles dedicated to individuals with dastardly or questionable motives in Marvel’s canon today as there are following the good fight being fought. This five-part miniseries is going to try to prove that The Hood turning up almost as much as Norman Osborn through the Marvel Universe at present is a justifiable thing. I personally am starting to believe it. Parker Robbins is not your normal aspiring crime boss. Thanks to a rather questionable deal he’s got Dormammu (yes, that one) bestowing a crazy assortment of mystical powers on him and ensuring that crime in New York City is being crafted with an organised hand (no, not the ninjas). If that wasn’t enough, the reveals about his home life mean that there is more to his story than making money for money’s sake. Writer Jeff Parker captures a man trapped between the heights of his power and the lows of his needs and desires well, but I just wonder how the nature and depth of his powers will be dealt with over the coming issues. 7/10
IGNITION CITY #3
Writer: Warren Ellis
Art: Gianluca Pagliarani & Chris Dreier
Avatar $3.99
James R: Ignition City continues to be an essential read. This month, Mary Raven gets closer to solving the mystery of her father’s death, but best of all, we meet Ignition City’s lawman, Marshall Pomeroy, who is a blend of the Rocketeer and the King of The Rocket Men (and quite frankly, any rocket-pack based hi-jinx in a comic is an automatic thumbs-up for me!). Ellis has a fantastic knack of being able to convey a huge amount of information in just a few panels and, using no dialogue at all, he tells us a wealth of info about the universe of Ignition City. Gianluca Pagliarani’s art is at it’s best so far, and given the ongoing blight of delays in the comics industry the speed with which the issues have come out has been reassuring, and I can only hope that, like Anna Mercury, this is a world that Warren Ellis chooses to re-visit soon. 8/10
NOVA #25
Writers: Dan Abnett & Andy Lanning
Art: Kevin Sharpe, Jeffry Huet & Nelson Pereira
Marvel $2.99
Stewart R: Well, I predicted in my review for #24 that this instalment would be something special and I wasn’t far off the mark. Richard Rider, newly imbued with the power of Quasar’s Quantum Bands, finally tackles the Worldmind/Ego the Living Planet combo with the future of the Nova Force at stake. This is a succinct and well delivered finale to a long story arc that has been running since the Annihilation Wave first forced Worldmind and Nova into a union, and the various plot pieces and threads have been pulled together to leave me feeling like suitable conclusions have been reached here, while promising story ideas have also sprouted from this issue. The artwork is of a pretty decent standard from Sharpe and co but there seems to be a variety of different characterisation styles employed so that Nova’s build changes from panel to panel and it doesn’t seem consistent. It doesn’t take anything from the excellent writing though and so I bestow a happy 8/10
CROSSED #5
Writer: Garth Ennis
Art: Jacen Burrows
Avatar $3.99
Matt C: The emphasis is on character this issue, and anyone familiar with Ennis’ work will know the writer – when really invested in the material – can bring individuals to life on the printed page. As their numbers diminish the group try to find bright spots in an otherwise bleak situation. No zombie action this time but Burrows compliments the introspective tone of the script by capturing the melancholy but resilient nature of much of the cast through subtle changes in expressions. Skilfully told, with moments of genuine emotion, this is most definitely a cut above your standard zombie fare. 8/10
James R: This issue of Crossed shows why Garth Ennis continues to carry such weight in the industry. Last month I complained that it was getting too formulaic and flat and, right on cue, #5 is a marked improvement. Ennis takes a pause from the horror of his apocalypse to show his more philosophical side – and argues that the end of mankind may not be such a bad thing after all. There is also the creeping horror that the worse may yet be to come. This instalment feels like a conceptual twin to the first – that stayed in the mind due to the shocking horror, whereas this stays in the mind as it provides food for thought. Along with Ignition City, this makes for a great week for Avatar, which is quickly becoming the home of quality creators and innovative comics. 8/10
RAPTURE #1
Writers: Taki Soma & Michael Avon Oeming
Art: Taki Soma & Michael Avon Oeming
Dark Horse $2.99
Stewart R: With nuclear-posturing back in the political public eye at present this book comes at an interesting time. A war between the super-powered individuals of the planet threatens the lives of millions around the globe, while Gil and Evelyn suffer more personal injuries as their relationship comes to an unhappy hiatus. With the planet left in ruins and devoid of its Champions, Evelyn finds herself charged with the task of delivering peace, smiting evil and finding her ex-boyfriend in a world tearing itself apart. It’s an interesting premise but I’m not completely sold on this first instalment. Events jump all over the place, chronologically and by geography, and the pacing seems forced in order to set up for next five issues where I’m assuming things might calm down and explanations will be delivered. The artwork from both creators is not without merit but is just a little too bold and simple for my tastes and the story suffers slightly because of that. There is a however a lovely use of watercolours to emphasise a flashback towards the end of the book and I’ll reserve judgement on whether to continue with the series until next issue at least. 5/10
NEW AVENGERS #53
Writer: Brian Michael Bendis
Art: Billy Tan
Marvel $3.99
Matt T: “Is this a Brian Michael Bendis book? This book? Is it a Brian Michael Bendis one? It is a Bendis book. This book is by Bendis.” And there, in a nutshell, is ol' BMB's dialogue rhythm. The only reason I bring attention to it is because he uses it far too many times in this issue, to the point where even Spider-Woman sounds exactly the same as Spider-Man, Luke Cage or even Cap. Why he feels the need to wedge his own form of banter into every damn book escapes me, as the general plot is reasonably entertaining if a bit linear. The Eye of Agamotto is off to find the new Sorcerer Supreme, and both the Avengers and the Hood are in hot pursuit. Of course things go tits up pretty swiftly, and a giant demon thingy needs killing. A middle of the road book in anyone else's hands becomes and annoying middle of the road book thanks to the writer. Ho hum. 4/10
GUARDIANS OF THE GALAXY #14
Writers: Dan Abnett and Andy Lanning
Art: Brad Walker and Victor Olazaba
Marvel $2.99
Stewart R: Ok, I’ll say it now: if you want to get the most out of the War of Kings storyline I highly recommend that you pick this title up alongside the main miniseries (go on, take a trip to your local – hopefully independent – comic shop and ask for the back issues). You won’t be disappointed for shelling out the extra money and this title adds a great deal to the overall picture. With various members of the Guardians helping out the Starjammers against the Shi’ar, it’s left to Peter Quill (aka Starlord) and his team to appeal to Black Bolt’s Inhuman/Kree alliance to end the conflict before the universe literally falls apart. The fact that that particular meeting doesn’t go according to plan would easily entertain for an entire issue but if you add a super-powered slugfest between Vulcan and Adam Warlock to the mix then you get a terrifically fast paced read with unpredictable twists and some magnificent artwork. Brad Walker is excelling himself on Guardians, providing some great fight and action sequences and the man seems to pick the right angle for every layout. This is one of the best titles out there at the moment and still for only $2.99! Bargain! 9/10
WOLVERINE #72
Writer: Mark Millar
Art: Steve McNiven & Dexter Vines
Marvel $2.99
Matt C: I’m getting bored of this now, and I was kind of relieved that this was the final issue of Old Man Logan – only it’s not! We’ve still got a Giant-Sized Special to wrap everything up on the horizon! This instalment did have a climactic feel to it though, as the main villain is revealed and then dispatched relatively quickly, making me wonder if the Special will come across as nothing more than a pointless (cash-in) epilogue. Millar is clever enough to throw in loads of “whoa, cool!” what-if moments, but there’s very little in the way of substance to back it up. The saving grace is McNiven’s stunning, visceral art, the best stuff ever seen from the guy so far. Overall it’s moderately entertaining but lacks any lasting brilliance. 5/10
LEAGUE OF EXTRAORDINARY GENTLEMEN CENTURY #1 “1910”
Writer: Alan Moore
Art: Kevin O’Neill
Top Shelf/Knockabout $7.95
Matt C: I still haven’t got around to reading The Black Dossier, partly due to its unavailability in the UK, but mostly because of sheer laziness in sourcing it from somewhere other than Paradox. I will pick it up eventually, but in the meantime it’s onto the latest instalment, “1910” which drops us in with that year’s incarnation of the League. While Moore’s writing is often peerless, and O’Neill’s art expert at evoking both the pomp and the poverty of the era, it does immediately strike me as being a lot more inaccessible than the previous volumes. There’s no strongly apparent central plotline this time, with the team blundering around misinterpreting a prophecy, so what were left with essentially is the details and the characterizations that propel and sustain the narrative. I guess what I’m try to say is this is really for fans only – newbies are probably best served going back to the beginning rather than sampling this particular book as they may be left lost, confused and wondering what all the fuss is about. Those of us already familiar with the world Moore has created for ‘his’ characters to inhabit can witness a master storyteller at work as he sets up what is possibly the most ambitious chapter in the League’s history yet. 8/10
X-FORCE #15
Writers: Craig Kyle & Christopher Yost
Art: Clayton Crain
Marvel $2.99
Stewart R: While this Messiah War mini-event isn’t working spread across the two titles, this issue highlights that there are still some good points to note. Kyle and Yost are handling the narrative style perfectly, here delving into Stryfe’s thoughts on the events unfolding before his eyes and ensuring that X-Force actually make something of a meaningful appearance in their own title. In the last Cable issue it seemed that Bishop was suffering from a case of incompetence while trying to kill Hope but here the threat that he poses to her safety is accurately depicted. I’m still not quite sure of the Archangel/Apocalypse spin to this whole story and their appearances here seem to say to me that we could have done with a one-shot issue to deal with their interaction before bringing them back to the fray for the last couple of issues. Crain hands in his usual broody pencils and proves once again that he was the right choice for this mini – it’s just a shame that he’s not doing the whole thing. 7/10
INCREDIBLE HERCULES #129
Writers: Greg Pak & Fred Van Lente
Art: Ryan Stegman & Terry Pallot
Marvel $2.99
Matt C: The best issue of this title for a while as Hercules and Amadeus Cho venture into Hades to rescue Zeus. Recently the book had started to crumple under the weight of its own convoluted plot but things are a heck of a lot more clearer this month, and Pak & Van Lente’s interpretation of the hereafter as a casino where the deceased gamble for resurrection is ingenious (“Each afterlife is just an interface – you know, like a web browser?”). The trademark brand of humour is back in full force and, along with an array of familiar faces, there’s a juicy cliffhanger that promises a lot for the next instalment. 8/10
MUPPET ROBIN HOOD #1
Writer: Tim Beedle
Art: Armand Villavert, Jr
Boom! Studios $2.99
Matt C: This doesn’t hold a candle to Boom!’s main Muppet Show title – where that book has an infectious quality, with the laughs coming through quick and easily, this mini feels forced in comparison. It’s also far too longwinded for a medium that requires more visual pizazz, and the cumulative effect is that it’s a dull read. Art is decent enough but I can’t see this appealing to anyone over the age of 12. 3/10
AVENGERS/INVADERS #11
Writer: Jim Krueger & Alex Ross
Art: Steve Sadowski
Marvel $2.99
Matt T: Although the continuity is so ridiculously out of whack that any semblance of this book being considered normal Marvel U has completely disappeared, it is a fun read. The Red Skull has the Cosmic Cube thanks to some time travel-related jiggery-pokery, meaning the Avengers from this time have to dress up as long forgotten heroes of WW2. The combined team of the Invaders, Avengers and Nick Fury's Howlin' Commandos are closing in on the Skull's stronghold, with a group of super-Nazi's and Thor (!!!!!) now standing in their way. Needless to say all will be well at the end, but it's been a good read, if a little drawn out up till now. Had the story been condensed into six issues, which wouldn't have been too hard, the end product would've been far more concise, rather than meandering. 6/10
GOTHAM GAZETTE: BATMAN ALIVE
Writer: Fabian Nicieza
Art : Nguyen, March, ChrisCross, McKelvie, Konat & McKenna.
DC Comics $2.99
James R: This kind of one-shot is something DC have got good at over the last few years – the set-up for a series of books or crossover disguised as a single issue. Some find them annoying as they feel it’s little more than a glorified advertisement, but I personally enjoyed this attempt. It held together much better as a narrative, and was a quick and concise guide to who is doing what in Gotham. It was also cool to see Phonogram’s Jamie McKelvie providing the art for the Leslie Thompkins pages. All told, this could be a good year for the Bat-books, with a great team on Detective and Batman & Robin looking first-rate… and all this without Bruce Wayne. 7/10
AMAZING SPIDER-MAN #595
Writer: Joe Kelly
Art: Phil Jimenez & Andy Lanning
Marvel $2.99
Matt C: I was a staunch supporter of the rebooted Spider-Man title during its first year, regularly defending it against (not always unwarranted) criticism from my colleagues. I agree One More Day was a huge blunder on Marvel’s part but couldn’t deny that many of the tales told since were immensely enjoyable. However, if the past few issues are anything to go by, this almost-weekly title seems to be running out of steam. I’m not confident about the direction it seems to be taking with the various members of the cast and none of the new ideas thrown in seem particularly strong. I had hoped Kelly might bring some new energy back into the book as he’s been responsible for most of the better stories recently, but the feeling of dissatisfaction remains. Even returning the ubiquitous Norman Osborn to the title he originated from doesn’t add anything to the character that we’re not seeing in countless other titles at the moment. Sure, it’s readable, but then I could apply that adjective to a lot of books that I don’t pick up. I’ll stick around until #600 but unless things improve that could be it for me for the time being. 6/10
BACK TO BROOKLYN #5
Writers: Garth Ennis & Jimmy Palmiotti
Art: Mihailo Vukelic
Image $2.99
Matt C: This has been a solid crime series with the expected dollop of ultraviolence courtesy of Ennis but the final issue features a twist that is too implausible – even in the context of the story – and it just about derails everything that has come before. Without getting into spoiler territory, I didn’t buy the reveal of a character’s dark secret and the ensuing fallout. A shame really as, up to that point, the book didn’t really pull any punches, but the conclusion was a straight up disappointment. 4/10
ULTIMATE WOLVERINE VS HULK #6
Writer: Damon Lindelof
Art: Lenil Francis Yu
Marvel $2.99
Matt T: There are times when, as a comic fan, I want to go back in time and slap the powers that be at Marvel for commissioning this tosh then myself for buying it. Don't get me wrong, UWvsH started well, but the delays and shitty, watered down non-conclusion made it so much more pointless waiting for it. Instead of the two title characters being involved in a beat-down, the whole thing ends in a whimper, where everybody turns out to be friends and all is well. What a load of shite. Even bringing She-Hulk in seemed like a contrived way of raising interest in what was a pretty poor miniseries. 2/10
MOUSE GUARD: WINTER 1152 #6
Writer: David Petersen
Art: David Petersen
Archia $3.50
Matt C: The problems experienced by Archia and the resulting delays to their output, along with the continuing difficulty in differentiating between the cast of characters, may have prevented this from being the perfect comic book experience but damn if the lusciously rendered artwork and the enveloping storytelling don’t make up for it! Petersen has created a fully formed world that leaps off the page with vibrancy and his panel composition is something you can easily lose yourself within. I have a feeling this would work better as a collected volume due to the absence of proper ‘cliffhangers’, so I heartily recommend seeking this, and its predecessor, out immediately. 8/10
AVENGERS: THE INITIATIVE #24
Writer: Christos N Gage
Art: Humberto Ramos
Marvel $2.99
Stewart R: While the Thunderbolts title seems to be treading a very thin line with it’s roster of C and D-listers from the Marvel Universe The Initiative is all the better for it at this moment in time. Here, with the likes of Taskmaster, Bengal and Constrictor up to their necks in Hydra’s hot water, it actually proves to be an exciting read with survival the priority and completing the mission to obtain the S.P.I.N. tech a secondary thought. The unpredictable nature of Typhoid Mary adds in a nice ‘wildcard’ to the mixture, Taskmaster is coming to the fore as a team leader and Gage even handles Norman Osborn with aplomb, showing that he doesn’t necessarily know about everything that’s going on in the world post-SHIELD but has the ability to turn every eventuality to his benefit. Ramos seems to have found his footing with the ‘pencil-shaded’ style he’s been going for recently and he manages to maintain the tension admirably. I can’t say I see where this title can go from here but what we’ve had until now has been a pretty decent comic book. 8/10
FANTASTIC FOUR #256
Writer: John Byrne
Art: John Byrne
Marvel $0.60
Matt C: Not exactly the explosive confrontation with Annihilus we’d been expecting, with much of the action taking place in Avengers #233, but it’s still engaging, although it’s the characterization that provides more pleasure than the action this time around. The highlight of the issue features a brief but telling appearance by Galactus as new herald Nova informs him that she’s located a suitable planet for devouring: the Skrull Throneworld! 7/10
In Four-Colour Yesteryears we delve back into the past to look at the periods, events and creators that helped shape the medium.
By Rob N
Click here for Part 1.
By the time Jack arrived at DC his vision for comics had grown beyond the confines of the traditional four colour publications on newsstands. He was consumed by the idea of exploring new formats and new markets for comics – an ambition that was in hindsight probably ahead of its time. Among his ideas was a line of black and white magazine format titles (only two debut issues were ever published: Spirit World and Days Of The Mob – but both were glorious comics, arguably some of Kirby’s finest work of his career) to rival Warren’s horror publications, but his big launch idea was the Fourth World – a series of four inter-connected titles that would be serialised at first and then later be collected in book format. Nowadays we take for granted the idea of ‘graphic novels’ and collected editions, but in the early Seventies this was a new and largely unproven concept. Will Eisner had enjoyed some modest success with what would later be termed ‘graphic novels’ and Gil Kane had created Blackmark in 1971 – a paperback original fantasy comic that was supposed to be part one of an ongoing series, but by and large publishers weren’t too keen on the idea. Newsstand sales were still seen as the means by which comics thrived.
The Fourth World was launched in the pages of Jimmy Olsen, and continued in the new titles, Forever People, New Gods and Mister Miracle. The concept revolved around two opposing forces – the planets New Genesis and Apokalips, representing the opposites of order and chaos and life and death. Invoking the power of myth and Kirby’s fascination with cosmic forces, he wanted the DC Universe and Earth specifically, to be a battleground for an age-old conflict involving Darkseid’s quest for the Anti-Life equation. The comics were to run for approximately 24 issues each and tell a complete story with a beginning, middle and an end: ambitious stuff for the time, when traditionally superhero titles were designed to be open-ended soap operas.
Kirby had spent years sketching out characters for the Fourth World, and in his eagerness to showcase them all he was perhaps guilty of throwing too many new concepts at the reader in too short a time. There was barely enough time to digest Character A before Character B appeared the following issue. Within a few months the Fourth World titles began to resemble a fast moving conveyor belt of Kirby weirdness, introducing Big Barda, Dr Bedlam, the Boom Tube, Granny Goodness, Metron and his Mobius Chair, Glorious Godfrey, the Mother Box, Desaad, Mantis, the Deep Six, the Black Racer and many, many more. There was no doubting the power of his imagination, nor the level of his prolific output, but the concepts were disappearing as quickly as they came, to make way for yet more ideas. It seemed to be the comic book equivalent of diarrhoea. Notable amongst the onslaught of new characters was Funky Flashman – a manipulative entrepreneur in a badly fitting wig who bore more than just coincidental resemblance to Stan Lee. Accompanied by his sycophantic assistant House Roy (Roy Thomas), Funky was hardly a flattering take on Kirby’s old partner.
It also became apparent, very early on, that Kirby did not have Stan Lee’s ear for dialogue. If ever the extent of Lee’s contribution to the Sixties Marvel titles was evident, it was in his absence in the writing of the Fourth World titles. Kirby was great at developing bizarre concepts. He was even a decent plot writer. But the pacing of his scripts was questionable, and his dialogue was sadly juvenile at best. Unfortunately for Kirby, his chance at writing coincided with the exact point comics began to ‘grow up’. Comics, more than ever, were beginning to explore social issues of the day (DC in particular was soon to champion ‘relevance’ in comics with titles such as Green Lantern/Green Arrow, a revamped Superman, the gothic take on Batman, and the new look Wonder Woman and Teen Titans), and a fresh influx of young writers, influenced by the liberal philosophies of the hippie movement and by experimental, New Wave SF literature, sought to bring a fresh approach to characterisation. Kirby’s characters however continued to talk as they did in 1963.
Sales at first were impressive as collectors snapped up multiple copies of the new titles, convinced they would be a sensible investment. But very quickly the sales began to drop off, no longer buoyed by the novelty factor of a new launch. Also, there was a growing sense of disappointment amongst many comic collectors. There were perhaps too many new ideas; too many new characters, and not enough that remained familiar. In many ways it drew a parallel with a successful rock band changing its musical style and refusing to play any of its old material in concert. Fans began to miss Kirby drawing the Fantastic Four and Thor, and it became apparent very soon that despite moving to DC, Jack had little interest in drawing any of the established characters, preferring instead to invent his own. The letter columns began to fill with critical complaints about Jack’s writing style.
The cracks didn’t take long to show. From the very first issue of Jimmy Olsen, Kirby had met with problems. His depiction of Superman didn’t look enough like Superman, according to Carmine Infantino, who insisted that Curt Swan draw facial features over Jack’s basic pencils – a humiliating state of affairs for the most famous comic book artist of the time. By late 1971 Infantino informed Jack that he was to be dropped from the Olsen title, which reverted back to its more traditional stories. A year later, Forever People and New Gods were cancelled prematurely, having barely reached double digits. Mister Miracle remained, but the major elements of the Fourth World saga were shelved (with a vague promise to complete the story at some point) as Jack was ‘encouraged’ to simplify the character into a more straightforward action hero. By 1974, even this title died.
No one could have predicted such a meteoric burn out. Kirby had arrived at DC as one of the two most important comic book creators of the era. He had been lured over by a contract that offered creative freedom unheard of at the time. His launch of new titles was the biggest thing to have hit comics since Marvel had arrived on the scene in the early Sixties, and yet within a dozen or so issues, his epic vision had crashed and burned. Many editors at National must have been scratching their heads and wondering how things could have gone so wrong, so quickly. This was Jack Kirby – he was the equivalent of a new Beatles album. How had all four of his comics failed so spectacularly?
There is a suggestion now that sales on the titles had not actually been as bad as was first thought. Infantino had probably panicked, seeing the drop off from the first few issues (when speculation had inflated sales), but there was also perhaps a feeling at DC that Jack hadn’t delivered material that was commercial enough.
But in the eyes of most people, Kirby was still Kirby, and Kirby was King. Maybe he had been a bit too ambitious? Surely lessons had been learned and his next wave of titles for DC would be the commercial goldmine that they were looking for? This had to be just an unfortunate blip. Kirby was instructed to come up with new concepts. These of course couldn’t possibly fail…
Next up: the declining years at DC - Kamandi, The Demon, OMAC, Sandman and more...
While we may not always have the time to review all the comics we get every week, we do try and provide a snapshot of the latest releases, mixing the good with the not so good.This week also sees the continuation of Matt C's Byrne FF project.
DARK REIGN: FANTASTIC FOUR #3
Writer: Jonathan Hickma
Art: Sean Chen & Lorenzo Ruggiero
Marvel $2.99
Matt C: Still an awful lot of fun but this issue loses a point due to it not really pushing the plot forward a great deal, often feeling like it's repeating the same tricks we saw last month. That aside, this is easily the most impressive handling of Marvel’s First Family since Mark Waid was on the book earlier on in the decade, leading me to think that Hickman’s upcoming run on the main title stands a good chance of producing some classic FF tales. I particularly liked the way he has Reed come to the conclusion here that while The Illuminati were a great idea in practice, the reality always leads to disaster no matter what the variables. In your face, Bendis! 7/10
James R: These days, any geek worth his salt is au fait with Twitter – not to be the social hub and life & soul of the party of course, but it does give you some great insights into what’s going on in comics. Last week was the ‘Marvel Summit’ when Marvel’s writers and editors got together to plan the future of the books in their care. At that meeting, Joe Quesada sent the following ‘tweet’ on Twitter: “Hickman is the most visionary creator in comics since Alan Moore”. For those of us who have been banging the Hickman drum for the last 18 months this won’t come as a big surprise. As good as Alan Moore? Not yet for me, but by the Great Googly Moogly, the man can write a good comic! In this third part of his curtain raiser to his proper run on Fantastic Four, he shows not only an excellent sense of understanding the FF family, but also what makes the title great – the application of big science and big ideas (check out how John Byrne did the same on his run in Matt C’s FF reviews). A special shout out to Sean Chen’s pencils which are brilliant at the epic stuff (I loved the first splash page) as well as the small-scale interaction between characters. Don’t be surprised if we’re using the words ‘Hickman’s’ ‘classic’ and ‘run’ in the same sentence in another 18 months. 8/10
SKRULL KILL KREW #2
Writer: Adam Felber
Art: Mark Robinson, Rob DiSalvo & Mike Getty
Marvel $3.99
Stewart R: Well this is interesting: Riot’s back! Yep she’s back and there’s absolutely no explanation whatsoever as to how or why. Maybe it doesn’t matter, just as there’s apparently no explanation necessary as to why 3D Man seems to be out of favour with the Krew?! This book is evidently not going to be about providing answers as even more questions arise from this issue, including the mysterious appearance of a big Marvel player into the fold and the changing powers of certain members of the team. This could lead to a fantastic surprise twist in the next few issues or could just be as blatantly obvious as it seems. Either way, it doesn’t hit as hard as the initial instalment though it’s not a disappointment by any stretch. One last question however seems to be why two artists have been employed here and seem to be working in relay? It’s not that noticeable but to bookend the ‘main’ artist in this issue seems a little peculiar. 6/10
Matt T: I'm hoping the mystery of how the Krew are seemingly cheating death is fully explained at some point, because right now it's a little annoying having them all return to the status quo without much in the way of effort. Wolverine's appearance is wonderfully silly, and the Cow-Skrull & Cow rumpy pumpy producing the current crop of shape shifters is ridiculous enough to work here, but there still needs to be a degree of respect for the history of the book in order for it all to work. Here's to hoping the future holds some resolution to the apparent miracle resurrections. 7/10
CAPTAIN AMERICA #50
Writer: Ed Brubaker
Art: Luke Ross & Rick Magyar
Marvel $3.99
Matt T: It's a filler issue of Captain America, but unlike the Sharon Carter issue it doesn't do much to fill in the gaps with Bucky's life pre-Cap. There's a few pleasant flash-backs showing birthdays past, as well as something of a brief origin to his recruitment into the original Invaders, but otherwise not a whole lot of his character is made any more interesting. Hopefully #600 won't automatically spell the end for Bucky's Cap, as there's plenty more potential stories in the offing, but in the same sense he seems to have lost some of his edge since donning the red, white and blue uniform. 6/10
James R: Last month, I didn’t review Captain America, as I didn’t just want to write “It’s all right – just fills you in on Sharon Carter before the next Big Thing starts in a couple of issues.” Well, I’ve got to say this month… it’s all right. Just fills you in on Bucky before the next Big Thing starts next month. This would normally be a quality month in anybody else’s title, but given Brubaker’s extraordinary output on this book and in comics per se this feels like a jog rather than a sprint. You have to pick this up if you consider yourself a connoisseur of hero comics, but I have a sneaking suspicion that we’ll be getting double-barrelled Brubaker next month… 7/10
UNCANNY X-MEN #510
Writer: Matt Fraction
Art: Greg Land and Jay Leisten
Marvel $2.99
Matt T: It's difficult to tell what Matt Fraction is trying to achieve with his run on X-Men, as the old-school plot of the team uniting against a common foe, despite in-fighting, seems to have been lost along the way. Instead the story appears to pander to Greg Land's ability to draw the same pretty ladies over and over again, often not wearing very much. Relegating the 'Science Team' to barely a cameo was a real misstep too; they're about the only thing interesting about Uncanny at the moment. 4/10
Stewart R: This title sweeps from heady highs to questionable lows with such regularity that I don’t know whether I love it or loathe it half the time. This issue seems to take that quandary and put me through a critical rollercoaster every other page. Fraction appears to be trying to make this the X-Men team book that we deserve with plenty of regular characters, gripping storylines and the occasional mutant-powered dust up and it’s getting close to realising its potential. I’m enjoying the Madelyne Pryor’s Sisterhood plot and an attack on the new house that Cyclops built was on the cards after the move to San Francisco. The huge glaring problem here is Greg Land’s artwork and his translation of Fraction’s vision to the page. The man can certainly pencil mutant maidens that will stir something in the loins of many a reader but he seems unable to ply the simplest of changes to facial characterisation meaning that all female characters end up following the same supermodel mould of full-lipped monotony. Emma’s fight with Lady Mastermind actually looks like she’s beating herself up in some panels! The Stepford Cuckoos aside there should be differentiation between characters Mr Land!!
I also take issue with the Wolverine fight that we’re led to believe occurs here, as the posed clash lacks intensity and is left mostly to the imagination of the reader. The fact that his opponent doesn’t end up as a pile of sliced meat on the floor when Logan is in claws-out mode the entire time has me asking questions on how he actually goes about fighting. There is promise in this book but I think I’ve been saying that for quite some time and there are only so many chances that I can keep giving it to come good. 5/10
BATMAN: BATTLE FOR THE COWL #3
Writer: Tony Daniel
Art: Tony Daniel
DC Comics $3.99
James R: Hmm. Now, if my shockingly bad memory serves me, the gist of my review for Battle for the Cowl last time out was “Not bad, but Batman deserves better”. Guess what? It’s the same again with Part 3. First, let’s deal with the positives: DC are to be commended for getting this series out on time, and limiting this to a 3-part mini (yeah, I know there have been a couple of spin-offs, but for the most part, this has been a more wallet-friendly series), and there are points where Tony Daniel produces the goods – the Black Mask pages, and the final two pages are great - but yet this still felt a pedestrian read. The new Batman? Yeah, it’s who you thought it would be. And Robin? Same again. At points, Daniel’s dialogue is eye-raising, and a couple of pages looked like they were drawn in a race against the clock. I think this is thrown into stark relief when you take a look at Frank Quietly’s art for the new Batman & Robin series. Now we all know Bruce will be back, and this series has done a solid job in putting the pieces in place for the next 12 months in Gotham… but that’s all. Worth a look, but this won’t trouble any ‘Best of ‘09’ lists. 6/10
WOLVERINE: WEAPON X #2
Writer: Jason Aaron
Art: Ron Garney
Marvel $3.99
Matt C: This book is turning into a major disappointment for me. After waxing euphoric about Aaron and Garney’s Get Mystique story in the main Wolverine book last year my hopes for this new title were pretty damn high to say the least. I’m therefore a bit gutted to find that so far this story is proving to be a bit run-of-the mill; there’s nothing ‘wrong’ with it per se, it just continues to feel like we’ve seen it all before. And there certainly doesn’t seem to be enough substance to it to justify the $3.99 price tag. On the plus side, Garney’s art is pleasingly hardnosed throughout and based on Aaron’s work elsewhere I’m willing to see this arc through, hoping it gets a bit meatier. At the moment though, I’m not convinced. 6/10
THE GREAT UNKNOWN #2
Writer: Duncan Rouleau
Art: Duncan Rouleau
Image $3.50
James R: Last month I was really impressed by The Great Unknown, and lo and behold, the second issue is the same high quality as the first. Roleau moves his story at a cracking pace, and never treats his readers like idiots – this is a fun read, with a cerebral twist. His panel layouts and palette choices make this look like nothing else that’s being published at the moment, and when I finished it, I went back and immediately re-read it – and that’s always the gold standard for me. This is 2009’s most surprising and rewarding read. 8/10
Stewart R: The second issue of Rouleau’s lo-fi sci-fi tale gives the audience a glimpse into Zach’s past friendships, acquaintances and relationships, and offers two reasons as to why our drop-out protagonist has never reached his potential. The one that Zach has cottoned onto is the evident plot that his ideas are being stolen and exploited before he can reap the rewards, while the reader is made aware that even if his ideas weren’t stolen his general idleness could still result in the same outcome. Despite his selfish attitude there’s something about Zach’s ‘survival techniques’ – his bussed coffee cup move is genius – that makes me warm to the character and I’m sure he’s going to be taken to even new depths in the remaining three issues. The artwork is still great from Rouleau though sometimes it’s hard to tell if his thickly inked pages are a result of creator style or possible time constraints. 7/10
AGENTS OF ATLAS #5
Writer: Jeff Parker
Art: Carlo Paguilayan & Jason Paz
Marvel $2.99
Matt C: A step up in terms of accessibility compared to last issue – still not quite there to get me to sign up for the long haul (if, indeed, there is a long haul) but I liked it enough to come back again next month. Here we have a nice twist on the dependable scenario where two super-teams meet, fight, then team up, the difference here being the Atlas guys can’t team up with New Avengers as they need to continue to play the role of villains for their plan to succeed. There’s some amusing character interplay along with several surprises that prevent the fisticuffs from becoming too formulaic but part of me does wonder whether the (sort of necessary) guest stars are taking too much time away from allowing us to get to know each member of the team. I will persevere though, as there is undeniable potential for this book to develop into an offbeat gem. 7/10
THUNDERBOLTS #132
Writer: Andy Diggle
Art: Roberto De La Torre
Marvel $2.99
Stewart R: Now that Thunderbolts has limped out of the other side of Magnum Opus a clear loser it’s also highlighted that this new incarnation is lacking a certain punch or deadly flair. The biggest reason for this of course lies in the fact that the nastiest villain-types and former Thunderbolts are now employed as Dark Avengers, and the C-list cast brought in to act as replacements really don’t exude danger or menace. De La Torre does his usual superb job with what he’s given and to be honest it’s not a terrible issue – the mess-hall banter and inner-team paranoia is well realised and the ‘ballet’ is a chuckle inducing novelty but it’s not outstanding. Diggle has resorted to bringing in Mister X, the lethal fighter who has bested Wolverine in the past, to try to inject a deadly edge but it may not be enough to stop this title sliding into obscurity. Ghost remains the most interesting character here but that’s purely down to his mysterious personality and isolationist living-style. The promise of Songbird’s return next issue should be interesting considering that she has no beef with any of the current line-up and it could prove that this title has outstayed its welcome. 5/10
FANTASTIC FOUR #255
Writer: John Byrne
Art: John Byrne
Marvel $0.60
Matt C: If there’s any man who can survive having his mind sucked into the power cells of a spaceship which operates on psionic energies and then have intellectual capacity to assert his thought waves into taking over said ship, then it could only be Reed Richards! You do occasionally get the impression reading FF comics that the other three would be destroyed within instants of meeting most of their foes if Mister Fantastic wasn’t about to uses his smarts to get them out of jeopardy (although to be fair he is the one who puts them in these dangerous situations a lot of the time!). An agreeable issue although the inking does look rushed in places, lessening the impact of the otherwise stellar artwork. 7/10
In Four-Colour Yesteryears we delve back into the past to look at the periods, events and creators that helped shape the medium.
By Rob N
Throughout the Sixties Jack Kirby and Stan Lee had been the Lennon & McCartney (or Morrissey & Marr) of comic books. Between them they had virtually created most of what is now recognised as the early age of Marvel comics. Their creative output still shapes the modern Marvel Universe. Many of the ongoing titles and characters are drawn from the creative pool established during the prolific Silver Age. As a creative partnership they were perfect. Kirby was the man obsessed with the grandeur of what comics could present. He was obsessed with great SF concepts and continually argued to pit the Fantastic Four against cosmic forces. Without him you would not have had the Inhumans, the Silver Surfer, the Negative Zone, and the epic scope of those early Thor comics. Stan Lee on the other hand was the soap opera writer, and without him you would not have had the balancing factors of the human relationships in the Spider-Man title and the marriage of Reed and Sue in Fantastic Four. They worked hand in glove to produce comics that very quickly were light years apart from the traditional DC template. Kirby had already enjoyed a ‘first age’ of creativity before Marvel came in to being, when he worked on the Golden Age stable of characters with writers such as Joe Simon. With Marvel he was in the spotlight again with the second age of his career.
But by the end of the Sixties Kirby had become a victim of his own success. Paralleling perhaps the many successful rock musicians who had signed unfair contracts before releasing million-selling albums, Kirby found himself to be the source of most of Marvel’s income. Like all the other Marvel artists, Kirby was working for a contract rate, and he enjoyed little in the way of royalties from his work. As Marvel branched out into licensed products based on its characters, Kirby was excluded from a share of the pie. To add insult to injury he was not 
even entitled to the return of his original artwork. Already by the late Sixties there was a growing market for original comic book art, and despite the fact that Kirby’s art was supposed to be lodged safely in the Marvel vaults, pages were ‘disappearing’ to be quickly traded for high prices. Kirby of course didn’t see a penny for these sales. In fact he’d very often be signing books at a US convention and find himself faced with a page of his original artwork that should have in theory been lodged at Marvel HQ. The smiling fan would have the cheek to ask for an autograph on it. Many years later Marvel would claim the pages in question were lost when it followed a policy of returning artwork to the original artists, provided they signed away various rights to the characters they helped create.
Kirby was also frustrated by Stan Lee’s reluctance to accept his new ideas for titles. Unofficially Kirby had already shown promise as a writer of plots and concepts, though his actual talent at writing dialogue was largely untried and untested. The Marvel system of script writing differed from the DC one and it was commonplace for artists at Marvel to have a say in the writing of a story. When Marvel began, Stan Lee was responsible for writing all of the superhero titles. Writing full scripts for each title was beyond the talents of any single man, and therefore Lee quickly devised a short-hand method of scripting. He would plot out a rough story, sometimes on paper, but sometimes verbally round a table with the artists in question. The artist would go away with either the plot outline in hand, or the memory of the conversation in mind (!), and draw the required number of pages. Artists such as Jack Kirby were responsible for translating a story outline into smoothly paced scenes that would fit inside the covers of the comic book. The finished art would bounce back to Stan Lee who would then write dialogue for the various panels. Quite often Lee wouldn’t know what he was going to write in the word balloons until he saw what his artists had done with the plot outline. Sometimes the pages could come as quite a surprise to 
Lee. When the plot for Fantastic Four #48 was discussed, Lee had in mind a cosmic villain who swiftly became Galactus. When he saw the finished art he also saw another character that he hadn’t expected:
"When he brought it to me so that I could add the dialogue and captions, I was surprised to find a brand-new character floating around the artwork -- a silver-skinned, smooth-domed, sky-riding surfer on a surfboard. When I asked ol' Jackson who he was, Jack replied something to the effect that a supremely powerful gent like Galactus would surely require the services of a herald who could serve him as an advance guard."
- Stan Lee (SON OF ORIGINS OF MARVEL COMICS)
Conversely, as the grand architect of the Marvel Universe (or at least the public face, as perceived by the readership at the time), Stan Lee was getting progressively more famous than his co-creator. As far as a lot of fans were concerned, it was Lee who deserved all the creative credit. Eventually Jack Kirby could take no more. He had spoken to Stan and proposed a series of comics based on his own ideas; ideas that he wanted to take creative control of. Kirby was, at that time, a workaholic who spent every available hour sketching out new concepts for characters. Most of these were done in his private time, and therefore he could (and did) claim them as his own when he eventually decided to jump ship to DC. Stan wasn’t keen on the concepts for one reason or another and preferred to keep Kirby where he was most in demand – pencilling the big name superhero titles. Behind Lee’s back Kirby entered into talks with (then) DC big shot Carmine Infantino. An agreement was made where Jack would be allowed to launch a series of his own titles, and enjoy creative freedom over and above any other artist at the time, provided he would take on one existing DC title as well.
DC had been stagnating throughout the Sixties. Faced with the overwhelming juggernaut that was Marvel, its sales were slipping year after year. Infantino could see which way the wind was blowing for National (the actual name for DC at the time) and was keen to turn the company around – to modernise it for the 1970s. To bag Kirby – the man co-responsible for most of Marvel’s success - seemed like an obvious no-brainer idea that would reinvigorate DC overnight. The ongoing title that Jack chose probably surprised everyone: Jimmy Olsen – a low profile, second-string book that survived courtesy of the ‘Superman’s Pal’ tagline. According to the story at the time, the Olsen book was looking for a new writer/artist, and as Jack was reluctant to put another writer out of work by bumping him from his current assignment, it was ideally suited for him to take over without treading on anyone’s toes. But if that choice of comic was to be a surprise to his many fans, then his cosmic SF masterwork – a set of three new inter-connected titles dubbed ‘The Fourth World’ - was to bewilder them even more. Kirby was about to enter his third, and most controversial period of creativity with the launch of Mister Miracle, Forever People and New Gods.
To be continued…
While we may not always have the time to review all the comics we get every week, we do try and provide a snapshot of the latest releases, mixing the good with the not so good.
A bumper post-Bristol edition this week which also sees, as always, the continuation of Matt C's Byrne FF project.
UNWRITTEN #1
Writer: Mike Carey
Art: Peter Gross
DC/Vertigo $1.00
James R: Occasionally, you hear or read a pitch for a comic that you think, ‘Now this is going to be dynamite!’ (a quick example would be the mini-series Talent from Boom! Studios), but as is often the case, there is a palpable sense of disappointment as you flick through the pages and realise that the creative team hasn’t pushed the idea far enough, or has played it far too safe. It is therefore my huge pleasure to introduce you to The Unwritten, the new series from Vertigo. I won’t go through the whole synopsis as I’m sure that you’ve chanced upon it on a million other comics websites, (including being flagged up by ourselves in a prior Ten Forward post) or seen the preview pages in various Vertigo titles - all I will say is that this is the greatest first issue I have read for years; not only does Mike Carey match my expectations for the title, he exceeds them, and by the end of this issue there is a great mystery established, and a sinister plot revealed. It does what a #1 should do, and that’s make me desperate to get my hands on the next instalment.
Putting on my pretentious hat, it’s also a hugely satisfying book intellectually. If you enjoy the literary allusions in League Of Extraordinary Gentlemen you’ll also be pleased with what’s on offer here, with nods to both George Orwell and Borges. Having heard Mike Carey speak about this project, I know there’s much more to come in this vein, and I’m desperate to see where he takes it. A special mention too for the artwork of Peter Gross, who juggles the everyday world of Tom Taylor with Internet pages, TV reports and movie clips, giving a different feel to each. It’s also been impressive to compare the ashcan edition given away at the Bristol Comics Expo with the final version – it shows just how much of a great job the colourist does, so a tip of the hat to Chris Chuckry. The last time I enjoyed a debut issue this much was Y: The Last Man, and I’m confident that The Unwritten can fill those giant shoes with ease. And by the way, it’s $1. A dollar! Why would you not pick this up? 10/10
Matt C: This isn’t something that would normally appeal to me as it plays with a genre I don’t really care for (magic) and riffs on a franchise I only have marginal interest in (Harry Potter). If I’m honest, even though I appreciate Mike Carey is an intelligent and culturally savvy writer, not everything I’ve read of his has really clicked with me, so the real reason this became a must-buy was the price tag. Forty pages for a buck (about 70p in our English money)? You’ve really got to give it a shot for that price. And damn, was it a great buy! The premise is intriguing, but not quite a showstopper (and, let’s face it, not that original), but what Carey does with it is quite ingenious. There’s the humanity he brings to his characters, the astute take on celebrity culture, the metatextual elements he plays with, all presented to the reader with a dash of sly wit. Gross’s is art is deceptively simple in places, with its economical linework, but the range of emotions he brings out of the cast is impressive. Listen, obviously no comic is ever going to appeal to everyone, but fans are always on the lookout for something new, always looking for the next book that will knock their socks off. You may think The Unwritten is an astounding example of what the genre is capable of, you may think it’s pile of crap, but at this price you’d be a fool not to pick it up and make up your own mind. For my part, this is the best debut from Vertigo since Scalped. 9/10
Matt T: There's an underlying theme and point to The Unwritten which has the potential to ruin any dramatic edge and turn it into a theoretical and philosophical study. The core of the story tells the story of a man who has been touring the convention circuit as the basis for his father's world-famous book series, Tommy Taylor. Towards the end it’s revealed that everything is not what it seems, making young Tommy's existence more of a mystery. As a first issue it sets the scene well, and opens the various mysteries that create the crux, but I'm hoping The Unwritten doesn't get weighed down by it's own high concept ideas and end up becoming a mess. 8/10
INVINCIBLE IRON MAN #13
Writer: Matt Fraction
Art: Salvador Larroca
Marvel $2.99
Stewart R: The World’s Most Wanted wagon rolls on through the clouds of Dark Reign and this issue covers all three fugitives - Tony Stark, Pepper Potts and Maria Hill - as they try to outwit Norman Osborn and various other parties with despicable intentions. Stark and Hill’s adventures are exciting and handled with a much needed urgency - Tony’s constant analysis of his surroundings and situations as his faculties begin to fail him is bolstered by Larroca’s almost cinematic panels which ooze speed and danger, while Hill’s escape from the Controller delves a little further into the former head of SHEILD’s past and is set against a delicious palette of dark reds and oranges. The big drag on the issue is the Potts storyline which doesn’t seem to have Osborn making the smartest of decisions considering his aims and intentions, and the fact that he has Stark’s right hand in custody AND she’s tooled-up in active Stark-tech! Fraction may explain the Osborn choices made here next issue but I’m thinking a ball was dropped on this occasion, albeit only one the size of a marble. 6/10
AGENTS OF ATLAS #4
Writer: Jeff Parker
Art: Gabriel Hardman & Clayton Henry
Marvel $2.99
Matt C: I really want to get behind this book because I enjoy the characters involved, and I know that’s largely down to Parker’s reinterpretation of them for the 21st century…. but the plotting was kind of confusing here meaning I found it difficult to get fully engaged with the story. There are moments that made me smile but unless the title acquires more cohesiveness then I can see myself parting ways with it in the not too distant future. Which would be a shame. 5/10
DEADPOOL #10
Writer: Daniel Way
Art: Paco Medina & Juan Vlasco
Marvel $2.99
Stewart R: Daniel Way and Paco Medina just don’t stop the goodies coming! They came out of the Magnum Opus crossover clear winners over Diggle and Co at the Thunderbolts title and now they’ve delivered another belly-achingly funny issue. With Deadpool still sore towards Norman Osborn’s part in Secret Invasion and vice versa, the battle between Head of H.A.M.M.E.R and Merc With The Mouth continues unabated as the new Hawkeye is sent to put an end to our anti-hero once and for all. While there’s less psychological craziness here – luckily we can take comfort in the fact that the ‘voices’ aren’t gone for good – the great lines and fun banter still shine through and the initial throwdown between Deadpool and Hawkeye/Bullseye is superbly handled by artist and writer. If you haven’t gotten onboard with this title yet I highly recommend that you take a look. 8/10
Matt T: If Deadpool's only task in Dark Reign is to piss off Norman Osborn, then count me in! While everyone else has seemingly either stopped caring or given up trying to knock the Goblin off his perch, Wade Wilson is doing a sterling job of making him look like a right tit. It's the usual removable fourth-wall stuff from Daniel Way, but he at least throws some decent enemies the way of the Merc With A Mouth which in this case is Bullseye/’Hawkeye’. Paco Medina certainly keeps the more cartoonish tendencies to his art under check until the situation calls for it, so let's hope the duo can keep Wade Wilson in check for a little while to come. 8/10
IRREDEEMABLE #2
Writer: Mark Waid
Art: Peter Krause
Boom! Studios $3.99
Matt T: The mystery of the first issue was why the world's greatest hero suddenly became a walking, flying apocalypse. Issue 2 doesn't solidly confirm anything, but the reasoning is far clearer as his human friends suddenly turn when shown the Plutoian's true identity. Unsurprisingly this pisses him off a fair amount, as does his girlfriend's distrust. Although this may not be the sole reason for him destroying the majority of the planet it would be damn near good enough for me. Still, the future looks bleak, but entertaining, and impressively put together by Mr. Waid. 8/10
Matt C: Really strong work from Waid here as this issue we see a different interpretation of the classic Lois & Clark relationship. It’s a neat twist, and probably more believable than way things played out in the DC Universe, which just goes to show that, while we’ve seen tales of superheroes-going-bad before, rarely have they been presented to us by someone who implicitly understands the genre as well as Waid does. 8/10
SGT. FURY & HIS HOWLING COMMANDOS #1
Writer: Jesse Alexander
Art: John Paul Leon
Marvel $3.99
Matt C: It’s difficult to see how this will appeal in the one-shot format to anyone not familiar with the ‘60s title of the same name, but fortunately I have a special place in my heart for the WWII set adventures of Fury and the gang, so this was right up my street! It’s very much an exercise in nostalgia, pretty much checking off all the things you’d expect to see in a Howling Commandos comic (sexy foreign agent, Hitler, Percy Pinkerton’s umbrella being used in battle, and so on). It even manages to fit only Baron Zemo but Baron Von Strucker too – now that’s just greedy! On paper, John Paul Leon’s realism-skewed art shouldn’t work with the far-fetched, Boy’s Own tone of the story but, er, on paper it really does hit the spot! Apparently this is meant to lead into the Loeb/Sale Captain America: White (and there’s a rumour flying around that that mini’s been cancelled), but it's a very tenuous link. Inessential, but a lot of fun. 7/10
X-FACTOR #43
Writer: Peter David
Art: Valentine DeLandro
Marvel $2.99
Matt T: The future stuff in X-Factor still has yet to grip me, mainly because it seems like a callous way to get Maddrox and Layla together and the latter legal for any rumpy-pumpy. As ever the future is Summers-centric, and there's something of a mystery afoot, but the present day stuff looks more interesting to me. The seemingly straightforward protection of a civilian is becoming far more engaging as a few threads converge. Good stuff, and bound to throw up some unexpected twists. 7/10
KULL #6
Writer: Arvid Nelson
Art: Will Conrad
Dark Horse $2.99
Matt C: A bit of a damp squib of an ending to an otherwise invigorating series with too much mealtime political discussion interspersing the action, hampering momentum, and leading up to a rather uninspiring denouement. Conrad’s art has been a joy to behold during the miniseries, capturing the look of a society in decline. José Villarrubia’s slightly garish colour palette worked wonders too, nicely differentiating it from the similarly-themed Conan title. Overall, worthy of attention, but for me it felt like it lacked a suitable crescendo to make it truly memorable (but then I don’t know if this an original tale or an adaptation of one of Howard’s, so I can’t say where the blame for this should ultimately fall). 5/10
WAR OF KINGS: ASCENSION #2
Writers: Dan Abnett & Andy Lanning
Art: Wellington Alves, Scott Hanna & Nelson Pereira
Marvel $3.99
Stewart R: Chris Powell’s struggle to control the power imbued within his Darkhawk persona has landed him in serious trouble as the surviving members of the Fraternity of Raptors begin their manipulation of events within the War Of Kings and leave Chris trapped in Null Space. At this stage this appears to be a smaller piece of the overall WOK puzzle but I’m enjoying the history lesson behind the Razor’s fall from power as well as Powell’s recollection of how he discovered the armour in the first place. There are plenty of other plot starters here which hopefully will get looked at after this cosmic event has run its course and I’m certainly looking forward to seeing whether the Raptors actions affect anything in the main title. Alves does an acceptable job on pencils here, Catastrophus being a high point, but I’m not sure about the simplicity of the null space panels. 7/10
DESTROYER #2
Writer: Robert Kirkman
Art: Cory Walker
Marvel/MAX $3.99
Stewart R: Keene Marlowe continues to tidy up the villainous loose-ends of his world but he’s fighting his health and bigger and harder battles each step of the way. The bitterness and no-nonsense attitude of Keene, necessary for his particular brand of heroism, is captivating as he brutally tries to leave the world a safer place once he’s gone. Kirkman shows us that a superhero is on the job 24 hours a day and we catch a glimpse of the frustration that the Destroyer and his family are burdened with for the choices he has made. Walker’s art is really growing on me and some of his character design is top notch. The promise of seeing the infamous Scar next issue has this locked into my pull-list. 8/10
WOLVERINE #73
Writers: Jason Aaron & Daniel Way
Art: Adam Kubert & Tommy Lee Edwards
Marvel $2.99
Matt C: Waitaminute, aren’t we missing an issue here?! If you haven’t heard already #72 – featuring the conclusion of Old Man Logan – has run into the usual delays that come with pretty much anything Mark Millar writes, so Marvel have taken the bizarre decision of releasing #73 before #72! That aside, I rather enjoyed this, especially Aaron’s wry take on Logan’s hectic schedule (how many teams is he on these days?) - reassuringly rendered by Kubert - which has old flame Yukio suggesting there’s more behind his lifestyle than simple boredom. Way’s biker-gang mystery rolls out cliché after cliché but despite that it was appealing, in no small part due to Edwards distinctive, tense style. 7/10
UNKWOWN #1
Writer: Mark Waid
Art: Minck Oosterveer
Boom! Studios $3.99
Matt C: Mark Waid’s a busy man at the moment. While he’s currently putting Spider-Man through his paces over at Marvel, he’s still taking his role as EiC of Boom! seriously, going for the hands-on approach rather than sitting back and letting everyone else come up with the ideas. After Potter’s Field, The Incredibles and Irredeemable (I’m probably missing something!) he now adds another title to the list: The Unknown. It features Cat Allingham, the world’s smartest and most famous detective, who’s been told by doctors she’s only got six months to live – rather than choose to wind things down she throws herself headfirst into her work, determined to crack as many ‘unsolvable’ cases as she can before the Grim Reaper comes a’ callin’. It’s a nifty, if unoriginal, premise and Oosterveer adds a nice veil of creepiness to Allingham’s disease-afflicted worldview. What really surprised me was how much this felt like a Warren Ellis book - sure, you can tell Waid’s thumbprints are all over it, but get to the final page and I think you’ll agree, that’s exactly the kind of thing Ellis would come up with. Sounds intriguing? It is, so check this out. 7/10
CABLE #14
Writer: Duane Swiercynski
Art: Ariel Olivetti
Marvel $2.99
Matt T: A few lingering questions have cropped up since Cable went time-hoppin' with the saviour/destroyer of the mutant race: how does he stay so ridiculously buff when all he's had to eat is dirt and what's under his finger nails? Doesn't that robot arm ever run out of batteries? And, why is Bishop seemingly willing to do anything to kill a small child? Annoyingly none of those questions are answered here, although there are further hints as to why Bishop has enlisted Cable's evil clone, Stryfe, to kill said little girl. Deadpool is entertaining as always, but X-Force are apparently there to stand around and look mean. The Apocalypse subplot is a bit pointless, so I'm a bit disappointed with Swiercynski's normally sound writing, although Olivetti's art is up to the usual high standard. 6/10
Stewart R: I have expressed my concerns on splitting such an important event involving several heavy hitters from the X-universe across two titles - and therefore two creative teams - before, and I’m starting to think that I was right on this occasion. Once again X-Force are put to the background and even Cable makes a subdued appearance in his own title as the focus shifts squarely to Bishop and Stryfe as they pursue their own agendas. This issue is clearly geared to the big ‘reveal’ at the end and doesn’t go anywhere that wasn’t predictable beforehand. Even the interaction between Archangel and Apocalypse is simply a repeat of previous conversations that the two have had through various titles over the years. Olivetti’s pencils are also a point of contention for me - while accomplished at delivering facial expression his pastel/paint style just doesn’t portray the dark situation necessary for this story. Two issues to go and already I’m predicting disappointment. 4/10
UNTHINKABLE #1
Writer: Mark Sable
Art: Julian Totino Tedesco
Boom! Studios $3.99
Matt C: In the wake of 9/11 a group of people from different vocations (microbiologist, inventor, author etc) are pulled together by a government operative to spitball ideas of potential future terrorist ideas, no matter how outlandish they may seem. This so-called ‘Think Tank’ eventually gets canned and everyone goes their separate ways, but what happens if, eight years later, some of those ideas become real world tragedies? Either these guys did their jobs brilliantly and predicted what the future would hold, or someone's taken those ideas and turned them into reality. Sable's smart, talky, but thought provoking script propels the story along, and while he essentially has to work with character’s conversing, Tedsco lends the proceedings a sense of foreboding. A very promising debut. 8/10
Stewart R: In order to predict the terrorist events of the future a Think Tank is put together in order to establish all of the implausible, impossible, unthinkable scenarios that could confront the United States and the rest of the world in a post 9/11 society. Nothing is discounted and the possibilities are endless. This is a terrific premise alone but the comic that Mark Sable has then delivered is just as accomplished. The sibling relationship of the Ripley brothers (Steven’s an embittered military veteran who’s seen some of the worst that terrorism has to offer, Alan is his novelist brother who twists Steven’s experiences to fit the page and screen for the almighty dollar) aptly displays the paranoia and mistrust that the 21st century can succumb to. Once the World Trade Centre attack is factored in and the Ripley family suffers a loss the story picks up with the aforementioned Think Tank and it’s clear that Sable has thought long and hard on how something like this could pan out.
There’s promising character development while keeping the pacing brisk and resisting the urge to fall into a deep protracted analysis of past, real world events. Tedesco’s artwork is impeccable, delivering quick and explosive action where necessary and I’m really impressed with his great emotional characterization throughout. This is one conspiracy theory title that I will definitely be picking up the second issue of. 9/10
SECRET WARRIORS #4
Writers: Jonathan Hickman & Brian Michael Bendis
Art: Stefano Caselli
Marvel $2.99
Stewart R: We seem to have dropped into a ‘calm before the storm’ moment here as the Secret Warriors lick their wounds and rebuild after a brutal meeting with members of Hydra last issue. It’s hard to say whether some of the storylines are an attempt at misdirection or are leading on to some deeper, more startling reveals down the road – I for one have some predictions about where this is all going which probably need to be discussed in depth down the pub like all good conspiracy theories. Fury’s severe black and white view of the world is expanded upon thanks to Dum Dum and Gabriel Jones’ questioning of, and disagreement with, his blinkered opinion, and this is decent filler before the almighty brawl that’ll occur next issue. Thankfully there’s also some flesh added to the bones of Hydra as a leadership meeting demonstrates that not all parties are in agreement on the path that that villainous organisation is taking. 6/10
Matt C: Ares’ nipper aside, none of Fury’s team of kids have really caught my attention yet, still coming off as slightly interchangeable. I think it may take a few more issues in that respect, but Hickman’s seems to be heading in the right direction at least. Consequently the major selling point of this book continues to be Nick Fury, and Hickman patently gets the grizzled old warhorse (I keep saying Hickman because it’s pretty clear Bendis’ input is minimal here). Throwing a couple of original Howlers into the mix – Dum Dum Dugan and Gabriel Jones – means there’s no danger of this becoming a teen book (thankfully!) and I’m hoping they stick around for some time to come. Surely there’s enough Infinity Formula to keep them all going, right?! 7/10
DARK REIGN: YOUNG AVENGERS #1
Writer: Paul Cornell
Art: Mark Brooks
Marvel $3.99
Matt T: The tendency throughout this event is to twist the Avengers teams into 'Dark' versions, which is a bit pointless for the Young Avengers in my book. Certainly the whole point of Civil War was to force supers to register, and yet this book is about a group of bloodthirsty nutters running around killing people? It's all very far fetched, even for a comic, as one character even claims he killed a mugger after finding out he was a convicted rapist. It seems a little more than unbelievable that the group would have targeted a random group of muggers and happened to know they 'deserved' to be wasted. On the plus side the character designs are impressive enough, making them look decidedly different from the usual bright coloured spandex crowd. 5/10
WAR OF KINGS #3
Writers: Dan Abnett & Andy Lanning
Art: Paul Pelletier & Rick Magyar
Marvel $3.99
Stewart R: We’re halfway there. Three issues down, three to go, and I have already provisionally noted this title as my Event of the Year. Things could change of course but Abnett, Lanning and Pelletier have so far surpassed themselves in the field of cosmic storytelling and I’ll say right now they have earned top marks from this reviewer once again. In this issue we find that all is not as well as it seems with the Kree-Inhuman alliance and that Vulcan may be having problems with his Imperial Guard before too long. The writers are showing that this conflict has so many different sides and interests to it, that the ending, despite edging closer, is still unpredictable at this juncture. Crystal’s discoveries regarding her family’s motives show that the Inhumans’ actions may be questionable while Gladiator is finally finding some ground to expand as a character. Having been kept as a loyal ‘slugger’ for too long he’s being portrayed as an emotional force who’s constantly pulled between his duty and his heart and he may play an even bigger role as this conflict draws to its conclusion. Add to the mix one half of the Guardians of the Galaxy along with a good measure of Starjammers and you have the ingredients for something special. 10/10
FLASH: REBIRTH #2
Writer: Geoff Johns
Art: Ethan Van Sciver
DC $2.99
Matt C: I’ve read quite a few negative reactions to this series at various place online and while there are some valid points being made, personally I think there’s a lot more good than bad going on here. Johns does a great job of keeping folk not fully clued up on Flash lore up to speed (sorry) and his efficient characterization brings nuance and emotion to the proceedings. The final page lost me a bit and the so far the series still hasn’t managed to replicate the same level of excitement as Green Lantern: Rebirth but I’m looking forward to next issue so it’s got to be doing something right. 7/10
LOCKJAW & THE PET AVENGERS #1
Writer: Chris Eliopoulos
Art: Ig Guara
Marvel $2.99
Stewart R: It was the appearance of Throg (part amphibian, part Norse God of Thunder) that sparked my interest in this title and I’m glad that I picked it up, as it is a delightfully fresh and entertaining first issue. Lockjaw, loyal canine of the Inhuman household, locates one of the famed and all-powerful Infinity Gems and from there sets out on a quest to bring together various powered animals from the Marvel Universe to safely locate all of the missing gems. The premise smacks of Marvel trying to head down a lighter, cuter path but there’s actually a decent amount of characterisation and banter here that should appeal to several different comic-reading audiences. Eliopoulos provides each heroic pet with the relevant amount of wit, sarcasm, morality or sadness depending on their background which I hope to see continue through the run. The fantastically monikered Ig Guara provides some solid art here that resists the urge to humanize the protagonists too much and it really works as a result. 7/10
FANTASTIC FOUR #254
Writer: John Byrne
Art: John Byrne
Marvel $0.60
Matt C: And so the FF continue to boldly go where no superhero team has gone before, as they journey further into the Negative Zone. Reed’s insatiable curiosity is all well and good, but surely he’s must have heard that old saying about curiosity and the cat? Judging by the way this issue ends, apparently not! For the most part this plays out as you’d imagine (and in this case that’s certainly no bad thing!) but a couple of unexpected scenes, such as Reed and Sue’s aborted attempt at getting jiggy along with an appearance of a certain Jade Giantess a little while before she became a regular member of the cast, show that Byrne has the ability to keep readers on their toes. 8/10
DARK REIGN: THE HOOD #1
IGNITION CITY #3
NOVA #25
CROSSED #5
RAPTURE #1
NEW AVENGERS #53
GUARDIANS OF THE GALAXY #14
WOLVERINE #72
LEAGUE OF EXTRAORDINARY GENTLEMEN CENTURY #1 “1910”
X-FORCE #15
INCREDIBLE HERCULES #129
MUPPET ROBIN HOOD #1
AVENGERS/INVADERS #11
GOTHAM GAZETTE: BATMAN ALIVE
AMAZING SPIDER-MAN #595
BACK TO BROOKLYN #5
ULTIMATE WOLVERINE VS HULK #6
MOUSE GUARD: WINTER 1152 #6
AVENGERS: THE INITIATIVE #24
FANTASTIC FOUR #256
