Screen Time: KICK-ASS

By Matt C

KICK-ASS

Cast: Aaron Johnson, Christopher Mintz-Plasse, Chloe Grace Moretz, Mark Strong, Nicolas Cage
Director: Matthew Vaughn
Runtime: 117 minutes
Certificate: 15
Release Date: 31 March 2010

The buzz during the lead up to this film’s release was almost astronomically huge, with suggestions it would have a game-changing impact on the way superhero movies are received on the big screen. Turns out it doesn’t quite live up to those rather bold claims, but while it may not alter the way we perceive spandex-base action in cinematic form, it still manages to be a complete blast of pure celluloid adrenaline shot straight into the heart of the Hollywood blockbuster machine. We’ve all heard the stories of how the major studios baulked when Matthew Vaughn presented them with this project, so the finished product feels like an enormous “fuck you!” to everyone who told him “no” and showed him the door.

Mark Millar and John Romita Jr’s original comic book version of Kick-Ass ended up – due to the usual erratic scheduling which afflicts most Millar books - being published in tandem with the film’s production, meaning a lot of plot details surfaced online before they appeared in the comic. Fortunately they managed to get the final issue on the shelves before the movie debuted, or they’d be in a situation where ‘Based on the comic by Millar & Romita Jr’ wouldn’t be strictly true! It was definitely one of Millar’s best efforts in recent years, but Vaughn (working from a script by Jane Goldman and himself) seems to have treated the comic as a blueprint for something greater because, make no mistake, no matter how ridiculously enjoyable the comic was, the movie takes the premise and cranks it up to the next level. There are several deviances, additions and alterations to the way the plot progresses on screen, and generally they seem to be preferable to the way things played out in the comic (the exception being the inclusion of a romantic subplot, the films only real bum-note), and this ensures the whole experience is deliriously exciting and relentlessly energetic one.

Vaughn riffs on and references plenty of famous superhero flicks, from the ‘epic’ opening which brings to mind Richard Donner’s Superman: The Movie, to various visual nods to Sam Raimi’s Spider-Man movie. Spider-Man also appears to provide the starting point for Aaron Johnson’s take on the titular hero, seemingly playing a warped, more ‘realistic’ version of Toby Maguire’s Peter Parker. Johnson gives Dave Lizewski an appealing air of vulnerability and exuberance, as well as wilful streak of almost suicidal stupidity. Mintz-Plasse is still too young to have escaped the shadow of McLovin’, but his character still works brilliantly, especially in his scenes with his on-screen father, Mark Strong, who turns in another deliciously villainous performance to add to his resume. Nicolas Cage has had perhaps one-too-many misfires of late, but goes a hell of a long way to redeeming himself with his inspired channelling of Adam West’s Batman as Big Daddy. They’re all great, but Chloe Grace Moretz is a real revelation. As Hit Girl, she’s a whirlwind of prepubescent profanity and bloodletting, going from sweetly innocent to unstoppable death machine in seconds. She steals every single scene she’s in, and Hit Girl is an icon in the making.

Hit Girl in kill-mode, slicing her way through her opponents is a joy to behold, and Vaughn really excels himself with his action sequences. Whether it’s Kick-Ass flailing about while getting pummelled, Big Daddy’s controlled rampage through a warehouse full of mobsters, or Hit Girl’s night-vision enhanced videogame style attack, every fight scene has a distinct flavour and rhythm, and Vaughn’s often inspired choice of music is always on the money.

Just like the comic before it, any allusion to realism quickly goes out the window, to be replaced by a frenetic, punk rock charge through a heap of superhero tropes. It mocks the genre conventions but at the same time displays an implicit understanding of them, an understanding that frequently betrays a complete adoration for spandex-based carnage. Kick-Ass may face strong competition in the Comic Book Movie Of 2010 stakes in a couple of months, but even if Iron Man 2 delivers the goods, Vaughn’s movie is still an absolute winner. 9/10

Incoming... 31/03/2010

New comics are released tomorrow (in the States at least; we have to wait until Thursday in the UK!). Here's a brief look at our expectations for the books we're picking up this week.


Stewart R: Well, what a difference a week in comics can make. There I was last week, nearly putting my back out carrying the haul of 14 comics home and now this week the total on my pull-list has halved. Of course with a reduction in quantity I never associate a reduction in quality and my hopes for this week's comics are still high.

The biggest release of the week by far has to be the end to Geoff Johns' massive Green Lantern/DC universe event which I'm sure at this point, a few days before the finale, has reignited many a comic reader's faith in the big comic crossover. Blackest Night #8 may well be the issue upon which this miniseries is judged either as a success or an almost-ran. Johns has already ensured that this cannot be deemed a failure or disappointment but certainly myself, and a couple of my Paradox compadres, have become a little underwhelmed with the latter stages of this story as Johns has attempted to sustain the level of tension that made the series such a compelling read in the early issues while explaining the greater ranging picture that he's set out. With the next couple of years in Green Lantern continuity hinging on how well Blackest Night ends and Brightest Day begins, Johns has to nail this turning point and sign off this chapter in style.

The other DC title I'll be burying my nose in will be Detective Comics #863 from Greg Rucka and his talented art team. As it stands, this is the one title with a regular backup story that I'm happy to shell the $3.99 out for as The Question story has been a pretty good read up until now, especially since partnering with Huntress. The main Batwoman section of the comic has been enthralling for months and even though the latest 'Cutter' arc, with art by Jock, hasn't hit the heady heights that the previous arcs did, it's still been a top notch read. This week sees me say farewell to Justice League for now as yet another new team is formed, and despite Mark Bagley's art I can think of other things I'd rather spend the money on so this title remains on the shelf.

Of course, it's always handy to have an interesting new title that costs the same as a recently dropped comic to help ease the pain! This week IDW release Dragon Age #1, based on the EA produced videogame of the same name. Comics set in videogame worlds are a mixed bag and certainly my experience of such efforts has seen more disappointment than success. That said, there are a few things that have drawn me to sample this debut issue and ignore the nagging doubts in the back of my head. The mention of Humberto Ramos's cover caught my attention initially but it's the preview pages that sold it to me with Mark Robinson's pencils and the fantasy backdrop putting me in mind of Joe Madureira's Battlechasers - one of my favourite comic series of all time. Time will tell if that comparison matches up.

BOOM! Studios sends Incorruptible #4 our way this week and the 'villain comes good in a world turned upside down' concept has been working very well indeed so far. Mark Waid certainly seems to be keeping this Irredeemable-tied story ticking along at a fair pace and the character work he's been employing with the main protagonists has been paying dividends. One of the hardest things to do in comics I imagine is to make a merciless villain into a likeable guy, but that is what this writer is managing to do with Max Damage.

And just where would a week in comics be without the most popular 'likeable guy' in this media? Amazing Spider-Man #627 throws a huge immovable problem Peter Parker's way as the Juggernaut turns up having apparently had the impossible happen to him. The first issue of the 'Something Can Stop The Juggernaut' story should certainly be interesting, not least because Marvel's brief synopsis pairs Spidey's problem with Cain Marko alongside Parker's problem with trying to go on a dinner date with Carlie Cooper. While I'm not sure how this will tie into the 'Gauntlet' storyline I'm sure it should be an enjoyable read nonetheless. I really like the fact that, nearly 50 years on from his birth as a character, Spider-Man's problems in his heroic life are equally matched with the issues in his social life and more often than not they cross over. Just one of the things to love about comics.

In Memoriam: Dick Giordano 1932-2010

By Rob N

Dick Giordano died on the 27th March 2010, aged 77, from complications arising from pneumonia. These days he doesn’t have the immediate fame of contemporaries such as Jack Kirby, Steve Ditko, Neal Adams, Barry Smith, Gene Colon and John Buscema, but he was an integral and important influence on the look of many DC titles of the early Bronze Age. And to scrawny longhaired kids (such as myself) who grew up reading DC comics in the 1970s he was a vitally important figure, paradoxically so despite the fact that he had already left the company by 1971.

Dick’s career began quietly with Charlton comics (the runt of the American comic book litter at the time - if you haven’t read any Charlton comics, don’t worry, you haven’t missed much), first as an artist and then as an editor of its more action orientated titles. Joining DC in 1968 he worked on a number of low key titles on the fringe of the DC Universe (Teen Titans, Aquaman, Deadman) but it wasn’t until he actually quit DC in ’71 that he began the most memorable part of his career with that very same company as a freelance inker.

A word is due perhaps on the importance of inking in the comic art process, as sadly credit isn’t always given to the men who wield the Indian ink brush. In a rock band they’d be playing bass – perpetually in the shadow of the flash lead guitarist. Pencil artists by and large get the lion’s share of the praise from fans, so pity the poor inker who, by way of adding depth and substance to the rough layouts, is often responsible for the way the finished product looks on the printed page. This can enhance or ruin an artist’s work, depending on the skill of the inker. Compare and contrast, for example, the effect of Alfredo Alcala’s incredibly detailed inks on John Buscema’s pages in the early issues of Savage Sword Of Conan, with the less satisfactory inking by Vince Colletta on Jack Kirby’s art of the same period. Colletta of course was infamous for his practice of erasing much of the detail of Jack Kirby’s pencil work to cut corners and speed up the inking process. Alcala on the other hand added so much detail and shadow that you can barely recognise the art as belonging to John Buscema in the first place.

It is difficult to talk about the Bronze Age of DC without mentioning the Neal Adams/Dick Giordano run on Batman and Green Lantern/Green Arrow, in much the same way you couldn’t talk about early Marvel without mentioning Jack Kirby. In a career move that ranks as a superb example of being in ‘the right place at the right time’ Dick Giordano hooked up with rising superstar Neal Adams and his newly founded Continuity Associates Studio – then a freelance franchise of bright young artists who would work for comic companies outside the more traditional ‘in house’ system of the Sixties (the times they were a changing as the new decade dawned). As a pencil artist, Neal Adams at that time was had the ‘gosh, wow’ factor of Bryan Hitch when Hitch worked on the early issues of the The Ultimates. Giordano’s own style was essentially similar to that of Adams (a dynamic and stylised form of photorealism), so it seemed natural enough for the pair of them to partner up, and when they did, the end result was nothing short of astonishing. Batman, Detective Comics and Green Lantern/Green Arrow were the must buy comics whenever Adams and Giordano worked together. Sharp and modern looking, with dynamic perspective, the art was a million miles away from the cartoon style of comics in the 1960s. These titles set the standard for what other artists hoped to emulate and the page work defined a new age for the medium. That in itself is enough to earn Giordano’s place in history, but he then went on to promote a ‘look’ for DC comics by working on a vast array of covers. DC comic covers from the early Bronze Age stand as a high water mark in design. Eye catching at all times, with their dramatic scenes, and strange perspectives, kids often bought DC comics on impulse simply because the covers jumped out at them from the spinner racks. I certainly did. Giordano was probably the greatest influence on this in-house cover style, both as an inker on other pencil work and as a cover artist in his own right.

In addition to inking the true greats of Bronze Age DC, and promoting a design look for the company that was second to none, Giordano also produced first-rate pencil work of his own. His artwork on the final issues of the ‘new look’ Wonder Woman established him as one of the greatest artists (and in my opinion, the greatest, short of Adam Hughes) to work on that title. Again, often working on minor characters, he produced sharp, detailed and realistic work for a variety of features such as the Human Target, Rose & Thorn and Black Canary.

He returned to DC full time in the early Eighties, first as an editor on the Batman titles, and then subsequently promoted to Managing Editor and in turn Vice President/Executive Editor, which placed him just below the corporate pecking order of the Paul Levitz and Jenette Kahn monarchy. He was therefore one of the driving forces behind the relaunch of their characters post Crisis On Infinite Earths (for which he was an inker over the famous Perez pencils) and the launch of the fledgling Vertigo imprint. Stick a pin in any DC initiative during the Eighties, and you can be sure that Giordano had some part in it.

The death of his wife in 1993 and his own progressive loss of hearing were major factors in Giordano’s decision to semi-retire. Still devoted to the medium, he kept his hand in with occasional work as it suited him - in particular a graphic novel featuring one of my all time favourite characters: Modesty Blaise.

In many ways Giordano can be thought of as the George Harrison of 1970s comics: quiet, unassuming, but also a true craftsman, capable of enhancing the work of others and producing gems of his own. He will be sorely missed.

Mini Reviews 28/03/2010

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 next instalment of Matt C's Buscema Avengers Project.


NEMESIS #1
Writer: Mark Millar
Art: Steve McNiven
Marvel/Icon $2.99

Matt C: With Kick-Ass movie fever now upon us the eyes of comics fans now turn to Mark Millar’s second creator-owned project from Marvel’s Icon imprint to see if he’s come up with another potential zeitgeist-capturing hit. On the evidence of this first issue, my thinking is that he hasn’t. We’ve seen evil variations on superhero icons before (from the Crime Syndicate Of America onwards), with Millar himself contributing several in the past, and Mark Waid is currently doing some great work with his ‘evil Superman’, The Plutionian, in Irredeemable. So an ‘evil Batman’ is just what we need now, right? Well, while Kick-Ass felt fresh and relatively original, Nemesis looks – due to the fact that this kind of thing has been done countless times before – kind of stale. There’s also a nasty streak to the writing that I found a bit distasteful – Millar doing cheap shocks just because he can and not because it adds anything to the narattive. McNiven’s work is fine, but as I’m used to seeing Dexter Vines adding his powerful inks to McNiven’s pencils, the art here seems weak by comparison. Kick-Ass grabbed me from the off; Nemesis hasn’t. Whether I return for issue #2 is undecided at present. 5/10

Tom P: You have to hand it to Millar, he knows how to promote his comics: fake billboard adverts, movie deal offers and a bucket full of hype. I think what Millar has been doing with Kick-Ass is great, it’s all working out for him a treat, and he's really shown how comic book creators can take full advantage of their creations. Nemesis however is no Kick-Ass, and despite being a big fan of both Millar and McNiven this was nowhere near as good as I hoped it would be. It’s not bad at all, it’s just okay - average Wanted-level stuff. The art is nice but isn't quite up to McNiven's past work, and I'm not sure if that’s due to him doing his own inking. I did like the stuff with Chief Morrow, Millar writes him with good mix of cocky and intelligent, but overall it reads like a Michael Bay movie, and more Bad Boys than The Rock. I will stick with it until the end, but I’m hoping this A-list team can turn things up a notch. 6/10

James R: After viewing Kick-Ass with some of the Paradox gang last night, we discussed that we should all give Nemesis a one-word review: 'Alright'. And you know what? That's what it is! As a first issue, Millar's much-trumpeted (what else would we expect from jim?!) new series does a fine job of introducing the main players, and gives you a huge bit of widescreen chaos, but at the moment it's tough to call if this is going to be the new Kick-Ass (Yes!) or the new Old Man Logan (Boo!). Best of all, it's $2.99, demonstrating that someone, somewhere at Marvel HQ has still got a lick of sense. In terms of a gripe, I would have preferred another page of story rather than Millar's self-congratulatory essay, dressed up as a 'Thank you'. However, it does make me want to pick up #2, so I guess we can put this one down in the 'Win' column... for now! 7/10

Stewart R: The fact that Millar heavily references Kick-Ass and Wanted in his afterword demonstrates that he's not shy of patting himself on the back from time to time. There's no doubt that he's a big 'concept' writer but for all of the plaudits and kudos that he seems happy to pull over himself like some self-obsessed child building a fort out of chairs and duvets, occasionally his final product has the potential to fall in upon itself. From this first issue it's easy to see that this grand concept could be a stroke of genius or could descend into a mess of overblown bravado. The idea of the nefarious ultra cop-killer setting his sights on pastures new is pretty exciting but there are a few holes in the logic that you have to glaze over to get the most out of this. With small flaws in the writing, there are also a few wrinkles in McNiven's art work as he inks the lot himself which gives the whole thing a scratchy feel where I'd have expected slightly heavier, cleaner inking to bring a darker atmosphere to proceedings. Despite the niggles there's an almost televisual sense brought across with a real feeling of intensity in the first few pages that, if sustained, could propel this to must-read status. 7/10


GREEN LANTERN #52
Writer: Geoff Johns
Art: Doug Mahnke, Christian Alamy, Rebecca Buchman & Keith Champagne
DC $2.99

Stewart R: Okay, Blackest Night readers, I suggest that you pick this up even if you've only been buying the main event title up until now. Johns packs so much into this issue of GL and it fills in some of the historical blanks of all of the emotional spectra, hinting at the exciting possibilities to come for future Lantern-based stories, be they green, red or any of the other colours. I get the feeling that this additional information is going to add an extra layer of depth as we witness the end of the Blackest Night and herald in the Brightest Day next week. Of course, this issue isn't without it's little hiccups and, dare I say it, an outright burp when it comes to the last nine pages of artwork. I've no idea what the frack has gone on but it looks like either a last minute re-write/re-draw took place or they gave whoever was responsible for inking those pages a pen with a nib the diameter of a golf ball. A shame really as it takes the shine off of an otherwise fine issue. 7/10

James R: First things first - I'm still annoyed at the mad idea that Earth is the cradle of all life in the Universe. It remains a crazy and un-scientific idea (and yes, I know this is comics, but to me, it's crazy!) Right, now that's off my chest, I have to say that this month's GL is blockbuster BIG. Rather than Geoff Johns, the highest praise here has to go to the art team. From Sinestro unleashing and embracing the White Lantern power, to Xanshi, the Black Lantern planet, looming large in the Earth's sky (and causing a huge tidal wave)... Phew! It all goes off in this issue, and Mankhe, Alamy and the rest make it look fantastic. I'm still undecided on Blackest Night as a whole, and I'm certainly going hold off final judgement 'til it's all done and dusted, but this week it was certainly a case of 'Superhero comics done right' again. 7/10


AVENGERS: THE INITIATIVE #34
Writer: Christos N.Gage
Art: Jorge Molina & Andrew Hennessy
Marvel $2.99

Stewart R: Just as the Siege title faltered a little last week, this title wobbles a little under the weight of too many plot strings. Whereas the last issue focused mainly on the events taking place over the skies of Broxton, Oklahoma, and really worked well as a result, this issue begins with the events taking place at Camp H.A.M.M.E.R where the Avengers Resistance are attempting to battle through The Hood's bunch of Initiative villains. I'll admit that this is a part of the story that did need to be addressed at some point but at times it has felt like I'd been reading two separate comics as the main plot threads seemed to diverge some time ago. The Resistance element is far less interesting than the Constrictor/Diamondback romance and Taskmaster's grasp for glory, and since Trauma left we've only been waiting to see what Penance, formerly Speedball of the New Warriors, was going to do. The Tigra and Night Thrasher storylines with The Hood are swept under the carpet far too soon and it does look like Gage is just closing things down on this title as swiftly as he can with next months finale shutting the lid for good. A shame that it's come to this but it has been a good run overall. 6/10


SUPERGOD #3
Writer: Warren Ellis
Art: Garrie Gastonny & Nursalimsyah
Avatar $3.99

Stewart R: This is one of those series where I'm pretty sure I've read every page and understood it and yet there are still some elements and concepts from both writer and artist that make me think that maybe I've overlooked something, and that there's actually something else afoot. Ellis' pacing and knack of letting you fill in the blanks when he doesn't need to force feed the story to you helps with this feeling of uncertainty, as does his use of re-collective narrative as Dr Reddin's ability to recount the devastating events begins to lessen. The beings of awesome power that Eliis has created are marvellously varied, as are the differences in the cultures that spawned them, and as they all head towards their eventual battle-royale the tension is certainly growing. Seeing as how this is Ellis that we're talking about, I'm sure there are more theological and scientific twists and turns to come in this story. I'll certainly be picking it all up to find out. 8/10


UNCANNY X-MEN #522
Writer: Matt Fraction
Art: Whilce Portacio
Marvel $3.99

Tom P: I haven't purchased an Uncanny comic in years, Astonishing is the only X-Men book I buy, mostly because I cant afford to read any others! As much I would love to, it’s just too expensive. So why pick this issue up? The main reasons were a) it features the return of Miss Pryde (being a big fan of Astonishing where she went sailing off into the stars inside a giant interstellar bullet, I wanted to read about her return), and b) I just had to have the variant cover by Mark Brooks! It's just stunning, with her riding a giant silver bullet through the clouds, it reminded me of the artwork from the Watchmen movie of Miss Jupiter on the side of a WWII bomber. What can I say? I'm a geek and I was weak and now I have this gorgeous cover! I enjoyed the issue and having not read Uncanny in a while I didn't feel lost at all. I doubt I will pick up X-Men: Second Coming next week, but if money was no object I'm sure I would. The cover gets top marks and the comic gets 7/10

Stewart R: Kitty's back and no doubt thousands of X-fans around the globe are cheering for the return of everyone's favourite phasing mutant. Of course, it's Mr Fraction who they have to thank for this and seeing as how it's him holding the reigns of this story, Miss Pryde's return is a far from simple affair. Fraction has been using all of the tools and characters at his disposal to ensure that the mutants' time on Utopia has been a studied period of rebuilding and resetting. Bringing Magneto back into the fold has been well timed, not least because Charles Xavier is no longer a driving force for the X-titles, and a sense of wisened experience was still required to temper Scott Summer's leadership. Now on the path for retribution, Magnus' efforts to bring Kitty back are well realised and bring a terrific sense of hustle and bustle as everyone prepares for her inevitable arrival. Fraction gets an extra helping of kudos for keeping the X-Club working as a concept with Box and Dr Nemesis being the particular successes. Portacio's artwork reminds me of Jim Lee's style every now and then but it is a little inconsistent in places, with bone structures in faces apparently being very malleable from time to time. The backup story is reasonable but I could have done without it for the extra dollar. 7/10


ORC STAIN #2
Writer: James Stokoe
Art: James Stokoe
Image $2.99

Stewart R: Well this is good fun! A completely bizarre, nutty, fantasy fun indeed! The world that James Stokoe has created just gets stranger and stranger and by golly it's sucked me in well and truly. This second issue sees One-Eye and Pointyface forced to head to 'The Norman', an Orckind Gangboss, to pay their usual tribute and I'll admit that I had the stereotypical Orc boss, all girth, fangs and club fists set in my head before Stokoe reveals just who The Norman is. What we get is a complete surprise and highlights that Stokoe is rewriting traditional fantasy concepts in his own way. The fact that he's working as writer and artist on this comic helps to ensure that we're being shown his true vision, and it's a bright, exuberant world of violent, back-stabbing wonder. If you've a spare $2.99 floating around and you're tired of superheroes and crime fiction then this may well be worth sneaking a peek at! 8/10


THUNDERBOLTS #142
Writer: Jeff Parker
Art: Wellington Alves & Nelson Pereira
Marvel $2.99

Stewart R: Now this is more like it! We actually get a scrap here that's interesting, very well thought out and delivered well by Wellington Alves on pencils. Jeff Parker finally allows the Thunderbolts to take the fight to the Mighty Avengers in what turns out to be a terrifically successful match-up. Cho's little bout with Mister X is well realised, as is US Agent's showdown with total nut-job Scourge, and all the while Parker ensures that Ant-Man and Palladin's motives are unclear; are they trying to be good guys without getting killed by their team-mates or are they up to something else? It has the frenetic sense of battle that I think was missing from the last issue of Siege and goodness knows this title itself has needed to be kicked it into high gear for some time. In Jeff Parker we trust! 8/10


TIME LINCOLN #1
Writer: Fred Perry
Art: Fred Perry
Antarctic Press $3.99

Matt C: I’m bit of a sucker for bonkers concepts where real-life historical figures are thrust into far-fetched sci-fi scenarios, so the idea of a time-travelling Abraham Lincoln appealed to my sensibilities. Unfortunately this one-shot reads like you’re being dropped in the middle of an ongoing storyline, and while Void Stalin (yes, he’s an evil, magical version of Josef Stalin!) is on hand to provide exposition there’s not a whole lot to latch on to. There are some nice ideas utilized, and the art has a certain amount of brio, but knowing this is it as far as the adventures of Time Lincoln go, it just feels like a squandered opportunity all told. 6/10


THE MARVELS PROJECT #7
Writer: Ed Brubaker
Art: Steve Epting
Marvel $3.99

Matt C: The first issue of The Marvels Project really seemed to position it as future classic, but it never quite matched that opening burst, and the penultimate episode seems to confirm that it’ll be merely thought of as “pretty good” rather than a “masterpiece”. The problem is that it reads more like a history lesson than an emotionally involving tale of the birthing of the Marvel Universe as we know it. The Angel’s voiceover continues to keep the reader at a distance, so while the way Brubaker has structured the narrative from various disparate storylines from Marvel's continuity is certainly impressive, the telling is too dry to truly connect. Epting’s art is something else though, really bringing the 1940s setting to life, and it quite possibly the best work of his career. A worthy exercise, but not quite what it could have been. 7/10

Tom P: What a fantastic read this was! I love a good Cap and Bucky tale set in the ‘old days’ and this gives you that and a lot more! Brubaker and Epting are the perfect team for this and it makes me want Epting back on the Cap's ongoing series as soon as possible. We see them here during their first mission, fighting some Nazi agents who have landed on the coast of America. Its not just Cap that gets to have all the fun, as elsewhere John Steele storms a Nazi castle to uncover some of the Red Skull’s plans. We also get to see the Invaders starting to slowly take shape. I can’t wait to read the conclusion of this epic attempt to weave the origin of the Marvel Universe together. 8/10


SCALPED #36
Writer: Jason Aaron
Art: Davide Furno
DC/Vertigo $2.99

Matt C: One of the reason’s Scalped gets mentioned in the same breathe as some of HBO’s greatest dramas (and why many of us wish HBO would hurry up and make a Scalped TV show!) is that as well as giving its time over to the so-called ‘main’ characters, it can just easily divert its focus onto the ‘minor’ characters. This issue is a case in point: Red Crow’s right-hand man, Shunka, has mostly remained in the background throughout the series. When he’s in a scene your attention is usually elsewhere, since that’s where the real drama’s taking place. He’s had his moments in the spotlight but it’s only now that Aaron has decided to devote an entire issue (with more to follow) over to him. And guess what? It’s another incredible piece of writing with regular guest artist Furno delivering visuals to match the deadly tone. I’m repeating myself, I know, but Scalped is still in a class of its own. 9/10


DEADPOOL #21
Writer: Daniel Way
Art: Carlo Barberi and Sandu Florea
Marvel $2.99

Stewart R: The hands-down success of this arc of Deadpool has been any panel where Hit Monkey is simply staring ahead. Honestly, open up a copy of this comic and turn to a page where the Japanese Macaque is simply standing there in his suit and tie, grim expression plastered across his face, and try not to smile. No smile? Have a look at his black, leather assassin gloves... all four of them! He even wears gloves on his feet!!! C'mon, that's funny!! If this wasn't a Deadpool book it might not get the grin-factor so much, but Way and Barberi have done a great job of making this arc actually work as a comedy piece and a brief look at why Wade Wilson is always likely to fail at his attempts to become a superhero. I'm not quite convinced that Way has got his portrayal of Spider-Man quite right here but that's the only misstep in the issue. 8/10


SHUDDERTOWN #1
Writer: Nick Spencer
Art: Adam Geen
Image $3.50

Stewart R: We've an interesting idea here - a homicide cop is presented with the vexing possibility that the murders he's investigating are being committed by victims of previous murders he's investigated. Yep, that's a reason to be vexed alright, and in Isaac Harrison we've one very weary and troubled cop who really could do without the dead walking the Earth in his precinct. While Adam Geen's moody artwork ensures that Isaac is all exhausted face-rubs and tired slouching, it's Nick Spencer's narrative monologue on the concepts of truth and lies running throughout the issue that really helps to bring through the sense of futility that our protagonist is experiencing. While the characterisation is spot on the money I will say that I hope the story gets a little more depth added to it next time out as, despite the good concept, it is a little plot-lite at this stage. 7/10


THOR #608
Writer: Kieron Gillen
Art: Billy Tan, Batt & Rich Elson
Marvel $2.99

Matt C: After an uneven start, Gillen has taken to the realm of the Asgardians pretty well, and while his tenure on the title is no match for Straczynski’s, there’s definite promise there on the page. In some ways it’s a shame his will be such a short run, especially one burdened with the weight of a crossover, but on the other hand I can’t hide my excitement at Fraction’s imminent arrival on the book. Tan’s art has also become gradually more impressive with each passing issue, but I have to say the pages by Rich Elson were the ones that made my head turn. A solid issue then, and that’s even taking into account the utilization of that appalling ‘Clone Thor’ character, Ragnarok. 7/10


NORTHLANDERS #26
Writer: Brian Wood
Art: Leandro Fernandez
DC/Vertigo $2.99

James R: The Paradox group showed me the error of my ways in missing out on the earlier issues of Northlanders, and so now I feel it's my duty to pass this favour on - you should have more Viking action in your life! The beauty of this series is that having the nebulous and epic history of the Norse people as a reference, each arc leaps around in both time and location. As a result, no character is safe, and the comic is rich with danger and the fragility of life. The only true continuing character is the misanthropic atmosphere that Brian Wood fills each issue with. In this arc, 'The Plague Widow', a Viking community beset by a plague have slowly descended into violence and mistrust. It's not a happy read, but by thunder, it is compulsive and unflinching! Comics seem to be the prime medium for tales of the apocalypse - Crossed and Sweet Tooth being excellent recent examples - and you can add Northlanders to this list. It's not in a dark and vague future, but a dark and very real past, and it will tell you the same tale: when the chips are down, humanity dissolves like snow in spring. 8/10


SECRET WARRIORS #14
Writer: Jonathan Hickman
Art: Stefano Caselli
Marvel $2.99

Tom P: I’m a big fan of Secret Warriors, its consistently brilliant and after 14 issues it’s showing no sign of slowing up. Its packed with espionage, action, drama, and fascinating back stories, plus plenty of twists and turns. Hickman fills the pages with well-written characters and long, satisfying plots. He makes Hydra and the mysterious Russian group known as Leviathan as interesting to read about as the Secret Warriors themselves. Here they’re all setting off on a new mission and are unhappy about the Druid being cut lose by Fury. I fully recommend this book and with Caselli's gorgeous art to look at, you’re really onto a winner. Things are definitely starting to heat up now! 8/10


AVENGERS #257
Writer: Roger Stern
Art: John Buscema & Tom Palmer
Marvel $0.65

Matt C: When you’re in the Savage Land, chances are you’ll bump into Marvel's Tarzan clone, Ka-Zar, at some point, which is exactly what the Avengers do here as they continue follow the path of devastation created by Terminus. You also expect a bit of dinosaur action, but that’s sadly lacking in this issue. We do get to see various ancient cultures wiped out in moments though, and over on the other side of the galaxy Captain Marvel gets introduced to blue-skinned space bitch, Nebula. It’s close to greatness, with Buscema and Palmer rendering some fab carnage, but just misses the mark, especially when it ends so abruptly. 7/10

Incoming... 24/03/2010

New comics are released tomorrow (in the States at least; we have to wait until Thursday in the UK!). Here's a brief look at our expectations for the books we're picking up this week.


Stewart R: For the love of heck, please make me stop gorging on truly awesome comics! Nah, I'm just kidding with you, I love it really!

So another huge week comes around again with my order coming to some dozen or so titles and I just have to thank Ganesh, Jesus and Chuck Norris for overtime! And speaking of holy things top of the pile sits the much anticipated Supergod #3 by comic maestro Warren Ellis. It's been a little while since issue #2 came out and I'm really hoping that the impetus hasn't been lost during the unfortunate delay. Ellis has hit upon some interesting ideas in this series so far and I hope he can keep the quality up for the full run.

My DC stack is on the skinny side but when that one title I happen to be picking up is Green Lantern #52 and it's obviously going to be a big Blackest Night tie-in issue then I think that one title is good enough. I'm very interested to see just how closely Geoff Johns ties the events that will occur in this book to issues #7 and #8 of the main event title and whether this will almost become a chapter in itself after Sinestro's apparent transformation to the wielder of the white light. I guess all will be revealed in a few dozen hours or so.

Image throw a couple of titles my way this week and it's a mixed and intriguing bunch. Haunt #6 sees the change in artistic duties come into force as new ongoing penciller, the mighty Greg Capullo, takes the reigns full-time having just been doing the layouts up until now. This issue should also serve as a reasonable jumping on point for any potential new readers of the series as the events of the very first issue are revisited from the mysterious espionage expert Mirage's perspective.

Storming out of the blocks comes Nick Spencer and Adam Geen's Shuddertown #1, a comic of supernatural focus where a homicide detective begins to see case after case roll in where all evidence suggests that the dead themselves are coming back to commit murder. Having read a recent interview with writer Nick Spencer it seems that he's playing his cards close to his chest and this will certainly be a crime story tinged with otherworldly mystery. And speaking of 'otherworldly' I get my second dose of pure fantasy craziness in Orc Stain #2 where One-Eye has to avoid the chopping block when he arrives at an Orc Stronghold run by a local boss called 'The Norman'.

And now onto mighty Marvel...

The consistently superb tales of new and desperate recruits from all walks of superhero and villain life at first Camp Hammond and then Camp H.A.M.M.E.R draw to a close this week as Avengers: The Initiative #34 hits shelves and fans start to ponder whether the new Avengers Academy will be quite as good. Dan Slott started it all off nearly 3 years ago and Christos N.Gage has really made this title his own since coming on board. I'm actually quite excited to find out what will happen to super C-listers Taskmaster, Constrictor and Diamondback and am secretly hoping that all of them make it through Siege unscathed.

Sticking with Siege tie-ins I'll also be picking up Thunderbolts #142 but have to say that the new line-up can't get here quick enough as things have been plodding in mediocrity with this title for quite some time. The scenario they now find themselves in doesn't particularly fill me with excitement not least because the Mighty Avengers are possibly my least favourite team in the Marvel canon at present.

Briefly skimming though the rest of my list I'll be picking up Amazing Spider-Man #626 for some more 'Gauntlet' action as Peter Parker's life will no doubt go from grim to destitute in the space of 20 pages, picking up Captain America #604 to see if Luke Ross can sort out the artistic instabilities that popped up once or twice in the previous issue, as well as handing over cold, hard cash for Secret Warriors #14 where Nick Fury will no doubt make some cold, hard decisions! There's also a small bout of comedy, gun-for-hire hi-jinx to be had in Deadpool #21 where the monkey faeces may literally fly as Deadpool and Spider-Man try to stop the deadliest monkey alive from putting the sights on more human targets.

Oh yeah, and there's a little book out this week by Mark Millar and Steve McNiven which might be worth picking up, but I'm not sure I really have time to talk abo... YEAH RIGHT! Nemesis #1 ladies and gentlemen, fresh and brand spanking new and in your comic shops this week. Millar's latest creator-owned project mixes things (and publishers??) up to ask a truly great comic book question; What if the Joker had all of Bruce Wayne's cunning and resources at his fingertips and the ordinary police officers of a city were the only ones who stood a chance of stopping him? It's an interesting premise but in a year where BOOM! Studios and Mark Waid have given us Irredeemable and Incorruptible it's going to have to bring an extra special element to the table to set itself apart from the other titles which are throwing these kind of interesting ideas in the air on a regular basis.

Mini Reviews 21/03/2010

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 next instalment of Matt C's Buscema Avengers Project.


SIEGE #3
Writer: Brian Michael Bendis
Art: Olivier Coipel & Mark Morales
Marvel $3.99

Matt C: After last month’s surprisingly excellent instalment, this issue reverts back to the kind uninspiring storytelling Bendis has been peddling for the last few years. The dialogue between the President (let’s call him ‘Obama’ for the purposes of this review) and one of his top military aides, which acts as a voiceover for the unfolding battle, is exactly the kind of irritant that turned me away from the Avengers titles under the writer’s control (and it makes Obama sound like a bit of an ineffective idiot – maybe that was the point?). Norman’s downfall is dealt with way too swiftly, and it isn’t helped by the likes of the X-Men and the FF shown watching the events on TV – surely the FF would get involved in something of this scale, just like they did in the good ol’ days? Having said all that, it does contain enough blockbuster thrills to just about sustain it and the art from the combined talents of Coipel, Morales and Laura Martin is glorious. Still a damn sight better than Secret Invasion, but Siege #2 probably got me way more excited than I needed to be. The final issue will be the clincher, but I’m resetting my expectations accordingly. 6/10

James R: For a while I was eschewing the main Marvel Universe - I'd found the big events like World War Hulk, Civil War and Secret Invasion to be really unsatisfying. I also wasn't enamoured with the whole Dark Reign idea either, so I was reluctant to get on board with Siege. However, the glowing reviews of my fellow reviewers made me pick it up. So far, I've been impressed with how it's been low on Bendis-speak and high on big action. The art team of Coipel, Morales and Martin have given the series a suitably epic feel, but I can't help but feel that this issue is missing a certain something. Perhaps it's the fact that Osborn has been beaten too easily, or the fact that the Sentry remains a frustratingly under-developed character (in this title anyway). Either way, it's a fun read, but I'm still not wholly convinced it's worthy of the praise, or the 'Seven Years in the Making' tag. 7/10

Stewart R: I've mixed feelings about this now I've had chance for a second read through. First, I'll say that I feel something of the grand scale that was evident in the two previous chapters is missing this time around, which surprises me considering that we're given a Thor vs Sentry battle and the Avengers arriving in Asgard. The severe lack of actual Asgardians like Balder and co is rather disappointing and probably adds to the 'scaling down' of the focus which I think hampers things slightly. There's also not enough coverage of the Avengers actually taking the battle to H.A.M.M.E.R and I appreciate that some might have complained that we were just being given another Marvel slug-fest but I'd rather that than the five pages of 'White House Protocols' that we get in the back of this issue. Of course it's still standing head and shoulders (maybe even Stature-sized) above any other ‘event’ book Marvel have churned out in the past couple of years and the final issue should be a doozy! Oh, and how cool is the Iron Man retro armour Coipel gets to draw?? 7/10

Tom P: After the positive reviews on this very blog for the first two parts of Siege, I walked into Paradox and swiftly purchased both of them. I’m very pleased I did, as this is a great event story. I love how it opens in the White House with the President and his staff debating what they should do with a rogue H.A.M.M.E.R and a war-crazed Osborn. They made a hell of a mistake and they know it; the Dark Reign is fading fast, thank Odin. Coipel's widescreen art and Martin's inks shine on every page. It’s truly spectacular, from the double-page spread of the Avengers assembling, to the titanic battle between Thor and the increasingly creepy Sentry, to some awesomely destructive pages – “KRAKKAFA BOOM” indeed. My favourite page however, is the last one: it’s wonderfully dark and unsettling and made me want the next issue as soon as I can get it. I want it and I want it now! 9/10


JOE THE BARBARIAN #3
Writer: Grant Morrison
Art: Sean Murphy
DC/Vertigo $2.99

Stewart R: Simply a superb fantasy read this one, all about exquisitely rendered spectacle. Joe gets drawn further into his strange otherworld as the forces of Sir Ulrik pursue him from Feather Forest to the ends of the Grand Drain with Sean Murphy capturing his journey with a terrific sense of wonder. The page where the submarines of Draka Fireface surface in Grand Drain sent me back to some of the great illustrated books of the ‘80s where grand scale and attention to detail could keep you finding new things on a page hours after you first looked at it. Of course the aesthetics aren't the only ingredient of a great comic book and Morrison is spinning a terrific sense of urgency and mystery in his work. I'm well and truly hooked. 8/10

James R: This series started strongly, and three issues in I see no signs of it starting to flag. This month, Joe continues to explore the Universe within his home (or does he?) and finds out that he carries a great weight of provenance and expectation, whilst the shadowy villains of the plot learn that the world of the imagination may not be all there is... I've said many times that Morrison can be a Marmite kind of a writer - people either love him or hate him - and whereas I'm firmly in the former category, I think that his output depends greatly on the artist with whom he works. Sean Murphy is clearly a great foil for him in the same way that Frank Quietly and Cameron Stewart are. His skill in switching from the vastness of the fantasy world to the mundane surroundings of the house are a treat for the eyeballs, and beautifully complimented by Dave Stewart' colours. As we approach the halfway stage, I'm desperate to see what other tricks the team have got up their collective sleeves; this is a classy read for the more discerning fanboy! 8/10

AMAZING SPIDER-MAN #625
Writer: Joe Kelly
Art: Max Fiumara
Marvel $2.99

Stewart R: Here we go ladies and gentlemen, Stewart's Book of the Week right here, hands down, no contest! Joe Kelly and Max Fiumara produced a fantastic Spider-Man read back in ASM #617 which got us under the tough hide of the first Rhino, Aleksei Sytsevich, and showed us that some Rhinos can change their, er, spots! While that story was about the hope for better things and new beginnings, Kelly brings us back round for a ride of pure despair and it is a true example of breathtaking storytelling that's constantly tinged with sadness. Kelly uses Norah Winters as the objective viewpoint from which to unwind his tale and running her article for Frontline as the narration for the devastating events that take place is a noteworthy touch. Kelly also makes me think that Peter Parker is now really running through ‘The Gauntlet’, hitting the usually 'buoyant-in-the-face-of-adversity' hero with a further blow to his hope in the good things of life. Fiumara is an absorbing talent who can mix dynamic line work with softer character-driven storytelling and I cannot wait until these two creators get a further chance to work together. 10/10


IRREDEEMABLE #12
Writer: Mark Waid
Art: Peter Krause & Diego Barreto
Boom! Studios $3.99

Matt C: Waid could have easily wrapped his ‘Superman-gone-bad’ tale up in, say, a six-issue miniseries, but he’s already doubled that figure and appears to show no sign of running out of steam. Every apparent victory the Paradigm achieve is followed by defeat – two steps forward, three steps back. Meanwhile, the Plutonian is delving into his past with devastating results – this issue contains one of the most disturbing sequences I’ve seen in a comic in a while (outside of Crossed, of course), the kind of shocker that leaves your mouth agape. I still have questions regarding the exact levels of the Plutonian’s power set (can he not ‘hear’ the Paradigm battling Orian?) but overall this is stellar work from everyone involved. 8/10


DOOMWAR #2
Writer: Jonathan Maberry
Art: Scott Eaton, Andy Lanning & Robert Campanella
Marvel $3.99

Matt C: Not quite as impressive as the first issue but still way smarter and exciting than you might expect. The rather lame cover aside (seriously, what’s up with JR Jr at the moment?) this is a compelling blend of action, politics and general nefariousness on the part of a certain Latverian dictator. The art generates an atmosphere of foreboding (helped largely by Jen-Francois Beaulieu’s moody colour palette) and Mayberry makes his script accessible without having to resort to dumbing down the ideas he’s playing with. With Doom viewing the events as something akin to a game of chess between him and T’Challa this looks set to be a little more cerebral (relatively speaking) than your usual 'event' book, and therefore worth sticking with. 7/10


GREEN LANTERN CORPS #46
Writer: Peter J. Tomasi
Art: Patrick Gleason with Rebecca Buchman, Keith Champagne & Tom Nguyen
DC $3.99

Stewart R: While other $3.99 titles were underwhelming me this week, the boys over at DC were pulling out the stops to bring us a bumper issue of GLC which demonstrates that they can provide fantastic quality for that extra dollar. To be honest, I felt that we'd almost had a delicious issue's worth of Lantern goodness by the time Kyle and Guy had dealt with their personal battles with former loves, but then, dontcha know it, the second half of the book showed up and wowed me some more. Tomasi seems to be in his element with all of the various Lantern corps used perfectly in the battle with the Black Lanterns, and what more can I say about Mr Gleason that I haven't said before? The man is a phenomenal talent. It's a shame that this creative partnership will soon be moving on to other things but this is so damn enjoyable while it lasts. 9/10


HERCULES: FALL OF AN AVENGER #1
Writers: Greg Pak, Fred Van Lente & Paul Tobin
Art: Ariel Olivetti, Reilly Brown & Jason Paz
Marvel $3.99

Matt C: Hercules recent adventures have seemed to ricochet backwards and forwards from brilliant to passable on a regular basis; every time I started thinking it’s time to opt out, Pak and Van Lente fired off a bolt off brilliance out of nowhere that ensured the book stayed firmly in place on my pull-list. I’ve no idea if Incredible Hercules is coming back, or what the future holds for the character, but I felt I needed to check this two-part mini as it’s essentially the same book under a different name. It involves a wake for the apparently deceased god, which means guest stars aplenty, and while it’s fairly amusing in places it doesn’t really progress the story forward much. Olivetti’s art works really well with a cast of immortals, something I wasn’t expecting, I just wish he’d add turn the brightness down on his colour scheme a tad. The Agents Of Atlas backup is a pleasant but superfluous diversion, but neither Herc and the Atlas group are really making a particularly strong case for me to want to keep reading their adventures at the moment. 6/10


SPIDER-WOMAN #7
Writer: Brian Michael Bendis
Art: Alex Maleev
Marvel $3.99

Stewart R: WTF Bendis? WTF Maleev? WTF Marvel? So that's it? You peddle the concept of the digital comic at us (which I didn't think worked anyway), delay the title due to work constraints, and then, when you're actually producing top-notch work on it regularly, you call it to a halt because the artist got bored with drawing the main character?! Poor bloody show and it's evident in this over-priced finale that Maleev was far too eager to wrap things up and move on. That splash page of the Avengers, for example, is pretty damn goofy and has a rushed quality to it. For what it's worth, Bendis does a reasonable job of trying to tie up the loose ends and plot points, but the inclusion of the New Avengers is just too damn convenient and the most interesting point of all - Jessica working for S.W.O.R.D. - just gets brushed to the side in the end. The apology page at the back just makes me more disappointed and to say that there's no one out there to take on the artistic duties just means that they didn't look very hard! 4/10


BATMAN #697
Writer: Tony Daniel
Art: Tony Daniel
DC $2.99

Tom P: Oh dear, I was quite looking forward to finding out who the Black Mask was and now I feel let down. That’s it? I have said before that I felt sorry for Batman - it’s just not the flagship title for this world any more. Batman & Robin is constantly incredible and Detective Comics is so classic and definitive that this just feels like a bog standard Batman book in comparison - just change a few names and you would think this was Bruce Wayne and not Dick Grayson. I must point out that up to this point its not all been bad, and its nice to see an artist write and draw a book, but this issue left me cold. 4/10


GUARDIANS OF THE GALAXY #24
Writers: Dan Abnett & Andy Lanning
Art: Wes Graig & Serge Lapointe
Marvel $2.99

Matt C: Sometimes, when you’re really into a particular comic, it feels like the creators have invited you to personally share their trip, and you’re riding shotgun right beside them, seeing everything exactly the way they do. That doesn’t always last though, and you can often find yourself suddenly feeling like you’re no longer beside the creators but following them from behind, without really caring too much what direction they’re heading in. This happened to me with Nova, and it’s happening again with Guardians Of The Galaxy. I tried to ignore what my gut was telling me, but I have to face facts: I’m not getting the same buzz from this book anymore. Whether it’s me that’s changed, or the stories themselves, I’ve not been able to put my finger on. Suffice to say, I’ll stick around for #25 as it features the return of one of my favourite Marvel villains (no surprises if you’ve seen the cover), but after that, despite being such a staunch supporter of it a couple of years back, it looks like I’ll be getting out of the Marvel cosmic business. 5/10


DARK AVENGERS #15
Writer: Brian Michael Bendis
Art: Mike Deodato
Marvel $3.99

Tom P: Much better. Out of all the Dark Avengers issues up to now, this is by far the best. It lives up to its premise of villains masquerading as heroes with a perfect storyline about Bullseye doing Osborn's dirty work and killing the Sentry's wife, thus severing his last connection to the human race. Its a great scene because he's such a bastard, and he seems like he’s properly Bullseye again - the killing machine the Thunderbolts used to keep locked up until they had no other choice. He uses his fake heroics and crocodile smile to get her alone with him and in a great bit of writing turns from friendly and respectful, to the twisted murderer he is. The painted style that Rain Beredo brings to the book this month is fantastic, really making Deodato’s art pop. It also sets the Sentry up well for Siege and goes a long way to explain whys he's become such a monster. If only the other 14 issues had been this good... 8/10


X-23 #1
Writer: Marjorie Liu
Art: Filipe Andrade & Nuno Alves
Marvel $3.99

Stewart R: I rather enjoyed this pricey one-shot focusing on the troubled mind of everyone's favourite Wolverine clone. Kyle and Yost have been giving us little tidbits of Laura's past coming back to haunt her over on the X-Force title and they've been electing to keep her barriers up and giving us only the slightest glimpse of the softer side behind. Marjorie Liu gets the opportunity here to bring those barriers down and give us a hefty dose of self-harm, loneliness and despair over the abuses Laura previously suffered. This acts almost as a quick history lesson for those who weren't aware of what X-23 had been through and I actually appreciated the way that Liu handled all of the various elements. The Gamesmaster side to this story is interesting but I'm wary when beings that communicate via a psychic plane turn up with prophecies and future plans for characters, and I guess we'll have to see if that's a plot point that sticks with X-23 through other titles. It does have a kind of throwaway feel to it but overall this is a better offering for the ‘Women of Marvel’ line than the slap-dash Girl Comics #1 I reviewed a few weeks back. 6/10


AVENGERS #256
Writer: Roger Stern
Art: John Buscema & Tom Palmer
Marvel $0.65

Matt C: That’s an awesome cover, rightly suggesting adventure on an epic scale, and proof positive that the art combo of Buscema and Palmer knew how to make a comic stand out on the racks. The inside doesn’t disappoint: a bit of soap opera and group politics spilling over from last issue before the team hop into a Quinjet to investigate a trail of carnage through the South Atlantic, leading them to the fabled Savage Land. Add to that we have a few more scenes with Captain Marvel on Sanctuary II which pretty much confirms a huge space excursion is on the cards. This is the kind of Avengers book I grew up, and always loved: you’ve got one or two of the heavy hitters (Iron Man, Cap, Thor) and then you make up the numbers with interesting second-tier characters, one’s who probably couldn’t sustain an ongoing themselves but added together they create a unique and compelling dynamic. Highlight of this issue? Cap uttering the words: “As God is my witness, I swear that this man will be avenged!” Now that’s what I’m talking about. In your face, Bendis! 8/10