On The Pull 10/10/2012

New comics are due to hit the shelves on Wednesday so here’s a look ahead at some of the books we’ll be picking up this week. To see what’s available at Paradox this week, click here.

Matt C: After a relatively quiet week that saw the conclusion of Avengers Vs. X-Men we now move to a week much more stuffed with new comics as the House of Ideas ushers in the much hyped Marvel NOW! to tempt us to open our wallets. Kicking things off we have the most high-profile book of the launch, Uncanny Avengers. I think Rick Remender has shown he can handle team dynamics brilliantly and has a good grasp of the variety of characters that make up the X-Men and the Avengers thanks to his impressive stints on Uncanny X-Force and Secret Avengers (especially Uncanny X-Force). That alone makes me excited to see what he can cook up here, but when you factor in that this series sees John Cassaday returning to full-time interior work after what seems like an age then you’ve got the ingredients for something very special indeed. Fingers crossed. The other major highlight for me this Wednesday is the first issue of the latest Stuff Of Legend miniseries, Toy Collector. I’ve been making my love of this book known since it first appeared in 2009 and the fact that we invited co-writer Mike Raicht to be our very first PCG interviewee should indicate the support we’re more than willing to throw behind it. This won’t be a jumping on point, but what will be a jumping on point is the first collected edition which you should seek out forthwith! Seriously! There are a bunch of other books on my list this week, but I’ll pick two more that stick out : Batman #13, which sees the return of the Joker, and Fantastic Four #611, which sees the conclusion of Jonathan Hickman’s rather impressive run. A busy week of reading ahead of me, all told!

Mini Reviews 16/01/2011

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 lastest instalment of Matt C's Secret Wars Project.


WHO IS JAKE ELLIS? #1
Writer: Nathan Edmondson
Art: Tonci Zonjic
Image $2.99

Matt C: Having the hero (or anti-hero) of a story partner up with a ghostly sidekick is a fairly well-worn idea in fiction, but it's still offbeat enough that there's plenty of leeway for a few new tricks to be applied. Case in point: Who Is Jake Ellis? This debut issue is all about set-up, but it's an arresting read, cleverly constructed, and by placing itself on the wrong side of the law there's a definite edge added to the proceedings. The titular question doesn’t get answered here, and I wouldn’t expect anything to be revealed until at least halfway through this five-part mini, but there’s enough intriguing titbits to compel you to return for the next issue. Zonijc’s firm linework helps the story glide along, and his noirish colour palette sets just the right tone. A great debut, and potentially another winner for Image. 8/10

James R: Who is Jake Ellis? Allow me to tell you who he is - he's very closely related to Randall & Hopkirk (Deceased)! Any readers beyond Great Britain, please let me explain: Randall & Hopkirk (Deceased) was a ‘60s TV show about two detectives, one of whom is killed on a case. Rather than departing to the great beyond, Hopkirk hung around to assist his partner on cases and warn him of danger. As I read the first issue of this mini from Edmondson & Zonjic, all I could think of was that show. The comic follows an incredibly similar premise - the ghostly figure of Jake Ellis advises the mysterious Jon (is he a hitman? CIA agent?) things like when to make a run for it and who is about to betray him. Edmondson delivers a compelling read - the redux opening is particularly cool, but will he find a new angle on this story? - and Zonjic’s art is fittingly European in style (and for me, reminiscent of Javier Pulido's work on Human Target). I'm always a sucker for a short, punchy miniseries, but I'll hold off on a stronger opinion until the story unfolds next issue. An interesting read nonetheless. 7/10

Matt T: It's been a while since I've reviewed a comic (mainly due to the postal system in 'that London', as well my own laziness) but by golly this title has inspired me to get back in the saddle and start spewing forth! First issues are rarely particularly inspiring, as you have to hope the tone is preserved and plot threads are explored while ignoring any weaknesses that pop up. Who Is Jake Ellis? didn't give me any reason to think the second issue will be a gamble, as the writing and art were of a superbly high level. Telling the story of what is essentially a secret agent with an invisible/imaginary friend this opener mixes in action, intrigue and more than a hint of mystery, with an impressively noirish feel. The art is kept simplistic, but still combines dialogue with explosions perfectly well. There are also more than a few suggestions of what the future may hold so I'm definitely in for issue #2. 9/10


GREEN LANTERN: EMERALD WARRIORS #6
Writer: Peter J. Tomasi
Art: Fernando Pasarin, Cam Smith & Randy Mayor
DC $2.99

Stewart R: There’s always a problem to be overcome with stories that involve detailed premonitions of future events and that’s to keep the journey to those revealed moments as interesting and captivating as possible. Thankfully, Mr Tomasi is a talented and prepared writer who excels at bringing readers comics filled with well-planned plots and interaction with emotional depth, so even though we can see the destination, the way in which we get there remains a delicious mystery. This time around he explores the cracks of mistrust beginning to show amongst some of the closest Green Lanterns while possibly revealing small parts of the path that will lead us the inevitable 'War of the Green Lanterns'. I love the reactions from Arisia and Kilowog in response to Guy’s confession, and Pasarin really captures the anger and disappointment in the Lanterns’ faces. I’ve already a sneaky suspicion about where Tomasi is taking this and part of the fun is going to be in finding out whether I’m right. 8/10


CAPTAIN AMERICA: MAN OUT OF TIME #3
Writer:Mark Waid
Art: Jorge Molina, Karl Kesel, Scott Hanna & Frank D’Armata
Marvel $3.99

Matt C: I read an interview with Mark Waid recently where he said he felt the script for this issue was the best he'd ever written. I have to say that I don't agree with that claim - Waid's written many fine comics in his time, and I wouldn't even place this issue anywhere near the top ten. Which is not to say it's in any way bad, it just doesn't spring out and scream "Classic!". The series continues to deal with and expand on Cap's reawakening in the modern world, and now he's accepted it's not all a dream, he decides he needs to find a way back to his own time. He hears Reed Richards has access to a time machine but Iron Man tries to persuade him of the potentially catastrophic consequences if he were to return to a past where he shouldn't exist. Waid effectively captures Cap's reactions to the modern world (expect for a bad Radiohead gag) where the technological and societal advances since the 1940s seem to him like they've come straight from the pages of a science fiction novel. So far Man Out Of Time has been a decent series with some good insights into the iconic character, but it doesn't really tell us anything we don't already know and compared to what Brubaker is currently doing with Cap (in various guises) it does seem a more quaint than gripping. 7/10


BATGIRL #17
Writer: Bryan Q. Miller
Art: Pere Perez & Guy Major
DC $2.99

Stewart R: One of the big successes for the Batman Universe in the past couple of years has been the playful rivalry that has sprung up between Stephanie Brown and Damian Wayne, which adds an extra level of unpredictability to any encounter that brings them within close proximity of each other. Bryan Q. Miller certainly realises that they both have traits that the other lacks to some degree; for Stephanie, it’s that belief in her abilities and worth as a crime-fighter; for Damian, it’s having missed the regular childhood and upbringing that prevents him from being able to interact with people. This issue is a great example of this almost sibling-like relationship in action as the bickering pair team-up to take down a group of kidnappers. Miller seems to be having fun with his character work, putting in some nice nods to cherished films here and there, and ensuring that this is the Bat-title where it seems right to have the heroes involved in and producing the comedy. The plot is certainly second fiddle to the character work but it still allows Pere Perez to capture some cool action alongside various facial expressions, and he’s a worthy successor to Lee Garbett on this book. 7/10


THE UNWRITTEN #21
Writer: Mike Carey
Art: Peter Gross, Vince Locke & Chris Chuckry
DC/Vertigo $2.99

James R: Thank God for The Unwritten this week - I only had two comics on my pull list! I almost had to hand in my Geek Badge in shame! Mike Carey and Peter Gross' Vertigo title continues to produce the goods. This month, Tom finds himself trapped within the pages of Moby Dick whilst Lizzie and Richie come under the sinister influence of the Puppet Mistress (in what is one of the creepiest sequences of the series to date). The book seems to oscillate from the outstanding (the amazing ‘Beatrix Potter' issue, or the ‘Choose Your Own Adventure’ issue) to the standard. This issue is definitely in the former category. To begin with, the Moby Dick pages look fantastic - the finishes applied to Gross' artwork by Vince Lock give the images a terrific antique feel - and I was fascinated by the idea that Tom is trapped within an established narrative that can't be changed; if you're inside a story, can you alter how it ends? As mentioned, the introduction of the Puppet Mistress has made the 'real world' story far creepier than it is when Pullman is involved, and it does what all good monthly comics should do - make you want to read the next issue straight away. 8/10

Matt T: I'm more than a little impressed that this book has gone on so long without a) disappearing up it's own arse, and b) keeping the mystery behind it so fresh. Part of that is Savoy, the cynical journo who, in spite of being slowly turned into a vampire, is wonderfully dismissive of his friend being stuck inside a work of fiction, as well as the fact that Carey has left the narrative with enough wiggle room to throw in a couple of twists while maintaining the inner logic. I'm happy to stay on course for the conclusion, as there's a fair few threads to be resolved and each issue spins off in an unexpected, but still satisfying, direction. 8/10

Matt C: Tommy Taylor is now trapped inside Moby Dick, and by that I mean the novel itself not the actual whale! The basic pitch of a Harry Potter-esque character existing in the 'real world' and the mystery behind his connection to his fictional counterpart doesn't even scratch the surface of just how smart, complex and ingenious this series actually is. The notion of stories on the printed page actually existing in another reality, and the inherent power of the written word, could be overwhelming for a less confident writer, but Carey has proven that he implicitly understands his subject (and that he's very well read!); he knows exactly what kind of world he's created and how to mould it correctly. The way he flicks from rather archaic, literary prose to a more contemporary, often profane lexicon is masterfully achieved. Gross's dexterous art style bends from the straightforward 'real world' to more elaborate 'fictional worlds' with ease, and his work goes a long way to make the central concept convincing. It's easy to be bowled over by the architecture of this series, but it's the warmth, humour and intelligence that makes it so successful. 8/10


CASANOVA: GULA #1
Writer: Matt Fraction
Art: Fabio Moon & Cris Peter
Marvel/Icon $3.99

Stewart R: ‘When Is Casanova Quinn?’ A good question there and something suitably bonkers that fits this book and this comic world created by Fraction, Ba and Moon down to the psychedelically-coloured ground. Fraction moves things on a couple of years from the end of the Luxuria arc with Cas having chosen to stay in one reality with the friends he’d made whilst acting as a double (or was it triple??) agent and remaining E.M.P.I.R.E.’s top superspy. As the question suggests, this is going to turn into a time-hopping bundle of fun, but Fraction spends this first issue introducing some new characters while expanding the roles of others and casually keeping the titular character’s involvement to an effective minimum. He also maintains that amusing level of techno-babble that purposefully aims to baffle you and adds to the sense of mystery about this entire universe; it’s one of the first comics I’ve actually liked because I've not a clue about what’s going on half of the time! Fabio Moon, illustrator of the Daytripper series, steps into the pencil and inking shoes of his brother and manages to capture the brilliantly bizarre science fiction feel that his brother depicted during the first arc while keeping his own unique style visible amongst the wacky haze of mirth and six-armed beauties. It won’t be for everyone but it’s certainly worth picking up to see if it’s your thing. 8/10

Matt C: I’ll be eternally grateful to Marvel for republishing this series (in colour!) having foolishly passed it by when it was originally released by Image. I did pick up a single issue partway through an arc, but I couldn’t figure out what the hell was going on so I left it that. To be honest, there are points here where I still can’t figure out what the hell is going on, but then I’ve come to realise that’s part of the beauty of this gloriously unhinged series. The beginning of a new storyline sees Casanova disappearing on an undercover mission, leading to the question: “When is Casonova Quinn?”, resulting in the usual bonkers dose of mindbening, alternate-reality/time-travelling/espionage hijinx. Fraction’s script is as hilariously inventive and madcap as ever and, taking over from is brother Gabriel Ba, Fabio Moon produces panels packed with wonderfully exaggerated characterisations, fantastic sci-fi designs, and just an all round sense of unadulterated fun. More please. 8/10


BATMAN AND ROBIN #19
Writer: Paul Cornell
Art: Scott McDaniel, Rob Hunter & Alex Sinclair
DC $2.99

Stewart R: It seems that I’ve been bashing Paul Cornell a little for his writing style over the past few months but I have to say that he really does do a fine job with this final issue of this arc. It seems to me that he prefers the freedom that comes with writing the villain of a piece up against a hero - or pair of heroes in this instance - who are established characters with lesser room for development and who have to tread a line of familiarity. To that end, The Absence is the star of the show and a very interesting adversary she proves to be, putting Dick and Damian into a handful of impossible positions and showing that she’s one step ahead of them at every turn. The only problem I can see is that by focusing so brilliantly on the antagonist of the piece Cornell casts the Dynamic Duo as helpless, almost bordering on incompetent. This doesn’t quite feel right following their earlier successful detective exploits, but it doesn’t manage to rip the fun out of this enjoyable read. McDaniel’s art is a good fit for this book - the panel where Dick sees right ‘through’ the Absence is great - but occasionally the angles and viewpoints are a little confusing. In fact, I think it may have confused colourist Alex Sinclair as it appears that Robin manages to free his hands at one point only to have them tied up again moments later... oh wait, that’s supposed to be Batman! (insert ‘winking’ smiley emoticon here, folks!) 8/10


STARBORN #2
Writer: Chris Roberson
Art: Khary Randolph & Micth Gerads
Boom! Studios $3.99

Matt C: While there are a lot of elements in Starborn that seem instantly familiar from countless other sci-fi tales (“Everything you know is a lie!” etc), the comic is working so far because it’s so much damn fun! As office drone Benjamin Warner watches what he thought was his great unpublished novel come to life (leaking mnemonic implants are the cause, apparently!) the hot girl next door he grew up with pulls him out of the alien firing line while laying down exposition on the fly. I’m still putting the success of the story down to Chris Roberson and the wit and panache he brings to the table (I seriously doubt Stan The Man was heavily involved beyond the ideas stage), but huge kudos should also be directed at Khary Randolph for his funky, electric artwork. Neither Soldier Zero or The Traveller did the trick for me, but if Starborn keeps on rolling along at this kind of speed, then I’ll be sticking around. 8/10


HEROES FOR HIRE #2
Writer: Dan Abnett & Andy Lanning
Art: Brad Walker, Andrew Hennessy & Jay David Ramos
Marvel $2.99

Stewart R: I wasn’t sure, having read the debut issue, that this was going to be a series that would suck me in and hold my interest. I’ve given it a second try and I’m afraid to say that it really hasn’t... Nah, just kidding! This is actually shaping up to be an intriguing story as this second iinstallment expands on Paladin’s current involvement with Misty Knight’s new heroic business while bringing in two characters I haven’t had much experience of in the past - Silver Sable and Ghost Rider - to deal with some mystical mercenary nasties. Paladin proved to be one of the brightest heroes to come out of Andy Diggle’s (and subsequently Jeff Parker’s) Thunderbolts team and it seems that DnA are going to make him an integral part of this story (which certainly appeals to this particular reader). I’ve raved about Brad Walker’s work in the past and after an uncertain first issue I’m happy to report that these 22 pages are a treat for the eyes. I’ll be back for more next month. 7/10


MARVEL SUPER HEROES SECRET WARS #2
Writer: Jim Shooter
Art: Mike Zeck, John Beatty & Christie Scheele
Marvel $0.75

Matt C: Another brilliantly iconic cover form Zeck, and the opening splash page is one hell of a memorable image too. Things head off in a predictable manner as the villains make their first strike against the heroes, and while it’s hugely satisfying for an old fanboy to watch the first ever clashes between various characters, as before, the real thrill is certain individuals who aren’t singing from the same hymn sheet as everyone else. Yes, I’m primarily talking about Doctor Doom again, as the Latverian despot is hatching plans far more ambitious than simply rising to the Beyonder’s challenge. Elsewhere Galactus (perhaps the most incongruous member of the assembled good guys and bad guys) proves he’s above petty mortal concerns, and his actions suggest he’s about to get back to the business of eating planets. Then you have Magneto, who’s inclusion on the side of the heroes was a brave, surprising but ultimately understandable decision on Shooter’s part (his motivations for his criminal acts were for the betterment of mutantkind rather than personal gain) and it’s something that provided other creators with a lot of juicy material for years to come. Again, he has his own agenda here, one that’s not fully revealed as yet, which makes him one of the more interesting players on the board. I’ve known people who’ve avoided Secret Wars, believing it to be twelve issues packed full of hero versus villain fights, and while there is a lot of that going on, there’s a whole lot more happening that makes the story a far more interesting and thrilling proposition. 8/10

Screen Time: BATMAN: UNDER THE RED HOOD

By Matt T

BATMAN: UNDER THE RED HOOD
Cast: Bruce Greenwood, Jensen Ackles, John Di Maggio, Neil Patrick Harris
Director: Brandon Vietti
Runtime: 75 mins
Certificate: PG
Release Date (UK): 4 October 2010

DC’s animation wing, lorded over by parent company Warner Brothers, has produced some cracking animated features in a reasonably short space of time, and I’m pleased to say that Batman: Under The Red Hood is more than good enough to join them. From the opening sequence where the second Robin, Jason Todd, is battered with a crowbar by the Joker, the tone is gritty, real and very dark. His resurrection is dealt with in a far more logical manner than seen in the comics (in other words no-one punched the walls of reality!) and the reign of organized terror from the Red Hood is both clever and well rounded, with Batman for once seeming a touch holier than though in places.

The plot stays firmly in the present after the brief flashback of Todd’s demise, but utilizes a ghosting effect to show the memories conflicting Batman as he pursues the Hood. Dick Grayson even turns up in his Nightwing persona, putting this Batman between partners and not exactly appreciative of the help, with only brief appearances by other members of the Bat-family such as Alfred and Commissioner Gordon. The main focus here is Batman’s apparent failure to both train and protect Todd, and his realization that Todd's tenure as Robin was bound to be fraught with tragedy.

The Joker and Black Mask play prominent parts, with the former far closer to his Dark Knight persona of a sociopath with a wicked sense of humour, rather than an out and out psychopath. The Black Mask is used more as a standard mob boss (with no huge explanation of his deformation) being screwed over by just about everyone. Even the Joker is pushed down the pecking order as the conflict between the Red Hood, Batman and Batman’s own tortured soul plays out until the explosive final battle.

One element that does stand out is the action. Even without the eye-catching superheroics of Superman or Green Lantern there’s plenty to drop your jaw at, from a stunning fight between Amazo, Batman and Nightwing to a four-on-two fight between a group of cyber ninjas and Bats, with the Red Hood at his back. It’s the subtle differences between the two, and Batman’s unwillingness to cross the lines the Hood seems to do at every opportunity, that’s so compelling.

Much like the Justice League animated series, many of the vehicles are CGI creations rather than hand drawn, but they don’t look particularly out of place. The animation has a Japanese, manga-esque tinge to it, with crash zooms and stylistically blurred backgrounds while the action is taking place. The sharpness and facial expressions are incredible, especially when the Joker’s devilish grin is on screen. My only slight criticism is of the Red Hood’s visage when revealed, which appears basic and without the same level of detail as the likes of a de-masked Bruce Wayne.

The voice acting is also something to be lauded, as the cast list is impressive from the major roles down to some filler parts, such as X-Men 2’s Kelly Hu (Deathstrike) as the Black Mask’s assistant Ms Li. Jensen Ackles, who is known to pre-pubescent girls as one of the brothers from Supernatural, does sterling work as the Red Hood, adding a surprising amount of humour into a role with the potential to be purely dark and brooding. On that front Burce Greenwood, who most famously starred in Star Trek as the pre-Kirk Captain of the Enterprise, is conflicted and menacing as Batman, managing to handle the depth to Batman’s disappointment in himself without turning it into self pity, while still maintaining the level of menace that’d have criminals fleeing in terror. John Di Maggio as the Joker is less the Clown Prince and more a genuine bastard, and Neil Patrick Harris does well in Nightwing’s marginalized role as Batman’s last surviving sidekick. The score is also very impressive, giving the whole feature a very cinematic feel as opposed to a Saturday morning cartoon on a better budget.

Overall Batman: Under The Red Hood is a superb feature for the older Batman fan, covering a number of comic plots without pushing the important characters too far out of the way, and combining action and storytelling in an impressive fashion. 9/10

Thought Balloon: iPad & Comics - A Review

By Matt T

The iPad has long been touted as the next stage in reading comics, allowing for massive amounts of storage, instant access to a huge back catalogue of issues and a high-res display to navigate them.

Those of us who own an iPhone will already be familiar with the majority of the programs - or apps - used to display issues from the likes of Marvel and DC but for the uninitiated I’ll start with a quick overview. Then we’ll get onto seeing if this groundbreaking bit of tech will actually revolutionize how we buy and read comics, or whether it’s just a lot of hyperbole.

From The Vaults: THE AMERICAN WAY #1-8

While we spend a great deal of time engrossed in the current crop of comic books, let us not forget those fantastic tales from the past that still sit in amongst our collections but are always worth revisiting...

THE AMERICAN WAY #1-8
Writer: John Ridley
Art: Georges Jeanty & Karl Story
DC/Wildstorm

By Matt T

*WARNING - CONTAINS SPOILERS*

Novelist, screenwriter and one-time Authority author John Ridley launched the miniseries The American Way with artist Georges Jeanty in tow back in 2006 with a simple theme: what if the greatest superheroes in the world were frauds? Or, more accurately, what if they were actors simply playing a role to dupe the country into thinking they were safe?

Through the eyes of a PR rep we get to see the lies that formed the foundation of early-Sixties superhero team the Civil Defence Corps, with villains also on the payroll and most battles little more than choreographed pantomime. Tasked with adding some new ideas to the façade, things quickly unravel as a new hero is unveiled that both the public, and the rest of the team, aren't ready to embrace.

Mini Reviews 20/06/2010

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.


NEW AVENGERS #1
Writer: Brian Michael Bendis
Art: Stuart Immomen & Wade Von Grawbadger
Marvel Comics $3.99

James R: I stopped reading Bendis' runs on the various Avengers books as they became so grindingly predictable - pages of 'Bendis-speak' talking heads building to a fight scene that usually didn’t resolve anything. Rinse, repeat. Out of fairness, I thought I'd take a look at New Avengers, as I'm a firm believer in giving things a fair crack of the whip. So what do we get? Umm... pages of 'Bendis-speak' intercut with an action sequence in which, well, at least something happens! So I suppose that's progress. But in all honesty, it's pretty much 'as you were'. After reading the reasons behind Steve Rogers' decision to form a secondary team, well, to save you time, the main reason is 'to make Marvel more money'! I'm sure they'll be people that love this, but I'm not one of them. Unexciting, uninspired, and certainly not deserving of Stuart Immomen's excellent pencils (the fact he's having to draw this and not another series of Nextwave just makes me more miserable!) 4/10


DV8: GODS AND MONSTERS #3
Writer: Brian Wood
Art: Rebekah Isaacs
DC/Wildstorm $2.99

Matt C: This is turning into something really rather special, and that’s coming from someone who had no knowledge of these characters prior to picking up the first issue of the miniseries. The setup of a teen superhero team being dropped onto a stone age era planet for unknown reasons (where they disperse and attach themselves to different warring tribes) allows Wood the freedom to work his narrative with only minimal continuity baggage. He makes his tale thoroughly accessible to newbies without resorting to any dumbing down that would hamper the pacing. Isaacs firm linework is magnetic, and with the assistance of Carrie Strachan’s bold colours, the effect is utterly absorbing. This is probably the most impressive book I’ve seen coming out of the Wildstorm stable since they knocked Joe Casey’s stellar Wildcats 3.0 on the head. 8/10


ULTIMATE X #3
Writer: Jeph Loeb
Art: Arthur Adams
Marvel $3.99

Tom P: In the first issue of Ultimate X we met mutant Jimmy Hudson, the second then focused on Karen Grant, and now it’s time to meet Derek Morgan. Loeb and Adams take us to a wet, dark Chicago where a mysterious "Guardian Angel" is looking over the streets and protecting the people below. The rule now, post-Ultimatum, is that all mutants are to be shot on sight, so the fact that Morgan's brother is a police officer makes for an interesting and tense home life as he hides his powers and night time crime-fighting from his family. There are some great character moments here and I loved the scene on the train between Karen and Jimmy. It’s great to see Loeb on top form again and a lot of that is down to his focus on the characters. My only complaint would be that the narration at the start of the issue is a bit confusing - I wasn't sure who the narrator was until I got a bit further into the book. But when a comic looks this good I can forgive it and Ultimate X, in my opinion, is easily the best drawn comic Marvel is putting out at the moment. 9/10

Matt T: Like any team origin book, this one's going to take a while to get going. And as much as I've not been a huge fan of Jeph Loeb's Ultimate output to date, Ultimate X at least brings the group together in an entertaining manner. Instead of throwing us right into an action sequence and telling the origins of each character through truncated flashbacks, the three members (so far at least) have had an issue each to bed in. None are particularly dislikeable, and Wolverine Junior is a completely different kettle of fish to his dad without being unfamiliar. I'm a big fan of Art Adams art, and I like the manner Loeb is using the voiceover as a way of misdirecting the reader, so hopefully it'll continue when the team comes together. 8/10


PALE HORSE #1
Writers: Andrew Cosby & Michael Alan Nelson
Art: Christian Dibari
Boom! Studios $3.99

Matt C: Pale Horse begins with no real attempt to provide a firm sense of who its central character is before horror befalls him and propels him along a new, brutal path, meaning we’re given a succession of Western clichés in lieu of anything in that displays true substance. It seems that Nelson’s name appears in the writing credits of just about every other Boom! title I take a look at, and while he’s got some decent books to his name (Swordsmith Assassin, Dingo) I often wonder whether he’s got too much on his plate at one time. Dibari has a good feel for the dustbowl lawlessness of the Wild West, but his art doesn’t distract from the general lack of originality. If you’re looking for a comic book Western fix picking up Jonah Hex is still your best bet. 5/10


AMAZING SPIDER-MAN #633
Writer: Zeb Wells
Art: Chris Bachalo, Emma Rios, Tim Townsend et al
Marvel $2.99

Stewart R: This has been hands down the most engrossing Spider-Man story I have read in... hmmm... a couple of months actually, as the Joe Kelly/Max Fiumara ‘Rhino’ arc was immense as well! In fact, Amazing Spider-Man is proving to be an unmissable read of late. The ‘Shed’ storyline is wrapped up in brilliant fashion by Wells and Bachalo as Peter struggles to find a way through to the Lizard in order to bring a halt to his rampage through the minds of hundreds of New Yorkers. Wells carries the mammal brain/lizard brain plot strand through to the end and then gives it an interesting shift that should ensure that his cold-blooded foe will never be the same again. It’s a brave move indeed but, with the returning gallery of villains ‘The Gauntlet’ has thrown at us, it’s become clear that Marvel have decided that evolution is required if things are to remain fresh in ASM. Bachalo, Townsend and colourist Antonio Fabela keep things simple, explosive and sumptuous - the use of black and white space that these artists employ is a delight. Honestly, if you haven’t picked up ASM in a while you should... harf... switch off puny mammal brain. Be strong. Read arc of Wells’ and Bachalo! Harf! 10/10


FOUR EYES #4
Writer: Joe Kelly
Art: Max Fiumara
Image $3.50

Stewart R: We may have been forced to wait for what seems an age since the last issue came out, but when a writer and artist bring a comic as polished as this to your waiting, willing hands then you can do nothing but forget everything and enjoy it. Young Enrico was last seen entering a nest of dragons and Kelly picks up the story with the brooding Abraham Fawkes recalling the events that followed the bloody and costly dragon hunt. It helps to show us just what sort of mentor Enrico could have as well as highlighting just what a nasty piece of work Mr Boccioni is. The flashback/dream sequences with Enrico and his father act as a fantastic vessel for Enrico’s character development as he begins to learn from life’s hard lessons and become a tenacious young man. Fiumara uses his cleaner inking style - the man appears to have a brilliant range when you compare his ASM #634 story to this - to deliver a clear, bold picture of a dark and desperate world. For a book based in a world of dragons, this comic is all about the human heart, and it’s terrific. 9/10


BRIGHTEST DAY #4
Writer: Geoff Johns & Peter J Tomasi
Art: Ivan Reis, Adrian Syaf, Scott Clark & Oclair Albert
DC $2.99

Matt T: Ho hum. The splintered story arcs that DC have been putting out in these event books only really work when the stories are interesting, but, in the case of Brightest Day, they’re sorely lacking. Deadman is drifting around without meaning, the Hawks are wandering into vortexes and Firestorm is alternating between being in two parts to one superhero from issue to issue. None of these tales are exactly setting the world alight, as the characters seem too confused with their own situations to give the readers any reason to invest in them. The art is nice throughout, but that's about the only upside to this meandering, dull excuse for a comic. 2/10


ATLAS #2
Writer: Jeff Parker
Art: Gabriel Hardman * Ramon Rosanas
Marvel $2.99

Tom P: The first issue was good, not great, but I’m a huge fan of Parker's team so was happy to pick this up again to support the book. I think the problem last issue was that it was mostly about 3-D Man and I wanted Atlas! This time I get my Atlas fix from the great ‘50s cover art to the team fighting zombies, saving 3-D Man from dragons and diving into his mysterious memories. The short story at the end of the issue with Ramon Rosanas is also a great extra and his art is fantastic with some excellent iconic pulp imagery. That's what's so great about this book: pulp, super heroes, sci-fi and robots. All for $2.99! What’s not to like? 8/10


CROSSED: FAMILY VALUES #2
Writer: David Lapham
Art: Javier Barreno & Julien Hugonnard-Bert
Avatar $3.99

James R: Two issues into the Crossed spin-off and that's far enough for me. With the debut, I felt that Lapham failed to supply the constant threat and total revulsion that Ennis wrote so well in the original series. I thought I'd give it a second shot to see how Lapham expanded on the Crossed concept, and ‘not particularly well' is the answer. Here we see the family Pratt set up base in 'New Paradise', a safe haven from the Crossed, but it seems the biggest threat is inside their compound. I'm sad to say that I felt bored and disinterested reading this. Ennis' original series seemed dynamic and shocking, whereas this seems dull and predictable. A shame. 4/10


AMAZING SPIDER-MAN #634
Writers: Joe Kelly, J.M. DeMatteis & Stan Lee
Art: Michael Lark, Stefano Gaudiano, Max Fiumara & Marcos Martin.
Marvel $3.99

Matt C: I’ve left Amazing Spider-Man on the shelves since issue #601 for a variety of reasons but this particular storyline proved too difficult to resist. A sequel (of sorts) to ‘Kraven’s Last Hunt’, my favourite ever Spider-Man tale? I’ve got to take a look at the first instalment at the very least. Good decision on my part, because this is a cracking read, with Kelly wasting no time putting Peter through the wringer once more. The icing on the cake for me is the art from Michael Lark and Stefano Gaudinao – these two make a tremendous team, injecting some wonderfully kinetic realism into the proceedings, reminding me how much I’ve missed them since they finished on Daredevil. The back-up has ‘Kraven’s Last Hunt‘ writer, J.M. DeMatteis, delve into Sergei Kravinov’s past, and it proves he has a much firmer grasp of the character than most. The Lee/Martin two-pager is a lot of fun and, really, you have to ask if Marvel can put out this amount of content for $3.99, why aren’t they doing it more often? 8/10

Stewart R: Well, here comes Marvel’s bombardment of our wallets and senses as their $3.99 price-point finds the title that we’re supposed to pick up three times a month. Thankfully I’m so mesmerized by this opening chapter of ‘The Grim Hunt’ that I can overlook the forced extra dollar for the meantime. Kelly batters the readers with Kaine encounters, Kraven-kin aplenty and the odd appearance here and there of various Spider-family members. It’s edge-of-the-seat stuff thanks to the preparatory groundwork that ‘The Gauntlet’ laid down, emotionally wearying both Peter Parker and the readers (in a good way). This accomplished writer is the perfect guy to handle such a deadly ASM storyline and since first reading this Thursday I’ve revisited the scenes involving Mattie Franklin - the ‘other’ Spider-Woman - a few times on page and in my mind. It’s powerful stuff. For the extra buck we also get a Kraven/Kaine flashback tale that is rendered nicely by Max Fiumara as we visit the turmoil that Sergei Kravinov endured towards the end of his life. The Stan Lee/Marcos Martin two-pager I can take or leave but in a $4 book at least it’s not two pages of adverts! 9/10


AVENGERS #272
Writer: Roger Stern
Art: John Buscema & Tom Palmer
Marvel $0.75

Matt C: With the assistance of his Avengers teammates, Namor heads to Atlantis to rescue the incarcerated Marrina from the clutches of evil tyrant, Attuma. You need quite a significant suspension of disbelief this issue to buy that Captain America and colleagues can engage in fistfights several thousand fathoms under the sea, but then if you manage that you shouldn’t really be reading superhero comics! Alpha Flight make an appearance (naturally, as Marrina is a member of their team) but it’s one of those occasions where they lose their individual personalities when written by someone not used to dealing with them. There’s something a bit ‘off’ with the art too, but this could be down to the printing quality of the copy I have rather than any dip in brilliance from Buscema and Palmer. And, really, has anyone else ever drawn a pissed off Hercules as well? 7/10

Bristol 2010: The Voyage Home

Now we've had a chance to settle back into reality, here are our thoughts on last weekend's events:

Matt T: Three days, two nights, four panels attended, a few hundred pounds spent and 52 comics bought. Bristol Comic Expo by the numbers sounds pretty straightforward, but this weekend was pretty much the opposite of that. The convention centre (or, hotel) was all the better for the expanded floor space, making far more room for back issues. This was the main focus for myself as, with few gaps to fill, I was after some new blood to fill my comic boxes. In the end I left with far, far more than I intended but still pretty happy. A huge stack of John Ostrander's Suicide Squad, some Steve Niles titles, a few issues of Criminal and some mid-Nineties Spider-Man amongst others. There was a fair amount on offer for those wanting to root through the boxes for it, and in spite of the warm weather the crowd was of good nature. There were a several people playing a touch of dress up, the majority of which were teenagers out for a little more than a bit of attention, and a couple of familiar faces floating/waddling around.

In terms of comic book creators Kieron Gillen and Paul Cornell were both engaging and humorous on their panels, as was David Hine. Bob Wayne was as entertaining as ever leading the DC panel, giving little away without being annoyingly evasive. The MMMS (excuse me if I forget what it stood for!) collected Marvel creators old and new making it just about the closest thing we'd get to an official Marvel panel, even if we didn't get a whole lot of insight into how Marvel is run. Chris Claremont provided the odd look into how he crafted one of the classic X-Men runs, coming across as an American equivalent of Victor Meldrew, showing how a long-running contract with a publisher can sometimes be a blessing and a curse as he revealed the only reason he got to do X-Men Forever was because he had two years left to run on his contract. Finally the Vertigo panel, which could have been interesting, were it not for the obnoxious, arrogant and frankly childish presence of Simon Bisley trying his hardest to get himself fired. While the rest of the panel, with varying degrees of success, attempted to carry on in a professional manner, he attempted to hijack every answer or statement with a spurious, often offensive comment seemingly for his own amusement.

To end on a positive note I really enjoyed seeing some old friends, grabbing some comics and generally drinking in the impressively geektastic atmosphere of Bristol once more. Till next year!

Stewart R: And let the post-holiday blues commence! Nah, I'm just kidding, I'm still buzzing from what was an intriguing and entertaining weekend away with the many members of the Paradox Comics Group. In best road trip fashion there was an unfortunate mechanical mishap - hope the car's feeling better Brett! - to start the proceedings but being a fairly practical bunch we were soon speeding westwards to Bristol's welcoming arms.

Friday night is usually a time for checking in, grabbing a meal and then heading to the Ramada bar for a brief spot of talent-spotting (not the luscious lady type I'll add) as the various guests mingle on the eve of the convention. A keen eye had me spotting Chris Claremont wandering about the bar area and thus began the geek-fest that was the Bristol Comic Expo. Once the tickets were in hand Saturday morning it was a leisurely dash to the longboxes to grab those precious bargains or must-haves before any other sticky fingers found their way to them. I managed to snap up seven of the eight issues of The Sentry mini, the first eight instalments of the '80s Power Pack series and a dozen or so issues of Scalped, all for less than £3, and that was just in the first two hours worth of 'thumbing'!

Of course it's not all about the longboxes, and there were plenty of panels, signings and indie presentations scattered across the two sites. I actually did manage to get into the Claremont panel which was certainly interesting but revealed just how weary Mr Claremont seemed with the industry after many years of forging his career. The DC panel, chock full of talent, seemed a slightly quieter affair without the ball of energy that is Dan Didio, but Bob Wayne compared things with a sense of friendly fun, even having a poke at yours truly when I asked him whether he missed being able to read through a DC comic without already knowing what the reveal or surprise is going to be. Apparently the word 'crikey' doesn't tend to form part of the regular vocabulary of DC's Vice President of Sales!

Saturday also included a platoon of various Stormtroopers acting as security to an ever so slightly misshapen Darth Vader, and also a bizarre introduction to Simon Bisley at the bar as he tried to order a shot, any shot, from the barmaid at 11.45 in the morning. Of course there was more Bisley to come the following day when he appeared to be committing career suicide in the Vertigo panel as Shelly Bond and company looked on in bemusement as he interrupted, bumbled and swore his way through the hour even when politely prompted to shut up. A big 'well done' goes to Shelly as she managed to remain composed throughout.

The Merry Marvel Marching Society (there you go, Matt T!) was a tremendous amount of fun as Rob Williams, Kieron Gillen, Paul Cornell and Neil Edwards proceeded to discuss everything from Mary Poppins becoming a Thor villain to sending Daredevil - "leave him alone, he's blind!" - into space, and I dare say that that hour sits proudly atop the panel leaderboard for me. The sheen of my first visit has certainly worn off but what has remained is a darn fun weekend away and glimpse into the inner workings of the comic industry.

Matt C: It wasn’t a vintage Bristol Expo, but even a below par Bristol Expo is nothing less than enjoyable. How can a weekend surrounded by comics goodness be anything but fun? I guess, following Dan Didio’s enthusiastic presence last year, there was a definite lack of anyone matching his infectious energy. Chris Claremont was the ‘Guest of Honour’ for 2010, and while his panel was interesting there was a noticeable undercurrent of bitterness (for whatever reasons), and he was more engaging when talking about the state of the comic industry rather than his work on X-Men Forever. In fact, talking about where comics are at now, in 2010, often provided the most enlightening discussions on all the panels I attended. For example, it was a bit revelatory to hear the creators in the DC panel (Lee Garbett, Paul Cornell, David Hine) say that they’d previously never believed they’d read comics in any other format other than monthlies or TPBs until they got a look at the iPad. It was a sentiment echoed throughout the weekend – whether you like the idea or not, it seems the iPad has changed a lot of minds and will dramatically alter the way we consume comics.

The best panel for me was the sparsely-attended Elephantmen talk headed by Richard Starkings, with Ian Churchill and Boo Cook as his wingmen. Starkings was thoroughly engrossing with his topics ranging from the Elephentmen comic to his past in the industry to what he saw in the future. Great stuff! The most disappointingly panel was, sadly, the Vertigo panel, although I must stress that Shelly Bond struggled valiantly to keep things on track. Unfortunately, Simon Bisley felt it necessary to derail the talk by constant interruptions, puerile jokes and what seemed like a general disregard for what his fellow panellists had to say. A grand shame considering how excellent the panel was last year, and how much extraordinary work the imprint is currently putting out.

Spending wise, I achieved my aim by keeping the number of back issues I picked up to a minimum. Several Thor and Thing comics from the ‘80s and a couple of miscellaneous bits and pieces kept my total under twenty quid. I did venture over to the Small Press Expo over at the Mercure Hotel and picked up several indie books that I’ll be taking a more in depth look at soon. It’s a part of the Expo I’ve sort of neglected before, but I’m glad that I had a proper look around this year.

James and Ross from Creeping With Armstrong were making their presence known, trusty microphone always to hand, so keep your eyes, or ears, peeled for their forthcoming podcast on the Expo. Let’s hope they keep the drunken ramblings of certain people (ahem) on the cutting room floor!

That’s it for 2010 then. The dates are booked in for 2011’s Expo (thankfully putting those ‘last one ever’ rumours to bed) so it’s time to start counting down the days until then!

The Road To Bristol 2010

You will notice an absence of new reviews this coming weekend, but have no fear – we haven’t given up on funny books! No, this weekend you will find us at the annual Comic Expo in Bristol, so the usual mix of back issue hoarding and drunken mayhem means reviewing new books takes a back seat for once. Expect a bumper selection of reviews the following weekend. In the meantime, we look at what’s on the agenda for 2010's Expo…

Matt C: Can it really be my 10th time at the Bristol Comic Expo? Am I really that old?! These are questions I’d prefer to leave unanswered for the time being (!), and instead focus on the anticipated highlights of the forthcoming weekend. For me it’s all about over-indulging in my lifelong hobby, which comes in the form of purchasing stacks of back issues, meeting creators and general chinwagging about comics.

This year I’m intending to reign in my spending on back issues due to financial constraints, as well as the pile of unread comics I’ve accumulated over the last few years. It’s always nice to have something to hand to read, but as my wife likes to remind me, it has got a little bit out of control. If I can, I’ll plug the gaps in my Invaders and Howard The Duck collections, and maybe pick up some Silver and Bronze Age Thor issues I’m missing. But that’s it. Honest.

As unusual, a few previously announced guests have dropped out, the main disappointment being Image publisher Eric Stephenson. I was looking forward to asking him what happened to War Heroes, Gutsville, Pretty Baby Machine, Infinite Horizon, and all those other Image books that went AWOL before their conclusions! Oh well. Maybe next time. The major draw this year is undoubtedly Chris Claremont. He may not command the attention he once did, but there’s no denying his the industry-changing impact of his seminal work on Uncanny X-Men throughout the 1980s. There’s a good argument to be made that superhero comics would look a lot different today (for good or bad, depending on where you sit) if he hadn’t been steering the mutant ship throughout that decade.

A look at the official website reveals there’ll be plenty going on, and even though it’s the second year of operating on a reduced scale (making it even smaller than the US cons we dream of going to) it’s still the best comics-based gathering in England at the moment, so I wouldn’t miss it for the world!

Matt T: Another year, another con. After last year’s downsized, reduced and thoroughly shrunken-down effort I’m at the very least going to be less disappointed with the floor space of the Expo. Instead of aiming to fill in all my gaps and massively expand my amount of back issues I’m going to be aiming more at completely new runs, such as John Ostrander’s take on the Suicide Squad. It’s been recommended to me in the past, and I’m a big fan of any series that takes minor characters out of the background and gives them something more interesting to do. I might start picking up a few issues of Astro City as well, as it’s one of those classic books I seem to have completely missed out on in spite of the various good reviews. My long standing search for both Moon Knight and Ragman books will also continue, although I’m not expecting to find anything I haven’t already got, and I'll be keeping my eye out for as some mid-Nineties' Spidey books too. I’m also looking to grab some EC titles and maybe some issues of Creepy and Eeire issues, as they’re always good for a giggle.

The panels look pretty interesting this year, especially ‘Comic Writing for Dummies’ at the Mecure Hotel and obviously Chris Claremont at the Ramada. The DC Universe panel is always good for some new info, and Bob Wayne is an entertaining fella when in charge of proceedings. There’s another Claremont panel on Sunday involving Alan Davis as well, which will certainly be a must, and the Vertigo session will be worth it just to watch Matt C corner the panel again.

I’m going to try and get Mike Carey to sign my Unwritten # 1, and Chris Claremont to squiggle on a few old X-men for me. Of course I’m also looking forward to a few beers with the Paradox posse, as well as some old friends I’ve not seen for a while.

Stewart R: This is just my second visit to Bristol International Comic and Small Press Expo (to give it its full title!) and after last year's grand weekend of geek fun with the Paradox Group I'm looking forward to a second bite of the cherry. Last year's events seemed to zoom past as I tried to get to grips with the etiquette of the Expo longboxes - 'elbows out and if there's a sliver of space make it yours' seems to be a winning tactic - and work the queues for the various panels.

With the foresight to have looked at the panel line-up and timings I feel I'm now prepped to get the best out of the two days. I'll possibly stick my nose in for the Chris Claremont panel but suspect there'll be a throng of fans far more determined to get a seat. With The Losers motion picture hitting UK cinemas next weekend I'll certainly be interested to see what Jock and Andy Diggle have to say in their panel, not least because Jock seemed very excited about the adaptation when he appeared last year. Minus the enthusiastic energy of Dan Didio and the easy sells of Blackest Night and Wednesday Comics I'll certainly be looking for Bob Wayne to bring some saliva-inducing news items and guests to the DC Universe panel this time, and the inclusion of Batgirl artist Lee Garbett has me locked in for a fight for a seat. A year ago I certainly wouldn't have been queuing to get into a Vertigo panel but their body of work has been so strong these past 12 months that I dare say that that hour on the Sunday is possibly the panel I'm looking forward to most of all.

After last year's random and unorganised purchasing of back issues - I was young(er), naive and new to the game - I've had a few titles written down for the past 6 months or so that may need to be dug out and purchased for a bargain price if I can find them. High on the list is Green Lantern Corps Vol 2 as I've loved Tomasi and Gleason's work through the Blackest Night tie-in and I'm expecting to be able to pick up several issues here and there for a snip. I'll also be aiming to pick up some of Ron Lim's work on Silver Surfer Vol 3 as I was given a few copies by an Aunt back when I was 8 or 9 years old and they're some of my favourite comics of all time.

Am I excited? Does Thanos like being dead?!

Matt C: As it’s not been mentioned already, this year sees the debut appearance of podcasters extraordinaire, James and Ross, aka Creeping With Armstrong, who will be out and about looking for ‘celebs’ to interview/interrogate. We mention this as CWA’s James is none other than reviewer James R from the Paradox Group, so don’t be surprised if several other Paradox lend their (possibly inebriated) dulcet tones to a future CWA episode.

See you on the other side!

Mini Reviews 16/05/2010

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.


BATMAN: THE RETURN OF BRUCE WAYNE #1
Writer: Grant Morrison
Art: Chris Sprouse & Karl Story
DC $3.99

James R: When the preview art for this appeared there were more than a few people who were incredulous - Pirate Batman? Batman with a big bat on his head? Madness! Etc. However, I for one was all about giving Grant Morrison his way as a) his work on Batman And Robin has almost been sublime of late, and b) c'mon, it's a story about a bloke who dresses up as a bat to dispense vigilante justice - if you're willing to accept that, go the whole nine yards! Having devoured this issue, I pleased that I stood up for it. Morrison neatly explains how Bruce is going to be all these different Batmen, and shows how the concept of the man who will do anything to fight a bully and the unjust is woven into the very fabric of the DC Universe and popular culture. He also gives us a peak at the early years of the DC's immortal Vandal Savage (hinted at in Final Crisis) and shows that a gang of Bat-pals are on his trail as he lurches through time. I'm a huge fan of Tom Strong and so I was really pleased to see the art team of Sprouse & Story let loose on some of the big names of the DCU... I would dearly love to see them on a high-profile book on a more regular basis. Nothing cheesy here, just a blast from first page to last. 8/10

Matt C: While several of my Paradox reviewing colleagues were frothing at the mouth in anticipation of this miniseries, I was far less enthused by the prospect. Firstly, Grant Morrison can sometimes produce gold, but I often find that he’s more likely to produce fool’s gold than the real deal. Secondly, those covers didn’t exactly fill me with excitement. Caveman Batman? Pirate Batman? Seriously?! Is this the DC of the 21st Century or the 1950s? But…. I’m just too much of a fan of the Dark Knight to not check out the first issue, and I’m surprised to say I’m giving it a cautious thumbs up. The major plus point is Chris Sprouse and Karl Story’s art – I don’t recall seeing much of Sprouse’s work since Tom Strong concluded, but I’m immediately reminded how exciting his bold linework and strong sense of composition are, and how well Story reinforces these qualities out with his inking. Morrision’s story is way better than I expected; well paced and structured, his attempt at simulating primate-speak irritates at first but soon clicks into place, drawing you into Bruce Wayne’s prehistoric excursion. It’s an intriguing opening shot, but I’ve been burnt by Morrison enough times before to get too excited. 7/10

Tom P: Bruce Wayne is back, baby, returning with all the flair I would expect from Morrison, a writer who has gone above and beyond the call of duty on the magnificent Batman and Robin. A bit like Captain America: Reborn, we find Bruce lost in the past, but this is an infinitely more interesting story. I really love the way we see his crash landing from the point of view of the cavemen who find him. It makes the story more interesting and intriguing as a result, along with the way his dialogue is hard to read and understand. Chris Sprouse makes this comic pop, and his Tom Strong sneak peak is a welcome bonus - I love his Caveman Batman and if it comes out as an action figure I'm buying it straight away and placing it next to my Red Son Batman! 9/10

Stewart R: Having had little experience of Batman in comic form - I've tended to stick to animation and video games when it comes to the exploits of Bruce Wayne so far - I've pretty much no idea of how the Dark Knight has ended up in a stone age nightmare where he's forced to fight for his life once more. The thing is I don't really need to. Morrison keeps the dialogue brief and succinct including a neat touch where he essentially places the reader in the position of a native whenever Bruce speaks. By keeping things simple Morrison has allowed the artists to tell the majority of the story with Sprouse’s trusty pencils and Story's moody inking taking us through brutal tribal battles, a trippy dream sequence and a decent caped scrap with a certain familiar face. I've a feeling that we could be waiting until the fifth or sixth issue to find out just why Bruce's return to the 21st Century is such a potentially dangerous thing, but at this moment I'm locked into picking this title up to find out. 8/10

Matt T: The brisk pace of this first issue makes me think DC want Wayne back in standard continuity pretty rapidly, but the fact that it’s a six-parter and Morrison still has Batman And Robin on his job sheet means it might not be quite as rapid as I expect. Still, this keeps enough DCU references in the mix for me to nod and smile at (an impromptu Robin turning up as well as another couple of time travellers to add some mystery) and the art is cracking from Sprouse, being impressively detailed and altering the look of Wayne/Batman just enough to maintain the feel of the character, even if he is just a man wearing a bloody great animal hide. It’s not the gimmicky Elseworlds-style title I thought it would be, just dropping Batman into various time periods and seeing what he does, as Morrison is weaving in some sense of urgency and an eye on the larger continuity as well without ruining the breakneck pacing. 8/10


SIEGE #4
Writer: Brian Michael Bendis
Art: Olivier Coipel & Mark Morales
Marvel $3.99

Matt T: Siege wasn’t really going in the direction to throw any huge surprises into the mix, but at least it kept some of the bigger battles for the end and had some pleasant twists along the way. The Sentry had started to become something of a deus ex machina in the Marvel U, turning up and smashing crap to atoms when all hope seemed lost, so it’s no big surprise that he’s become the ‘big bad’ of Siege. Heroes being heroic, villains getting their arses kicked, and no huge jumps in logic establish this firmly as one of my favourite big events of recent years from Marvel, and even if it’s all been essentially righting the wrongs of the likes of Secret Invasion and Civil War it’s been a decent read throughout. 8/10

James R: I was definitely not on board when issue #1 of Siege hit the racks. For a while, I found that the Marvel Universe was getting increasingly daft. With the exception of Captain America & Iron Man, I found that the effervescent House of Ideas seemed to be surprisingly flat. Then my fellow Paradox Group members convinced me to take a look, and - hey! - they were right. I enjoyed parts 1 & 2 and thought, that maybe, just maybe, Marvel were back on track. The last issue of Siege suggests that I should reserve judgement for just a while longer. On one hand it looks absolutely gorgeous - Coipel & Morales make for an exceptional art team, and they deliver some cracking 'widescreen' moments. The problem, however, lies with the plotting. After sticking resolutely with the Sentry since the start of his run on New Avengers, Bendis has never seemed to know quite how to deal with him as a character, and this is shown in grand style here. Moreover, too much stuff happens with a click of the fingers (literally, in Loki's case!) and the ending felt horribly rushed. An event 7 years in the making? Whatever. 7 minutes in the plotting, more like. I'll be back for Avengers, but this event, like so many of Marvel’s recent endeavours, has left me underwhelmed. 5/10

Matt C: The second issue of this four-parter was rollicking dollop of blockbuster superheroics, but the other three haven’t managed hit it out of the park the way that #2 unexpectedly did. It’s still been pretty good though, and coming from me, someone who’s been railing on Bendis’ superhero writing for several years, that’s high praise. Yeah, it’s big, loud, lacking in any real substance, and various character motivations are highly questionable, but it’s been propelled along with such momentum (from the king of decompression himself!) that you don’t have the time to focus on the flaws. Even the writer’s trademark ‘Bendis-speak’ (where all characters talk in exactly the same way) is kept to the minimum, and there is a definite individuality manifesting itself amongst the cast members. Having said that, I wouldn’t have enjoyed the series half as much as I did if it wasn’t for Coipel’s extraordinary art. Epic, muscular imagery that drives home the sheer scale of the events unfolding as well as adding dramatic weight to the rather slender script. It’s nowhere near perfect, but it’s a far more satisfying read than either Secret Invasion, Civil War or House Of M. 7/10

Stewart R: There’s a part of me that read through this issue the first time, sighed and asked myself ‘Is that it??’ Then there was another part of me that said ‘Wait a minute, go on, read it again!’ such had been the promise shown by the earlier instalments. After three read-throughs I still can’t quite bring myself to love this. It’s pretty good in places but there are flaws and gaps and things glazed over which are blatantly ready to be fleshed out in the myriad of other titles released in the next few weeks. I suppose that’s where the bones get stuck in my throat; too much of Bendis’ finale is pushing me off to other titles to get the full widescreen picture of how this event finally ends, and it’s all due to the restriction of the four-issue run enforced here. It smells quite badly of ‘reset button’ territory where the ‘Heroic Age’ simply cannot be delayed and to heck with finishing Dark Reign in the measured way that it deserved. Coipel’s artwork, which was spotless in the first two issues, seems just a tad rushed in odd places and there are certain layout niggles – the last ‘hammer blow scene’ seems a little understated to me considering what had come before – that tarnish what had been a promising concept. 6/10

Tom P: I will start this review my saying that up till now Siege has been a fantastic read and while this last issue is not all bad, the opening disappointed me a great deal. My disappointment is over two things: Loki and the Void. Lets start with Loki: I've just finished reading JMS's Thor run and Loki's actions in this are so horribly out of character it spoilt the whole thing for me. In Thor #12, which is without a doubt my favourite issue in that series, we are given a great insight into the God of Mischief and his motivations, and to some respect his end game. For a character as clever and manipulative as he is, to be begging for help with some stones just makes no sense to me and made me wish we could have seen where Straczynski would have taken us... but that’s a topic for another day. The second thing is The Void. I was looking forward to this battle but Bendis has written himself into hole; how do you defeat someone this powerful? The whole battle felt too swift and to lazy to me. Ultimately this comic ends and puts everyone where they need to be but I feel extremely disappointed, and cant help feel an artist as skilled as Coipel deserves better. 4/10


DAYTRIPPER #6
Writers: Gabriel Ba & Fabio Moon
Art: Fabio Moon & Gabriel Ba
Vertigo $2.99

Stewart R: These writers are leading us by the hand through the emotional spectrum with this title, that's for sure! Where last issue had a brighter, reminiscent quality to it, this issue has a sombre, numb feeling running throughout as they elect to send Bras on a path of worry and concern for his missing friend Jorge. Rather than keeping the focus squarely on Bras from start to finish, Ba and Moon weave his personal anguish through the city of Sao Paulo's attempts to mourn and recover following a disaster, and it works terrifically well as a study of societal grief and feelings of empathy. That's where I would say that this title is working so very well; Daytripper makes the reader think about all of the paths and possibilities that their life could have taken by showing you a snippet of the various lives of Bras de Oliva Domingos. I've also noticed that these artists don't drop smiles carelessly throughout these comics and perhaps they might be on to something; humans in general don't tend to smile by default! Go on, have a look when you're walking to your local comic shop this Wednesday or Thursday to pick up a copy of this decent comic. 7/10


NEW AVENGERS FINALE #1
Writer: Brian Michael Bendis
Artist: Brian Hitch
Marvel $4.99

Matt T: Now that the Siege is finally over (and thank God for the ‘Read Siege #4 before reading this!’ notice on page 1 of this book!) most of the Avengers titles are wrapping up before the big 'Heroic Age' restart. Telling this concluding part of the ‘outlaw Avengers’ from the perspective of Luke Cage is one of Bendis’ cleverer ploys, using what is clearly one of his favourite characters to humanise the insanity of the various world-shattering incidents. Only a couple of villains need sweeping up and dropping off to the relevant authorities and, while a fair slice of Siege #4 is repeated here, much like in various other titles this week, it never feels like a needless rehash. There are just a lot of villains getting their comeuppance, and heroes finding a more preferable status quo, making the whole of New Avengers Finale feel something of a bloated epilogue. It’s by no means terrible, just $4.99 worth of ‘everything’s cool, wait till the new books’ rather than a significant addition to Siege. 7/10


THE MARVELS PROJECT #8
Writer: Ed Brubaker
Art: Steve Epting
Marvel $3.99

Matt C: While it may not have lived up to the promise of the first issue, The Marvels Project has been a solid, well-crafted series that’s had plenty to offer die-hard Mavelites, even though it's played things a bit safe. I’ve said it in practically every review I’ve written for the book, but the Angel’s voiceover was the key problem for me, keeping the emotional core of the events at a distance, resulting in a rather dry telling of the birth of the Marvel Universe. What I would have liked is for this to have been a lead up to a full-blown Invaders series, with Brubaker taking the same approach to the team that he did during the flashbacks in those early issues of his run on Captain America. That doesn’t appear to be the case, and although there are several plot threads left hanging, they look like they’ll be picked up in a contemporary setting rather than WWII. While the script could have used a bit more emotional colour, there are no complaints with the art. I’m convinced this is the best work of Epting’s career, and I can’t imagine anyone disagreeing with that statement. His powerful, dynamic visuals draw you into the story, capturing the feel of the wartime era with real panache. Seeing him draw Cap, Namor, Bucky and the Torches in action makes an even stronger case for an Invaders series. How about it, Marvel? 8/10

James R: When this title was announced, I was hugely enthusiastic - one of my favourite writers, Ed Brubaker, teaming up with his Captain America partner Steve Epting to tell a WW2 tale? Sweet. The first issue hinted that this could be a classic, but with each issue, my initial excitement has waned. Just as Captain America has drifted from a 'Must Read' title to worryingly pedestrian, this series has seldom got out of second gear. Given the cast of characters involved, I feel I've been given little insight into Steve Rogers, into Namor, or even into our narrator, Thomas Holloway. Given the cool 'How do you create tomorrow' backcover that has graced each issue, I would have expected this question more actively addressed in the narrative, but sadly not. Rather than revitalising Marvel's illustrious past, Marvels Project has just given us a tour round some very familiar locations. I'm sure Brubaker has a thousand brilliant stories left to tell in his career, but this hasn't been his finest hour. 5/10


UNWRITTEN #13
Writer: Mike Carey
Artist: Peter Gross
DC/Vertigo $2.99

Matt T: This book has gone from strength to strength, with maybe a slight lull before the ‘Mr Bun’ storyline in issue #12, and #13 is no different. Heading back to the main plotline, Carey moves things along to keep an impressive level of tension, peril and mystery by utilising something as simple as a book launch. Even when the unscrupulous editor of Tommy Taylor’s latest adventure is revealed to be harbouring a secret, it doesn’t feel like a needless distraction, but a necessary element to advance the plot. The various twists and turns always keep me guessing, and the ending has me wondering what will follow when the infamous tome of Taylor is finally released. 9/10


AMAZING SPIDER-MAN #631
Writer: Zeb Wells
Art: Chris Bachalo, Emma Rios, Tim Townsend & Jaime Mendoza
Marvel $2.99

Stewart R: Wow, another title that I wasn't so sure about after the first read this week but after the second tear through I'm convinced now that this is a superb piece of comic writing. The use of Emma Rios' art is a slight distraction through the first eight pages, despite being an accomplished effort, but thankfully that start simply feels like an apt prelude to what then follows as Spider-Man confronts one of his most vicious and unpredictable foes. Wells and Bachalo really wring the best out of what is a short and brutal battle of instinct, and the back and forth between the inner voices works tremendously well to propel the action on. What Wells then leads us through demonstrates just how terrible an act of vengeance the Gauntlet is shaping up to be and, with Bachalo masterfully leaving things up to our imaginations at the crucial point, this is a comic moment that will stick with me for quite a while to come. I believe this works particularly well as we're being given an inside view of the manipulation that the Kraven's are enacting and we can do nothing but look on as the terrible events unfold. Chilling, stunning and quite, quite brilliant. 9/10


SENTRY: FALLEN SUN #1
Writer: Paul Jenkins
Art: Tom Raney & Scott Hanna
Marvel $3.99

Tom P: I added this book to my weekly haul and have come to regret that choice a great deal. I didn't flick through it before buying as I didn't want to spoil Siege #4 - this was a mistake as it's a boring read to be honest. I never found the Sentry to be overly interesting but the Void stuff in Dark Avengers and the first three issues of Siege had sparked my interest. If you're a big fan of his then you might enjoy this one-shot a lot more than I did, but all I felt while reading this was that my $3.99 could have been better spent elsewhere. 2/10


FLASH #2
Writer: Geoff Johns
Art: Francis Manapul
DC $2.99

Matt C: In the 25th Century the Rogues are employed as law enforcement officers and have come back to our time to arrest the Flash for the murder of one of their own. It’s a fun premise, and Johns uses it as a means to display various stupendous facets of the superhero’s unique powerset. I’m warming to Manupal’s art a lot more now, and his style fits the tone, blending realism with a more light-hearted, cartoonish quality. This is definitely headed in the right direction, with the balance between Barry Allen’s personal and superhero life kept just right, and if Johns can retain that balance for the duration then I may just have found the Flash book I can stick with and enjoy. 8/10


AVENGERS: THE INITIATIVE #35
Writer: Christos N. Gage
Art: Jorge Molina & Andrew Hennessy
Marvel $2.99

Stewart R: Final issues are always a strange proposition, especially when they're not forced by financial constraints or a lack of readership. The Initiative is brought to an end as the legislation that saw its very formation is repealed at the end of the Dark Reign. Despite the foreseen end point this is not as fulfilling a read as it could have been, with Gage seemingly forced to deal with too many plot points to fit comfortably within the 22-page limit. The scenes in Asgard offer no real shock or surprise, but the inclusion of The Hood there is unfortunately necessary to explain a shift in power, burning more panels that could have been used to flesh out the more deserving stories. The fact that a significant jump in story is included where you would need to pick up New Avengers: Finale to learn how events transpire to then allow Tigra to get her closure irks me somewhat and is part of my major bugbear with Siege as a whole. It was bad enough that readers were going to lose this title, but it's been made worse by an ending that doesn't do justice to the legacy that it will leave. Gage and Molina do their best with what they've been given but it's not quite enough. 6/10


AVENGERS #268
Writer: Roger Stern
Art: John Buscema & Tom Palmer
Marvel $0.75

Matt C: Three Avengers are stuck in Limbo at the mercy of Kang’s machinations whilst the other three attempt to locate their teammates as soon as possible. There are plenty of fisticuffs on display as this issue focuses more on action rather than progressing the plot forward much. That’s okay though, because when Stern manages to weave the Space Phantom (!) into the story, you have to applaud not only his adherence and respect to Avengers history and continuity but also his sheer audaciousness. The art’s stellar as usual, but perhaps it’s worth pointing out that, while I may have labelled this undertaking the Buscema Avengers Project for simplicity’s sake, Tom Palmer was just as critical to the visual prowess of this run as Buscema himself. They aren’t credited as ‘penciller’ and ‘inker’, instead it’s ‘breakdowns’ and ‘finished art’, which gives an indication of exactly how much Palmer contributed. 8/10