Review: Avengers A.I. #1 – Humphries and Araujo

avengers-a-i-1And so we begin with the Age of Ultron spin-offs, this one featuring Hank Pym, Vision, Monica Chang, Victor Mancha, and a Doombot. Despite AoU’s truly dire final issue, this seemed like an interesting combination. I love Vision, I find Hank a very interesting and important guy – when he’s written well, and I was interested to see how they would develop Monica as a character in the primary continuity (if you don’t read Ultimates, she’s the current Ults Black Widow).

So… Sam Humphries, who is best known for taking over from Jonathan Hickman on Ultimates, is the writer on this one, and I really only have one word for almost everything he does here.

No.

No no no no no.

No.

To be honest, there’s also some other words that come to mind, but they aren’t appropriate for a review that isn’t preceded by an adult content warning.

I’ve read some other reviews, and I can’t help but wonder… did we read the same book? I hated this book so much that if it had been a physical copy instead of a digital one, I would have burned it ceremonially, and buried the ashes with a small piece of cardboard as a headstone proclaiming here lies what remains of Dr. Henry Pym’s character.

Hank’s no saint, we know this. He’s a mentally unstable, obsessive narcissist, and thanks to that artist’s drawing mistake, he’s also one of the most controversial characters in Marvel’s line-up. But hey, when the writer gets him, he can be very compelling. I think he’s often written badly, but when he’s written well, he’s one of the most interesting and complex heroes out there.

noSam Humphries takes the subtle nuances of his persona, and exaggerates them, turning him into a wisecracking, smarmy, egomaniacal dickwad, who has already apparently forgotten how his out of control A.I. nearly destroyed humanity. I mean, come on. The Avengers almost destroyed reality to repair the mess that was AoU – and yes, as mentioned, Hank is obsessive about his creations. But this is just ridiculous.

What is with writers trying to make characters ‘cooler’ or ‘more interesting’? What is wrong with writing characters in the way that we’ve come to know them? Why can’t someone with a a mental illness be written like a person with a mental illness, instead being turned into a socipoath? While you may think that assertion is a little over the top, that’s exactly the vibe I got from Hank here.

The other characters… whatever. I don’t really care. Steve pops up for a page, and basically tells Monica to let Hank do whatever he wants… I mean what?

I just can’t fathom what is going on with the characters in this book. It’s truly horrendous. The only shining light here is Doombot, who is reasonably amusing, if underused, as a reluctant hero.

What about André Lima Araújo’s art?

Ugh. It’s horrible. Vision looks like a green and yellow brick with some appendages sticking out, the colouring is dull, and everyone’s faces are wonky and flat. Bodies are out of proportion, the page design is snooze-inducing, and all the characters look incredibly young. Where others have praised the action sequence, all I see is a lack of movement, and far too many static panels meant I got very bored very quickly

Over all, it was a real struggle to get through this book. I put the misinterpretation of Hank’s character right up there with Remender’s work with Steve at the moment (Uncanny Avengers, and Captain America), and sadly, it means I won’t be continuing with this title.

Review: Batman & Superman #1 Greg Pak, Jae Lee & Ben Oliver

batman-superman1I am in complete agreement with a whole lot of sentiments being thrown around the Internet. We need another Batman or Superman comic just as much as we need another X-Men title – they just keep coming, and there’s going to be a point of over-saturation. So when Batman\Superman #1 dropped into stores, I merely bought it because I felt I should check it out – and I’m glad I did. Greg Pak and Jae Lee (with Ben Oliver on art duties for the last few pages) have begun something that while it  doesn’t entirely break the mold in the written sense, is still a good story in among some of the most unique and impressive art I have seen in a while.

Firmly rooted in New52 continuity, Batman/Superman #1 sets up the first time the  two met. While it doesn’t initially address the continuity issue of their apparent first time meeting back in Justice League #1, Pak decides to instead have Clark Kent and Bruce Wayne first meet as Clark investigates the murders of Wayne Enterprise employees. Their initial meeting is great, as it reaffirms each of their own personal philosophies, while also pointing out the flaws as well. It’s not new ground whatsoever, but it does help to highlight that this pairing comes from two very different people.

Pak also brings back the signature double narrators that was made popular during the initial run. I’ve always been a huge fan of this form of storytelling – if it’s used correctly. Too often it can appear cluttered and noisy, but Pak doesn’t fall into this trap and manages to control this aspect well. He makes sure each character gets their due, before moving onto the next one. It works really well.

The real star of this issue is Lee’s art though. Each panel is absolutely beautiful – a soft watercolour effect mixed with a muted colour palette making the work look stunning. It’s a shame that he doesn’t do the entire issue however, as Ben Oliver steps up for the final few pages. Oliver isn’t bad by any stretch of the imagination and his work manages to hold his own against Lee, but it does feel a bit jarring when we move to a more pencil drawn approach. Just give Oliver his own title to truly show off his work and that’ll make everyone happy.

With the introduction of a more magical based villain, drawing on the back-ups of Batman in recent months, Batman/Superman is off to a great start. While it doesn’t appear to be breaking any new ground story-wise – just a standard buddy story for two of DC’s biggest hitters – the choice of artist really makes it stand out. If Pak and Lee can keep this momentum going, those qualms of over-saturation will be soon forgotten.

Captain Marvel #13 – DeConnick & Hepburn/Sandoval

Captain-Marvel_13I know I’m a bit late with this one, but I’ve had a bit of a busy week. Having something go viral is a bit of a time sucker.

Anyway – Captain Marvel 13, part three of The Enemy Within. How is it?

I really liked the story, the way Kelly Sue managed to jam a bunch of characters into the one issue was really well done, and I commend her for it. Even so, I did get the feeling it had a bit of ‘middle child syndrome’ about it – it is the middle issue, after all – and as such, it’s not perfect.

For starters, the art is becoming a serious problem for me. Most of the issue is pencilled by Scott Hepburn, but there are two pages that were drawn by Gerardo Sandoval, which wouldn’t normally be that much of a big deal, if the art was pleasing.

Hepburn’s art still has me in two minds. Sometimes I really really like it – and I particularly enjoy the way he draws Jessica’s actions – but then there are points that I dislike it so much I want to scrub it off the page. Faces are a hard to look at at times, with everyone looking a strange mixture of pinched and pouty, which is head-scratchingly irritating. Having said that, his work with poses and movement is impressive, and I found myself flip-flopping between oh my god that’s gorgeous and ugh get it out of my eyeline now please.

Sandoval’s work on page fourteen is really rather unpleasant, mostly because his drawing of Cap is overly muscled (I’m talking Liefeld levels of ridiculousness here – one of his hands looks like it belongs on Hellboy), with ugly facial expressions, and an extreme macho feel that really doesn’t fit with the tone of the book. The supporting characters in these panels are nothing special, and over all, it makes the dialogue on the pages reasonably forgettable.

Story-wise, it’s solid. Some may be confused by the jumping about, but I quite liked it. The story could have otherwise been rather flat without the dynamic aspect of quick story shifts between panels. I particularly liked Spider-Woman and Hulk in the Everglades, even though it’s only over two pages.

There’s a lull in the over all Enemy Within storyline movement, and while there’s plenty of interesting dialogue and action, the actual plot doesn’t move forward much other than to finally bring the dramatic irony aspect to a conclusion.

As usual, the strength of Kelly Sue’s character driven story is what carries this issue. Her secondary characters are dynamic, funny, and a joy to read, and while the art was at times distracting, overall I did enjoy this book. There’s a great little hint at Wendy having a crush on Bruce, Tracey is brilliantly cranky as usual, and Carol is her normal endearingly altruistic self.

Seeing as The Enemy Within only has two parts to go, I’m excited for the next issue of Avengers Assemble, and am hoping that the mini-event doesn’t end with a whimper like Age of Ultron!

Review: Avengers Assemble #16: Deconnick and Buffagni

avengers-assemble-16Avengers Assemble #16 is the second in the ‘Enemy Within’ crossover with Captain Marvel, a five issue arc over the two titles, and written by Kelly Sue DeConnick, queen of the clever dialogue and character driven storyline. While this event focuses on Carol, Assemble #16 certainly isn’t wanting for other characters, with an opening scene based on a SWORD craft in orbit, and plenty of heroes featuring prominently during the battle scene that takes up a majority of the issue.

If you’re not reading Captain Marvel, then this issue probably won’t make a heck of a lot of sense. While the battle is against the Brood, the driving force behind their attempted invasion is Yon Rogg, and his personal crusade against Carol. Out of context, this could be confusing for new readers, or those who have never really followed her character’s story. It doesn’t make the issue any less fun, though.

Kelly Sue does a great job here of incorporating four different settings – a SWORD spacecraft, Carol’s apartment, a battle on the streets, and Yon Rogg’s home – while still keeping the story flowing well. While I’ve seen some criticism of the jumps between scenes or panels, I thought this was a great way to create a feeling of chaos, a parallel between the storytelling, and what’s going on in Carol’s head at the moment.

Matteo Buffagni’s art is pretty darn awesome here. Right from the first page, you can tell it’s going to be a great issue visually. The man has real talent with facial expressions, be them close up, or at a distance. I also really appreciated the design of the book. The panels interconnect really nicely, and there’s a particularly excellent and movement filled page featuring Hawkeye, that I went back to a couple of times just to look at. I really cannot fault the art at all – it’s gorgeous.

As always, DeConnick’s dialogue is witty and feels very natural. Despite this being a very Carol-centric issue, all the characters featured get some good page time, and the team dynamic that has been present in previous issues of Assemble is still very much a core focus. The scenes with the graveyard shift pair of SWORD agents, are just as engaging as those featuring the heroes we know, and there’s some great transitions between locations, particularly where Wolverine starts a sentence while slicing through one of the Brood, and then it’s finished by Abigail Brand talking to the SWORD agents currently orbiting the Earth.

All in all, there isn’t a lot of progression to Carol’s storyline here, but the action more than makes up for it. Unlike some stalwarts on the Marvel roster, Deconnick is able to craft a script that on the surface, appears to have a lot going on and keeps you interested, but it’s not until you finish the issue that you realise not much has really happened. Instead of relying on art to fill pages and panels, she uses character interaction and internal monologue, which is far more engaging and entertaining than some of the more high concept titles out there at the moment.

Assemble #16 was a great look into how Carol’s battle with both her brain lesion, and Yon Rogg’s treachery, is affecting her friends, and the world at large. It further demonstrates her inherent stubbornness, and the chaotic turn her life has taken, while enforcing the theme of friendship and teamwork.

Overall, another enjoyable, action packed issue. I can’t wait for the next in this crossover!

My Pull List: Kimberley Griffiths

my-pull-list

My Pull List is a regular look at the comics we regularly read. Each time we’ll get one comics lover to detail the books they can’t do without month to month. If you’d like to be a participant,drop us a line! This week it’s our contributing writer Kimberley Griffiths.

Looks like it’s my turn to share my pull list with you all, and if you’ve read my reviews and column, you’re probably already thinking you know the kind of titles I’m in to, so let’s see if you’re right.

1. Captain Marvel

Obviously, CM was always going to be the top of my list. Apart from featuring one of my all time favourite characters (plus Jessica Drew, I can’t pass up more Jess), the book is also written by my current favourite writer, Kelly Sue DeConnick. If you aren’t reading Captain Marvel, please please please do start.  Not only do female hero books need all the support they can get (why do you think they keep getting cancelled?), but CM is just simply astonishingly brilliant, for every reason that matters. You can read my review of issues #1-12 here.

2. Hawkeye

Like Sean R, I can’t stop gushing about Hawkeye. The core concepts of this is what I do when I’m not Avenging and if you look a bit closer, I’m actually pretty depressed make Clint a wonderfully relatable and real character. Matt Fraction is doing an A+ job with Clint here, and his writing of Kate Bishop – my favourite Young Avenger – is also spot on. This book isn’t just about Clint, it’s about Kate too. Hawkeye and Hawkguy make the best team – snarky, clever, and best of all, free of romantic tension. It also often features the art of David Aja, one of my favourite comic artists. Always way too long in between issues.

3. Journey into Mystery

I don’t really have much to say about JiM apart from Kathryn Immonen writes Sif so incredibly well, and occasionally Valerio Schiti’s art makes me want to weep.

assemble24. Avengers Assemble

A lot of readers haven’t been enjoying Assemble, but I’ve found it to be a fun, clever title. Particularly since DeConnick took over from Bendis as writer. While there are certainly elements that bother me a little, mostly pertaining to the increased addition of MCU elements, this is handled much more subtly than in Secret Avengers. It features a lot of my favourite characters, and all in all, has a great we’re who’s left in New York right now, so I suppose we should deal with stuff vibe about it. Definitely my favourite Avengers title at the moment.

5. Age of Ultron and related titles

Okay, so I’m mostly reading the AoU books because let’s be honest, you gotta read the big event from your favourite company, right? And I’m a sucker for anything involving time travel, or Tony walking around in his undersuit.

The best of the rest…

Other titles I’m thoroughly enjoying include Saga, FF, Morning Glories, Deadpool, X-Men (even with only a single issue, I can tell this is going to become a favourite), and Fearless Defenders. Sometimes I leave them sitting for a while before I get around to reading them, but when I do, I’m always sucked in straight away.

What am I looking forward to in the way of upcoming titles?  Definitely DeConnick and Emma Rios’ Pretty Deadly (Image).

 

Review: X-Men #1 – Brian Wood and Olivier Coipel

xmen-1The story of X-Men #1 begins with twins separated at birth, one male, one female – both begin life as a strange form of intelligent, evolving bacteria. John Sublime has evolved from the bacterial stage to become the preliminary adversary of the story, but things aren’t always what they seem to be. He is following Jubilee who has with her a tiny traveling companion, a baby. We don’t find out much about the little guy in this issue beside the fact that it is of the utmost importance for Jubilee to get him safely back to The Jean Grey School and once there to give him a family. This task is close to Jubilee’s heart because she came to the X-Men in much the same way, with nowhere to go and no-one who wanted her. The sincerity she feels for this child’s safety and well-being comes across so well in Wood’s writing. This is by far the most emotionally charged of the X-Books and I am not saying that because of the all-female team. I’m saying it because of Wood’s character driven story that focuses on interaction and dynamics rather than pointless action and contrived dialogue.

The chase takes us from Bulgaria to Grand Central Station where Storm, Rogue and Kitty meet up with Jubilee on a moving train. It is Kitty who actually meets her as she phases through the roof of the train to find Jubilee and baby, however unbeknownst to her John Sublime has learned that she is headed to The Jean Grey School.  Once the four X-Men are reunited on board, Jubilee begins to explain her current situation. It is at this point that we see the baby is no ordinary baby. He reaches out his tiny hand to touch one of the train’s P.A. speakers and some sort of electrical charge is passed from his finger into the train’s wiring system short circuiting many of the doors and killing the two drivers. The team flies into action to save the passengers. This scene is another example of how emotion trumps mindless punching. The action is suspenseful and smart, more of the edge-of-your-seat type than smash & crash, but no less exciting.

While waiting for their team mates to return to the school, Rachael and Psylocke are about the business of interrogating John Sublime, who has surrendered himself to their custody. Sublime explains in some detail the danger of his sister’s return. He implores the team to help him, stressing the life/ death seriousness of the situation. The last two pages of the book are gripping and full of tension. Wood has constructed a rich, poignant sequence of events that leaves us wanting the next issue immediately.

Brian Wood is a class act all the way around. He has taken the high road with this book from the costumes to the absence of any male X-Men to come in and save the day (it’s very clear they are not needed here). The gender of this team is not even thought of when you are reading this book – you are just swept up in a great story that is complex, entertaining and ultimately very satisfying. The characters are genuine and altruistic and they come across as very human. Wood has set this book apart from the other X-Books simply by virtue of its distinctive captivating tone. This is not to say that it is the only X-Book worth reading but it is very high on that list.

Olivier Coipel has created a visual delight. His work on this book ranks as some of his best in my opinion, and I consider him one of the best artists working in comics today. He doesn’t waste time with garish pin-up poses of these heroines; instead he draws strong women who just happen to be beautiful. His realistic style brings the characters to life in a way that is sometimes lost in comic books. Laura Martin does a really excellent job of coloring Coipel’s work. Her colors add dimension and emotion providing each page with depth, combining for a visually stunning book.

Overall I think Brian Wood has set the bar extremely high with this first issue. X-Men #1 is a dynamic story that is emotionally charged and suspenseful. Olivier Coipel delivers some of his best work to date concentrating on the plot and not the poses. I would suggest you not pass this one up. In a time when money is tight and comics are expensive this one is worth the $3.99.

So until next week, see you at the comic book store.

Justice League Dark #20 – Lemire / Fawkes / Janin /Cifuentes

justice-league-dark-20The House of Mystery has been seized and Swamp Thing imprisoned – the work of the sinister Doctor Destiny. He has sent his nightmare creations to battle the Justice League Dark, who have recruited The Flash to aid them in the fight. These are the events that bring us up to issue 20 which is the second part of a three issue story arc by Jeff Lemire and Ray Fawkes with artwork by the very impressive team of Mikel Janin and Vicente Cifuentes.

The Flash and Frankenstein find themselves assailed by Doctor Destiny’s constructs of Frankenstein’s bride and their son. The abominations seem to be similar to the Green Lantern’s constructs in that they are the product of “hard energy”, a material The Flash is able to dispel by use of his vibrations. This is a method that will serve them well in battles to come. The two are then off to find the rest of the team beginning with Madame Xanadu, which The Flash accomplishes in scant seconds.

At this point in the story Doctor Destiny is slowly torturing Swamp Thing with fire and a prophecy that promises his ultimate demise. While elsewhere Deadman finds himself at the merciless hands of a twisted perverse troupe of circus performers before he is rescued by Frankenstein, The Flash and Madame Xanadu. The next order of business is to rescue their fearless leader, John Constantine, who is at that very moment busy fighting himself – specifically duplicates of himself made of his own blood. The team shows up and thanks again in large part to The Flash, they make rather short work of the constructs and save Constantine’s chain-smoking cantankerous hide.

Far from a happy reunion, the Justice League Dark welcomes their leader back into the fold with accusations and threats. The plucky Englishman takes it all in stride and suggests they get on with the business of finding The House of Mystery. Once again it falls to The Flash to get this done and once again he does so in a split second. He locates the house and off goes the team to retrieve it; however it is not in its original form – it is twisted and spreading like a patch of bad weeds. Constantine dispatches Frankenstein and The Flash to deal with any street level threats while he and the others go inside in search of Swamp Thing. They are met straight away by Doctor Destiny who greets Constantine as The Last Mage. This leads to a final page cliff-hanger that very deeply impacts the League as a whole but one particular member even more so. Trust me, you will want to read this issue.

There is an under-current of dissension in the ranks all through this issue as the rift between Constantine and his team mates begins to become a chasm. His arrogance and shoddy leadership seem to be pulling the team apart. Lemire and Fawkes are writing the Constantine book as well, so they have become the voice of this character who has been written by some of the best writers in comics today (Andy Diggle, Jamie Delano and Garth Ennis to name a very few). I find the use of Constantine not only in a team but as its leader to be quite contrary to his character but I am enjoying it – Lemire and Fawkes are doing a bang-up job. Constantine in the New 52 is definitely not Hellblazer of the Vertigo universe but it is a good read. I’m on board to see where this goes, whether he is replaced or remains on the team. Justice League Dark is a fun book with perhaps the most unique team dynamic anywhere in comics.

Mikel Janin is superb. He is solid and consistent. His work is flawless. I can’t wait to see what he does on this title as we move into Trinity Wars. He handles the supernatural subject matter so well, especially the scenes of Doctor Destiny.  I would be remiss if I failed to mention Jeremy Cox’s colors here. He adds such dimension to Janin’s work that some of the pages look as if you could reach into them. Overall Justice League Dark is one of the books I look forward to every month. It has been solid since the inception of the New 52 and I hope it continues to gain the readers and recognition a book of this calibre deserves. I unreservedly recommend adding it to your pull list especially now with Trinity Wars gearing up.

So until next week, see you at the comic book store.

Mini-Reviews: Daredevil, Judge Dredd and Todd The Ugliest Kid

daredevilendofdaysHaving completed reading all my monthly pull list, here’s some brief thoughts on each:

Daredevil End of Days #6: Dreading this series ending in two issues. Is there one good reason you haven’t bought this yet?

Daredevil #24: The current story arc could have lost its way but it’s done far from that and the Foggy health scare storyline is as good as anything else going on in the book.

Todd The Ugliest Kid On Earth #3: Still delivering great art, interesting story and a couple of legit belly laughs an issue – doesn’t get much better than that.

Judge Dredd: Year One #1: New mini-series looking at stories from Dredd’s first year as a Judge. Enjoyable, and love IDW’s print quality on these.

Hoax Hunters #8: Frustrating me more and more as time goes on. It meanders, the story remains hard to pick up each month. Some silly sense of loyalty will keep me going to issue 10 but I’m done after that.

Review: Age of Ultron #3 – Bendis & Hitch

Review: Age of Ultron So here we are three issues into the Marvel event, Age of Ultron and this is the story so far:

After being rescued by Hawkeye, he and a battered and unmasked Spiderman join the group of surviving heroes in the burned out remains of a helicarrier in Central Park. A pervasive sense of gloom permeates the meeting as individual members convey their grief over the loss of those closest to them. Emotions run high and tempers flare. When Tony Stark opines that the Ultron problem is not Hank Pym’s fault Hawkeye becomes irate. Captain America intervenes and points out that it is time to formulate a plan. He suggests that since Ultron is bartering for heroes that they offer one of their own. Once inside Ultron’s world this Trojan horse of sorts would wreak havoc from within. There is no shortage of volunteers but we see at the beginning of the book that the mission is given to She-Hulk and Luke Cage. After slugging her and knocking her out Cage approaches the Ultron stronghold with an unconscious She-Hulk over his shoulder.

At this point we see a devastated Chicago skyline where atop a badly damaged building we find the unlikely trio of The Red Hulk, Black Panther and Task Master. They are monitoring the activities of Ultron. It seems they are out to retrieve an Ultron head and spinal column. The Red Hulk successfully acquires this, tearing it from the robot’s body and tossing it to Black Panther. He continues to throttle the robots, pulling them apart limb from limb. Black Panther and Task Master flee with the head, however an explosion sends them flying. Black Panther appears to break his neck. When Task Master finds him unresponsive he takes the Ultron head and continues on his way.

Back in New York, Luke Cage is permitted entrance into the Ultron stronghold. He is led deeper into the structure through corridors lined with golden red-eyed sentries, into the inner sanctum where he is confronted not by Ultron as expected but instead by the floating upper body of Vision. Bendis uses this entire issue to set up the last page. Short on action, this is a dialogue heavy issue but that’s not a bad thing.

The interaction of the characters as they devise the plan to infiltrate Ultron is quite enjoyable. The verbal sparring between Tony and Clint, the father like guidance and wisdom of a world-weary Steve Rogers as he proceeds to dissuade an all too willing Wolverine from jumping into certain doom – through all of this we see the human side of these heroes. The personalities and qualities that have endeared these characters to us come shining through. They are the definition of grace under fire. Bendis is concise but not overly simple, instead he lets each character’s words build upon the others, driving the plot forward through conversation. Even though there is a minimum of fisticuffs in this issue it is extremely fast paced. Bendis doesn’t bog us down with flowery prose and inane rambling – each word is essential, thus the dialogue rings incredibly true. You feel like you are listening to people speak more than reading scripted lines.

The pace is so fast that the book feels much shorter than it actually is. Bendis accelerates toward a shocking reveal and one heck of a cliff hanger.
Bryan Hitch is a master at drawing devastation. His attention to detail is obsessive. It is evident in each twisted girder and exposed beam. The same detail is employed to convey an expansive spectrum of emotions in the facial expressions of the characters. For example the confusion turning to rage on Clint’s face as he argues with Tony comes across very clearly in Hitch’s lines. His lines are sharp and clean but not sterile. There is an urgency to his work that vibrates off the page.

Paul Neary’s inks and Paul Mounts’ colors are equally impressive. Neary is a consummate professional and his work is always meticulous. Paul Mounts’ colors give this book a cinematic look. There are pages that literally glow, appearing almost illuminated in contrast to the darker moodier scenes inside the burned out blackened husk of the S.H.I.E.L.D helicarrier.

Visually, Age of Ultron is vibrant and exciting. The story is engrossing, complex and multi-faceted. It’s solid work from both Bendis and Hitch but by no means is it their best. It poses some very interesting questions pertaining to continuity as well as certain characters, especially Superior Spiderman. The return of Vision is in and of itself enough to get me to pick up the rest of the series.

So until next week, see you at the comic book store.

Review: East of West #1 – Jonathan Hickman and Nick Dragotta

East-of-West-issue1-coverEast of West is one hell of an interesting comic, and that’s just the tip of this beautiful iceberg.  Jonathan Hickman and Nick Dragotta have brought us a world that, while set in what would be our history, looks more like our future…and our past.

We open on a circular arrangement of stones, thin and tall, like fingers attempting to wave their tips at the stars.  In the centre, we see a stone placement, also a circle, with four triangle depressions around the edge.  An explosion of light, bluster, energy and smoke shoot out from this, and as it slowly drops to a layer of thin smoke we can make out some movement within one of the triangle fixtures.

Small hands tear through it and eventually a body pulls itself out, abnormal tubing and the like attached to his chest.  Three others rise from the other triangles – a female and a larger male, all children of a darkly twisted nature.  These are three of the Four Horseman of Apocalypse and, as one can tell from the group of kids – they are missing a member.  Namely, they are missing Death.

We move into a perfectly fitting introduction of the universe this story exists in, and some of the major events that sent it in that direction.  A country already divided due to violent disagreements.  The formation of ‘The Endless Indian Nation’ and a Civil War interrupted by political change, morphing into a double-headed battleground.  It is in this setting that what looks to be a ‘comet’ crashes from the sky, forever changing the Earth as we know it.

We are introduced to the mysterious and unsolvable ‘Message’, one that began with a Prophet and a Chief of Chiefs telling their parts of this message, then falling dead to the ground upon completing their piece.  The final piece – an addendum to exiled Chinese Leader Chairman Mao Zedong’s ‘Little Red Book’ – completes the missing portion of the message, and thereby solving it.  The story within the message?  The story of the end of the world.

With the re-marking of territory and the forming of the “Seven Nations of America”, we leave the ‘flashback’ and are left with a prophesy – a lone man, a ‘broken sparrow’, and a ‘Son of Night’.  “The first of four…” – the end of everything.

Enter the present day, and we’re at a bar known as ‘The Atlas’.  Our lead character walks in, his two companions in tow.  What strikes one right away is their skin color – our lead in all white clothing (including an awesome hat), with bright, bleached-white skin.  A large American Indian man with similarly colored skin.  A woman with skin a dark black, contrasting strongly against the rest of the crew. The team is there on important business, finding a man who had been hired by an unknown party to track them down.  The three use violence (and a little bit of a ‘vision’, showing the man who exactly he is dealing with) to convince the man into giving up his boss, and they take the name and location of their prey away with them.  Whoever it is, they are in ‘The White Tower’, which one can already assume is the seat of some form of Government or another.  With talk about how the Tower is warded – “Bones and Bonded”, as they call it – and the fact that this would hinder any approach by his companions.  Deciding to all meet soon at the ‘Golden Bridge’, our protagonist heads off on his own, jumping onto the back of an insect looking creature and speeding away.

We return to the three remaining Horsemen, finding they have killed loads of people, piling the bodies high into a massive pile.  As they sit and otherwise hang out on this mess of gnarled flesh, they joke about killing, and how hilarious it can be when people react to being murdered by what seems in every way to be only a 5 year old boy.  They exchange quotes and laugh a good while, when they are stopped by the sudden movement of a man – still alive among the pile of carnage.  The three joke with him, asking if he knows any jokes, all while the man begs for his family and for help.  This whole scene is hilariously demented, and is made more so by the characters themselves – a group of three ‘children’.  It is here that we learn the three remaining Horsemen are Famine (a young girl with deep black almond shaped eyes and haywire hair), War (the youngest and smaller looking of the trio), and Conquest – a larger boy in what almost resembles a form of armor.  Eventually, the man learns who these three are, and point out that there is only the three of them.  This angers Famine, and she violently snuffs the voice out.

Our ‘hero’ makes his way not only to the Tower but also – somehow – into its innards, where he comes face-to-face with his prey.  After a lengthy conversation about the nature of his being there, our main character announces that he, himself, is Death, and that he is there to pay the man back for taking something from him in ‘the Badlands’.  We are left here with a scene of gore, and many, many questions left asked and unanswered.

I really enjoyed this title.  It has a similar feel to comics like “Preacher”, and this is in tone as much as in subject matter or setting.  Speaking of the setting, this world is an interesting mix of old and new, something well explored in the ‘Steampunk’ universe – but with a style and a look completely its own.  Let’s call it “Dirtpunk”.  High tech mixed with standard dress and buildings of the day, the White Tower being an insanely large mecha-city while other surrounding areas look right out of a John Ford western.  It works, and the scale is kept even, never dipping too far into either idea.

The artwork is stunning, and one of my favorite points of this book.  It’s just damn beautiful, with thoughtful lines taking full advantage of the unique and interesting character designs. The color art is outstanding, and can dip and dive in all spectrums and schemes, from the lightly phased out look of the ‘backstory’, to the excitingly bright and rich colors found in the remainder of the comic.

The script for this comic finds a nice point between beginning a story arc with rich characterizations and a strong sense of where we are – all with leaving us enough questions to want to know more, but not so many that we feel lost or confused in any way.  The dialogue is as tough and is well written, with far less ‘tough guy’ posturing than you might expect.  The characters aren’t all that layered or filled in, but this is the opening book and what we get here is more than enough to get a grasp on who these people are.

My favorite parts of this title were with the Horsemen ‘children’.  The darkly funny scenes, along with their own confusion in regards to humans and their emotions, is a sell on its own.  Add in the world Hickman has wrapped around it all, and you have yourself a damn fine comic.