The Comics Herald

Review: The Walking Dead #112 – Kirkman, Adlard and Rathburn

Posted on July 16, 2013 by Shawn Warner

The Walking Dead is unique in so many ways, but one of the most singular to the title is that there are truly no story arcs as defined by most other comic books. Instead what you have is one long uninterrupted narrative that progresses organically, driven by conflict and resolution – and within that paradigm characters are defined by their actions in much the same way people are in everyday life. This process makes The Walking Dead a viable, living story that has all but taken on a life of its own.

Each month we are afforded a glimpse into the lives of these characters that have by now become like old friends (or enemies). Robert Kirkman has not only carved out a niche in popular culture, he has transcended the boundaries that would fence many creators in. By making The Walking Dead more accessible than say the George Romero “Dead” films, he has broadened his audience to an amazing extent and tapped into a demographic beyond comic book fans. That said, he has not sold out by any stretch of the imagination – the comic has gotten grittier and more violent if anything. Not long ago, (SPOILER ALERT) one of the main characters, Glen, was brutally beaten to death in one of the most graphic scenes of murder I have ever seen in a major published comic, so obviously Kirkman is not watering down his vision or compromising his ideals just to enlarge his readership. He doesn’t have to; in the case of the modern horror comic he has built the proverbial better mouse trap. The Walking Dead is the standard by which all other horror comics are measured and for that fact alone we are indebted to Robert Kirkman.

This issue picks up only minutes after Negan has killed yet another of Rick’s people, Spencer. Negan opened Spencer from throat to navel, spilling his guts all over the street when he dared approach the hot headed leader of the Saviors covertly about taking Rick’s place. Rick is out with a group of his people collecting supplies to give Negan in return for a continued if tenuous peace. Negan is the kind of villain you love to hate. He is sarcastic and vicious but somehow charismatic. Kirkman’s excellent dialog, although peppered with expletives, gives Negan a frightening appeal; he is compellingly reprehensible, like a charming serial killer.

In contrast Rick is a flawed but good man who is at his breaking point. Negan has pushed him over the edge and Rick formulates a plan on the fly which does not turn out as he and his group had hoped. The Saviors may have appeared to be less than prepared for the attack but as is frequently the case in The Walking Dead, things are not as they seem. The most recent encounter between Rick and Negan is thoroughly entertaining but frustrating to read. Rick finally has had enough but his ill-planned revolt does little but take him from the frying pan into the fire and for that the entire group is sure to suffer. The final page is classic Negan as he illuminates the terrain in which Rick currently finds himself all too hopelessly deployed.

I have been a fan of this book for quite some time now and it has yet to disappoint me. Sure there are better plots than others but right now the book and its creative team are at the top of their game. There is a lot going on and plenty of well written characters to love and to hate and as always tons of bad situations getting worse long before they get better. That seems to have become the trademark of a good Walking Dead story – see how much a given character can take and push them far beyond that point before reaching a resolution. Robert Kirkman has taken us on a 112 issue thrill ride so far and there are no signs of it slowing as yet.

Visually, Charlie Adlard is as solid as ever. His style has become the defining look of these characters, including the zombies, even more so than the television show. His work is moody and emotional bringing a feel of perpetual cloudy skies to the page. Adlard has come to know these characters intimately and that comes through in the detailed way he renders their expressions. Cliff Rathburn’s gray tones add dimension and emotional depth.

Over all this is an absolutely entertaining issue full of all the elements we have can to expect from Kirkman and company. The lightning fast pace speeds you through to a final page that leaves you anxiously waiting for the next issue.

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

Posted in Image | Tagged adlard, kirkman, walking dead | Comments Off

Webcomic Wednesday – Prodigal

Posted on July 10, 2013 by Sean Robinson

Hello and welcome to Webcomic Wednesday! Each week I trawl through the digital space to bring something new and exciting, and hsare it with you, dear reader. This week I’m returning to take a look at a series that has found it’s way to being free online, courtesy of Geoff Thorne and Todd Haris – Prodigal.

Prodigal, which has existed in some form for a while now, has made its way to Thrillbent, joining the ranks of Moth City and Insufferable in being an entirely free digital comic. It’s the story of a pair of hired hands – one is an indestructible man, and the other a deadly assassin woman – who are tasked to retrieve a religious artifact from a group of thieves. It’s standard comic stuff, but from what I’ve read of the first issue, it sets up something quite fun.

The fun extends along the art, which is both suitably animated and violent, and the dialogue, which Thorne manages to make a lot of nice back and forth between the two leads, Pae Mae Jacinto and Byron Lennox. It reminds me of a good odd couple show – and based on the credits of the two creators, whose work extends to almost every other entertainment medium, expect to see some of those sensibilities to shine through.

Just one more quick aside – having seen the first few pages of their original run of Prodigal, and then seeing it translated to the digital form it is in now, I am impressed at how well it has been handled. Pages have been rearranged and details that were once hidden behind the other panels have now come forward – so fans of the previous run will still be able to get something new out of this one.

If you’re interested in checking out Prodigal, and you should because it’s fun (and free), check it out here. It’s updated every Monday, and it is just kicking off so you can get on the ground floor.

Have any webcomics you want me to check out? Let me know on my twitter @Pipes815, or send me a message via our contact form.

Posted in Webcomics | Tagged prodigal, thrilbent | Comments Off

Review: Superior Foes of Spider-Man #1 – Nick Spencer and Steve Lieber

Posted on July 10, 2013 by Sean Robinson

Another double header review from Sean and Shawn – enjoy! – Ed.

Sean Robinson’s Take

Superior Spider-Month kicks off over at Marvel Comics on an interesting note. Superior Foes of Spider-Man #1, is actually anything but Superior – in a good way. Taking a leaf out of Hawkeye‘s book, this story of the new Sinister Six (minus one) focuses less on an overarching threat, or a long form tale involving the team’s titular nemesis, and instead on the day to day lives of this band of C-listers. While it doesn’t seem to come out swinging of the gate quite as well as Hawkeye did, it still manages to be a good time.

Nick Spencer decides to focus on Boomerang AKA Fred Myers for the first issue, and if you have no idea who that is don’t worry. Spencer sets out to tell everyone who Boomerang is, and in turn makes him that little bit more human. It’s an important, and easily overlooked concept that if handled badly could make this book about villains hard to get into. Granted, by focusing on Boomerang it then overlooks the other members of the team which doesn’t necessarily sell the issue as a team based book, but it doesn’t hurt it here.

The story at hand, with Boomerang trying to get his team a job, is fairly straightforward. It does give a bit of an insight into the team dynamic, and positioning the team as a matter of necessity rather than a close knit group of friends does set up for some fun banter, and the dialogue elsewhere, especially in the flashback, makes for some truly funny moments. It even gives the story a Lucky-esque dog character that I hope has more play in future issues.

Lieber’s art is also pretty good too. His use of symbols in the speech bubbles, for background noise or the animals is a particularly neat design choice, and he manages to express characters well. His art style is well suited for a mainstream superhero-comedy title, realistic but exaggerated enough to portray humour. While not as visually impressive as other titles out there it does serve it’s purpose.

Superior Foes of Spider-Man #1 gives the reader – aside from the long-winded title – a fun comic. While I have been throwing that word around a lot, especially in regards to Hawkeye or FF, it manages to get up there in being a title that doesn’t take itself too seriously, which is something that Marvel has been doing a lot lately. But while this issue does manage to channel the right emotions – it doesn’t quite reach those two in quality. Hopefully when the team dynamic gets underway will we see another truly great title from Marvel.

Shawn Warner’s Take

Another Marvel team book is not so news worthy in these “Uncanny” days but when that team consists solely of villains, that can generate some interest. Throw in the fact that these villains are all enemies of The Superior Spider-Man and Marvel just might have another hit on their hands. Not since Norman Osborn headed up Thunderbolts and Dark Avengers has there been a true villain-centric title at Marvel. In fact, Jeff Parker recently wrapped up Dark Avengers and the current Thunderbolts though made up of characters like Deadpool, Punisher and Venom cannot truly be called a team of villains. The success of Secret Six at DC is indicative that there is a fan base for a book like this. The only question I have is what took so long?

Superior Foes of Spider-Man is a bit of a misnomer; these guys are only superior in their ineptitude. They are Marvel’s answer to the cast of Seinfeld – they are a team of D-listers and that is where this disarmingly charming book comes into its own. Boomerang is a down and out ex-baseball player cum swindler who from his current locale behind bars, runs a team of equally bumbling miscreants. They have dubbed themselves the New Sinister Six despite the fact that there are only five of them as yet. Speed Demon and Shocker shoulder much of the comedic load and they do so with the savvy of a seasoned Vaudeville duo. Beetle is more concerned with social media than what’s going on during “team meetings” and Overdrive is the consummate wheelman. These two team up to knock off a comic book store in one of the books funniest scenes full of Nick Spencer’s razor-sharp dialog.

Oddly enough for a Spider-Book debuting during Superior Spider-Month, there is not a single panel featuring Spider-Man, Superior or otherwise. This did not present a problem for me. I thoroughly enjoyed this book much in the same way I enjoy Hawkeye. Now before I get crucified for blasphemy against Hawkguy, let me explain. Both books are very stylish in design – Steve Lieber’s artwork is slick and his old school page layouts have a retro sensibility not dissimilar from Aja’s work on Hawkeye. As for the writing, Nick Spencer and Matt Fraction have taken characters otherwise overlooked by most comic book readers and thrust them into the spotlight. The stories are full of excellent dialog and quirky characterizations written at a snappy pace, with lots of action to boot.

This is only the first issue, but there is so much potential and so many unmined plot gems to be discovered in these vastly unexplored characters – Nick Spencer has his work cut out for him. The team dynamic for a group of cutthroat backstabbers is going to be a joy to develop I’m sure. Then there are the countless solo mis-adventures for each of these characters. I look forward to Shocker and Speed Demon crossing paths with just about any Marvel hero but Deadpool immediately comes to mind. The quips, one-liners and obscure pop culture references boggle the mind. Then of course there are the inevitable run-ins with Superior Spider-Man himself, who just happens to be the former head of the Sinister Six.

I have become a big fan of Nick Spencer, his work on Secret Avengers is something I look forward to every month, so I am extremely happy that Marvel has given him another ongoing monthly series. This book is fun and full of all the things that make comic books thrilling and engrossing. Spencer has the unique opportunity to move these characters from obscurity to centre stage in the 616. Although the events do take place in continuity, this book is not bogged down by that fact. It exists alongside the world of big events – Infinity is even referred to when the Origin Bomb is mentioned.

Steve Lieber is a perfect choice for this book. His style is polished and very hip. He has an eccentricity that comes through in the way he renders a scene right down to the posing and anatomy of the characters within a panel.

I found The Superior Foes of Spider-man to be wildly humorous and absolutely enjoyable. Visually and textually relevant, I whole-heartedly recommend it to anyone who likes some criminal hijinks and first-rate writing and artwork with their laughs.

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

Posted in Marvel, Review | Tagged nick spencer, steve lieber, superior spiderman, villains | Comments Off

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

Posted on July 5, 2013 by Kimberley Griffiths

And 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.

Sam 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.

Posted in Marvel, Review | Tagged araujo, avengers, humphries | Comments Off

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

Posted on July 4, 2013 by Sean Robinson

I 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.

Posted in DC, Review | Tagged batman, superman | Comments Off

Eight reasons Fraction’s Hawkeye is such an important title

Posted on July 2, 2013 by Kimberley Griffiths

Hawkeye is one of those rare comics that come along, and unexpectedly smash you over the head with a glowing truncheon of excellence. While that may not be the most eloquent of descriptions, it accurately describes how I felt about the first issue of Fraction’s brilliantly down to earth take on an Avenger who has generally been relegated to the second-string.

I was wary of Hawkeye in the lead up to its release, concerned that the popularity the film version of the character has found would taint the authenticity of the story existing in the primary comics continuity. I was particularly apprehensive about Matt Fraction writing another character whom I’ve always had a soft spot for, as I still had a bad taste in my mouth from the second half of his run on Invincible Iron Man.

What I was excited for, however, was the inclusion of David Aja on the creative team, and I did really enjoy the Brubaker/Fraction/Aja combination during Immortal Iron Fist. Aja has been responsible for some of my favourite panels from recent years, and I was excited to see how his simple, yet brilliantly expressive style, could work with a character I’ve come to think of as the most inconsistently drawn in Marvel Comics.

So with trepidation, I read the first issue. And then I read it again. And again. I read it four times in twenty-four hours. I gushed about it on tumblr. I stared at the art for a long time just letting the beauty of every panel sink in. I think I may have actually had tears in my eyes at one point, just because it was as close to perfect as I’ve ever seen in a comic.

But why did I feel this way? What made me actually get emotional over some drawings with some words on them? What makes this book the one on my pull list that I anticipate the most each month?

1. Fraction takes a B-lister, and doesn’t immediately turn him into a hero

Many writers’ first instincts when tackling a character, with such an historically bad ability to carry their own title as Clint Barton, would be to have him doing something epically heroic in the first issue. Taking on Taskmaster, or Zemo, or a Brood Queen, with a toothpick and some dental floss – something MacGyver-level silly. Maybe even give him some temporary enhancement, to subvert the belief a comic about a dude without any superpowers will be boring, then take it away three issues later – which is something I sort of expected from Fraction, to be honest.

He usurps this by smashing Clint up so badly in the first two pages, that he’s stuck in a hospital for six weeks. When he does get out, he acts like a childish brat, and stops traffic by letting his wheelchair roll into the road. A page later, he’s at a vet clinic, telling them to fix up a dog that looks like it’s on death’s door.

So I guess while we do get a sense of heroism from this version of Clint, he’s still a dick. He’s still just a dude with a bow. He’s still just a guy. He lives in a building owned by the Russian Mob, which he makes a complete hash of buying in a back room casino. He hangs out with his neighbours and barbecues on the roof, has a fight with the mobsters in the vet’s office, and then gets mistaken for Iron Fist.

Instead of putting Hawkeye on a pedestal, Fraction expertly parodies the popular audience opinion of the character. He gives us a sardonic, three dimensional, morally ambiguous Clint, and isn’t afraid to remind us that he hasn’t always been a good guy. He continually enforces the idea that most people have no idea who the hell he is, and not only is it a brilliant running gag, it also helps to demonstrate how Clint has come in possession of such a low sense of self-worth.

2. Kate Bishop

The most important thing to note about Kate is that she isn’t a former Hawkeye. She is Hawkeye. Just because Clint isn’t running around in the black and yellow Ronin outfit any more (he hasn’t been for a while, to be fair), doesn’t mean she has to give up the mantle. So we have Hawkeye and Hawkguy, and it’s glorious. The rapport between Kate and Clint is excellently conveyed, with Kate being the major thing in Clint’s life that’s keeping him on the straight and narrow, calling him out when he’s wallowing in self-pity, and telling him to stop being a loser when he needs a wake-up call.

The best part about the relationship between Clint and Kate however, is the fact that it’s strictly platonic. Any one-liners alluding to a romantic entanglement are swiftly dealt with, and serve to enforce how comfortable they are with each other as friends. Do I ship them? Uh… yeah. But am I glad Fraction’s said he’s never going to go there? Absolutely.

Kate is the glue that holds this book together. Without her, it would be good, but not great. Hawkeye isn’t just about Clint, it’s about Clint and Kate.

3. The page design

Page design is sometimes overlooked when talking about comic art, which is a shame, because it’s something I’m particularly excited by. Aja’s brilliance doesn’t just extend to the the pencilling – his layouts are dynamic, interesting, and quirky. It just looks so different to most comics out there; an interesting mix of complex and simple, that is really one of the most visually pleasing reading experiences I’ve ever had. The only issue of any comic I’ve enjoyed looking at as much as this title, would be Secret Avengers #18 – Another Aja book.

The layouts of every issue, including the ones where Javier Pulido, and Steve Lieber and Jesse Hamm take over, are a great demonstration of how smaller panels can come together to convey both pace and tone. Even Francesco Francavella’s #10 – while not being the strongest art wise – has some excellent choices in the design department.

4. It’s not afraid to be high-concept

Fraction really pushes the envelope a lot with some of the storylines, and they all pay off big time. The latest issue – #11 – takes a look at the world of Hawkeye through the eyes of Lucky (the Pizza Dog). Not only is there limited discernable dialogue, but the majority of the story is told through simplified diagrams and flow charts. This could have all gone horribly wrong, but it’s the single best issue of a comic book I’ve read since Iron Age. Which is a tough call for me to make, as there have been some wonderful things on offer from many of the Marvel NOW! titles.

Every issue to this point, has taken a risk. The whole idea of trying to give Hawkeye his own title again seemed ludicrous to many – readers and critics alike – but taking the concept of exploring what Clint does when he’s not avenging, pushes Hawkeye out of the superhero genre. It inhabits a strange space where you can’t really pin any genre on it, and that’s partially what makes it so brilliant. Despite the ridiculous situations Clint and Kate find themselves in, they retain one important characteristic – you can relate to them.

5. Nobody lets Clint get away with his bad decisions

Here’s something that you don’t often see happen in any form of media, let alone comics. Everyone calls Clint out for being a dick. Kate,Jessica, Bobbi, Natasha… pretty much every woman in his life isn’t afraid to tell him he’s a self-destructive asshole. And while he tries to defend himself to a point, in the end, he just sits back and takes it.

You’re so wrapped up in hating yourself that any time anybody starts to care about you, or god forbid you start to care about them – you push them away —Jessica Drew, Hawkeye #9

Kate’s there to support him after that zinger, but the fact still remains, that even though everyone loves him and would do anything to help him out, they don’t always like him that much. Even Tony Stark, king of the narcissistic, self-indulgent assholes, tells him he needs to pull his head in.

6. Bro.

Bro. Brobrobrobro.

Bro.

7. It’s visibly contemporary

We see events from our universe bleed into Earth 616, with #7 dealing with how Clint, Kate, and their friends fare during Hurricane Sandy. It could have come across as preachy, exploitative, or opportunistic. Instead it was an incredibly heartfelt issue, focusing on the concept of family, both those we’re born to, and those we choose.

Add to that, Fraction is intent on pointing out that Clint is ageing. He’s divorced. He’s got aches in places he didn’t know he has. He’s sometimes weirded out by the fact that he hangs out with a woman who is barely twenty. You almost feel like these people could be real, living around the corner from you, and that’s what I love in any story, be it comics, books, television, or film.

8. People are people

What’s Fraction’s biggest strength at the moment? Treating every character, no matter their race, gender, sexuality, age, or abilities, as a goddamn person. No character inclusion feels forced, or accommodated for diversity’s sake. Apart from Clint, Grills, and the Russians, most of the featured characters in Hawkeye are women, but then that’s not something that’s clumsily and deliberately pointed out. It’s just the way it is.

So, while I may sing the praises of Captain Marvel, the reality is that both CM and Hawkeye are far and away my favourite books out there at the moment, holding equal places in my heart thanks mostly to superior storytelling.

Hawkeye is such a breath of fresh air, and even though most of Marvel’s crop of current titles are very good, Hawkeye is a true step forward in the superhero genre. Despite the fact that – as previously mentioned – it doesn’t really fit that label.

Posted in Marvel, Opinion | 2 Comments

Jupiter’s Legacy #2 – Millar and Quitely

Posted on July 1, 2013 by Shawn Warner

Even super-heroes are not immune to dysfunction in the family. Mark Millar explores the depths of that dysfunction in his new series, Jupiter’s Legacy. Utopian is the patriarch of a family of super-beings – to call them super-heroes would imply that they are somehow virtuous and that cannot be said for most of them. He struggles to maintain some semblance of morality in this clan of deficient principals, however his struggles seem to be overwhelming even for one who possesses the powers of a “superman”. Besides his drug-addled celebrity children, Chloe and Brandon, who make Paris Hilton and Marilyn Manson look well-behaved by comparison, Utopian has a back-stabbing, power-hungry brother named Walter to contend with.

Chloe has just found out that she is eleven weeks along in an unplanned for and unwanted pregnancy when she is rushed to the hospital to recover from yet another drug overdose. Her “boyfriend”, Hutch just happens to be the son of a super-villain. Brandon looks more like a rock star than a super-hero and he behaves more like one as well. He begins this issue by recklessly and drunkenly using his telekinetic powers to transport a huge cargo ship through the air. The ship is full of containers which start to fall overboard when Brandon loses his concentration. A number of the containers plummet dangerously toward the ground. It is only Utopian’s timely intervention that prevents any loss of life not to mention millions of dollars in property damage. Father and son have a heated exchange full of some very well written dialogue – Millar is quite adept at giving his characters believable voices. Frank Quitely’s awesome visual story telling really shines in this scene as well.

Next we go to Long Beach where Hutch, Chloe’s paramour, makes his first appearance. He is a shady reprobate who has absconded with a shipment of heroin, neglecting to pay for said narcotics. His weapon of choice is something called a “power rod” but he also has the ability to transport anyone foolish enough to annoy him to some rather inhospitable surroundings. For instance when he is approached by a pair of super-powered henchmen representing “The Big Man” whose heroin Hutch pilfered, he simply says the words “shark-infested waters” and bingo! Next thing you know the unlucky henchmen are shark food. This is one of the issue’s highlights – the nonchalance of Hutch just makes this such an awesome moment and Frank Quitely’s cinematic style brings it to life so brutally yet so stylishly.

Utopian finds his brother, Walter in a Cabinet Office meeting with some government advisors. He barges in, making Walter look and feel inferior in front of the government big-wigs. This does not sit well at all with him and makes for a very devious and dubious alliance that begins to unfold on the final page of this issue. I dare not say more suffice to say a knife is looking for a back to call home.

This book has everything I love about good comic books. First of all it has long-time Grant Morrison collaborator, Frank Quitely, who is in my humble opinion the very best comic book artist to grace the printed page. His style is so unique; no one can match the emotion and command of anatomy he wields over his characters. His work is clean with an elegance unrivaled. He lends a sense of humanity to these characters simply by the limitless array of facial expression in his artistic arsenal.

Next there is Mark Millar, who has written Jupiter’s Legacy at a break-neck pace thus far, glossing over some vital history that I hope he gets around to in later issues. That is my only complaint and it is a minor one. This book has come out of the gate firing on all thrusters. I love Millar’s” take no prisoners” style of writing, I have been a fan of his for quite some time. His seminal work on The Ultimates, his groundbreaking Wolverine story, Old Man Logan, the significant Kick Ass trilogy are all examples of the genius of Mark Millar and there are so many other works I could add to that list. With Jupiter’s Legacy he has created a work that will be compared to Alan Moore’s Watchmen and Mark Waid’s Irredeemable for its very human portrayal of super-heroes, their flaws and strengths there to be observed. The plot is intriguing and full of scandalous characters who threaten to bring down a good man who only wants his children to live up to the potential he believes exists within them. I can’t recommend this book highly enough.

If you are a fan of superb writing and just phenomenal artwork this book needs to be on your pull list. So until next week, see you at the comic book store.

Posted in Image | Comments Off

Captain Marvel #13 – DeConnick & Hepburn/Sandoval

Posted on July 1, 2013 by Kimberley Griffiths

I 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!

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Review: Age of Ultron #10 – Disappointment x 2

Posted on June 24, 2013 by Shawn Warner

Something a little different with this review, with both Shawn and Sean throwing their hats in the ring to have a loser look…

Shawn’s take

After ten issues of anticipation and hope for a mind blowing climax that would forever change the Marvel Universe, what I have just read is without a doubt the most disappointing event finale in Marvel history. Age of Ultron is nothing more than a sales pitch to sell more books based on this pointless anti-event – it is a proverbial snake eating its own tail. As disheartening as this issue is, it is not completely without merit – the opening pages reunite Bendis with his frequent collaborator Alex Maleev for one of the highlights but the mish mash of artists on this book destroy any sense of cohesion. All of the art is top-notch by some of the industry’s best but the way they are all thrown together give the book the feel of an ill-conceived jam.

I lost count of the sub-plots that once began were left to wither and die unresolved, like Nick Fury and his team of Avengers that were sent into the future to stop Ultron. So many plot points were touched on, only to ultimately amount to nothing or be rendered moot by the events of issue ten. The majority of the issue takes place in the past as Hank Pym reacts to a warning sent to himself pertaining to Ultron. This adds to the increasing sense of tension as the final conflict with Ultron looms ever closer. However, the disillusionment begins and once it does it never lets up. From here the encounter with Ultron takes place during the time of the Age of Ultron prologue which literally reprints Bryan Hitch’s artwork, only varying the dialogue to reflect changes that occurred during Wolverine and Sue Storm’s time travel mission and Hank Pym’s own interfering with Ultron’s brain.

The final battle with Ultron is summed up with one mighty blow from Thor. While the other Avengers stand around in what appears to be a ceremonial circle, Thor takes the initiative and shatters Ultron to bits with one swing of Mjollnir. Ten issues of posturing and false promises come to an end – but wait, there are more Age of Ultron tie-ins to hype in the remaining pages. In fact once all is said and done, the Marvel Universe we lovingly refer to as the 616 is virtually untouched by the Age of Ultron. As the final pages flip by, the highly- touted introduction of some mystery character (everyone knew who this was going to be) felt more like a last minute afterthought than an event with a nine issue build up. Anti-climactic does not begin to describe the feelings I had to contend with after reading this book. For nine issues I reserved judgment because I love so much of what Age of Ultron consisted of; it had a great writer with freedom to explore any plot he could come up with more or less, it had illustrious artists, it had a remarkable cast of characters that spanned time and space, how could it fail to amaze? For nine issues I disputed my friends and colleagues who discounted the premise without reading the first word. Now after the tenth issue I am completely disillusioned. Of course over the span of ten issues there were some inspired moments, but without a pay-off they amount to spinning wheels, they go nowhere. As lovely as many of the pages were to look at they were merely window dressing.

I am still looking forward to reading Infinity. I have not soured on Marvel or on event books as a whole, (I even liked AVX) but this just felt like a massive waste of time and at $3.99 an issue there is no excuse for an ending like this. By the last page Ultron as a threat or even as a character is forgotten. I can see no lasting ramifications that could conceivably come from the events of this book. The only real result of this fiasco seems to be that now the Ultimate Universe (which is dead already for all intents and purposes) is now slated to be victim of the ill-fated premise that is The Age of Ultron.

Age of Ultron as a whole had glimmers of genuine brilliance but they were quickly abandoned or left to die on the vine. Plot threads that would have led to a much more exciting and satisfying climax were left unexplored in favor of hackneyed and convoluted plot devices that ended in a sales pitch for more Ultronless Age of Ultron books instead of a real resolution. Visually Age of Ultron is stunning – even in the inconsistent conglomeration of fantastic artists that graced issue ten with their work, there is definitely virtuosity. For me Age of Ultron ended up being nine issues of titillating set up with the most dissatisfying culmination. As much as I love comic books, it pains me to have so little to praise in this finale but also as a fan of comics I believe the creators that are entrusted with these beloved characters owe it to us to put out their very best work.

I don’t believe for a second that this is the best Bendis can do.

Sean’s take

And so Age of Ultron ends, in potentially the most anti-climactic way possible. Brian Michael Bendis – and the many artists he brought along for the ride – were definitely on to something. Who would have thought that a post-apocalyptic, time travel story, involving some of the biggest names in the Marvel Universe, with no telling who would live – or die – could turn out so badly? With its drawn out story, erratic use of artists, and little closure for many events that preceded it, Age of Ultron #10 flounders what could have been a truly interesting story.

Where Age of Ultron really suffers is its apparent disregard for many events it set up. Remember Captain America’s assault on Ultron’s future headquarters? The writers seem to have forgotten, as this future where Ultron is in control is never mentioned again. The four chapter build up to that moment feels wasted, and this entire arc could have easily been cut back in those issues. Echoing Shawn’s sentiment about the high price per issue, I feel like Marvel pushed for more issue to pull more money from the readers. Bendis seems to struggle with the ten issues he was given with injecting some plot points that go nowhere, seeming to exist only as filler rather than a fully-fledged storyline.

The entire issue feels like a half-baked mix of many different ingredients. The use of many different artists is difficult to follow, and while each in their own right does look good, the overwhelming mix makes the issue feel disjointed. There is a reason why they usually stick to one artist per issue, and this is a complete embodiment of too many cooks spoiling the broth.

Joe Quesada’s mysterious final pages (which were spoiled for me many months ago) do look great. It’s nice to see him drawing again, but I can’t help but feel that this mysterious and exciting reveal didn’t really need to be here. It didn’t have to be a part of this event and it makes me wonder if this reveal was shoe-horned in at the last minute, as it could have been put in almost any other title.

That’s not to say everything in this issue is bad. Like Marvel’s AvX last year, the set-up to what is to come is much more interesting that the actual event itself. The cross-over to the Ultimate Universe is exciting, and reminds me of the fantastic Spider-Men event last year. Plus the entire Wolverine/Sue Storm relationship was great, and I’d love to see Marvel pick up this again in other avenues.

None of this set up could really save this series. Age of Ultron seems to be an event for events sake. It doesn’t help that before the final issue landed, Marvel began promoting their new Thanos-led event Infinity, not inspiring confidence in their current one. The choices made through this event were odd, and plotlines were fairly quickly dropped. Age of Ultron made so many weird choices that didn’t really inspire interest, just confusion. The only question that came out of my mouth when this finished was just one word.

Why?

Posted in Marvel | Tagged age of ultron | 1 Comment

Marvel Cinematic Universe and Fan Creations At Their Best

Posted on June 23, 2013 by David Holloway

I little birdy tells me that our own Kimberley Griffiths has a quite popular blog on her hands. The Mediavengers Tumblr site has a host of absolutely brilliant fan creations showing Marvel Cinematic Universe characters appearing in mainstream media publications.

Here’s a few as a teaser but go check the lot out for yourself (click on the pic for the full-size image):

The site has had some great attention the past couple of weeks and if the quality of contributions continues I can see it going from strength to strength, but then I’m biased 🙂

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