Review: Uncanny X-Men #4 – Bendis & Bachalo

UNCANNYX-MEN-NO4-COVER1 As a lifelong X-Men fan going back to the mid 80s, I have followed this constantly shifting crew of heroes and villains into some very exciting and downright mind-blowing periods.  You can look at so many different eras of the various titles and a debate can be had over which of the many big moments are the most important, or the most defining for the X Universe.

Personally, I think this is the start of one of those great eras, beginning with the launching of the Marvel NOW X titles.  With multiple crossover events taking quite a toll on these mutants and their worlds over the past chunk of years, this has put them in a very interesting position.  So for me, it’s a great time to be an X-Men fan, and this 4th issue of Uncanny X-Men is more proof for my brain that while big and sweeping changes may mean difficulties in setting up good stories or even complete arcs afterwards, it can also open a tired area of Marvel’s Universe up to new and special things.

This issue is special in its own way, as it is mostly a scene we saw play out in the newest issue of All New X-Men, except from a whole different perspective.  In ‘All New’ we had the straight up scene, with all the drama and danger it held.  Scott and his new team (the ‘Uncanny’ one) arrive at the Jean Grey School campus, attempting to recruit new members for their team, or ’cause’ depending on how you see it.  The issue ended with an unknown X-Men member crossing sides over to Scott’s “mutant terrorist” group, which was a great cliffhanger.  Luckily, I also read this title, as that ending is continued within this issue #4.

Now, the way this scene plays out is one of those moments in recent X books that make me excited for the future.  Instead of the full scene we had already read in “All New X-Men”, we get the same scene, only lightly told in the background of a psychic conversation between Emma Frost and her ‘Stepford Sisters’ – Celeste, Mindee, and Phoebe.  In the issue of ‘All New’ we see the 3 girls join Scott’s side near the end of the comic, and here we get to see the ‘behind the scenes’ of why they made that choice.  It is a brilliant way to catch an important scene from two completely separate viewpoints, giving a more solid feel for the overall scene itself.

Another major part of this new issue is learning more about the ‘new mutants’ Scott is ‘keeping’ at the new (and very secret) Xavier School.  We open on the group – the whiny Benjamin, the very powerful Eva, the over confident Christopher and the seemingly useless Fabio – discussing their role at the school, and pondering the fact that they have been left to their own devices within the school.  There are some very light attempts at character development, and even some within the group dynamic, but these come off as a bit forced and the scene itself leaves you wanting.  Seeds are planted for what may or may not be future complications and closer relationships among the group, but most of it feels very stereotypical for such a scene.  The most glaring of these is when we have the egotistical Christopher rudely hitting on the smart-ass Eva, in a way so ‘by the book’ that it almost makes the very pages themselves feel stale.  There is no life, no spark of anything between any of the group, save for a short but slightly sweet exchange between Eva and Benjamin.

There is a hilarious section where the new group accidentally find themselves fighting in the Danger Room, not knowing where they are or how they got there.  It’s a great couple of panels, yet it’s nearly completely ruined by the weakly thought out reason behind their plight – goofy Fabio was ‘looking for a phone’ and just randomly hit buttons until the Danger Room was inadvertently activated.  This was a downer to such a great moment, and it really bugged me.

With this title and All New X-Men I have been enjoying Bendis’ writing, but a lot of that has more to do with what is currently happening in the X titles than the actual writing itself.  A lot of times it’s too stiff, too forced.  This is one of those times.  Even with a pretty brilliant story device in the Emma/Stepford conversation, this issue fell flat pretty quick.  Add in a seemingly random problem with Magik, and what you get at the end is a bit of disappointment and confusion.

My main complaint – and this is a spoiler – is that it turns out to be the Angel from the past that joins up with Scott.  That was the ‘cliffhanger’.  It really bothered me that the one character that expressed the most unhappiness with the whole situation would be the one to join.  It may make sense, but it feels too easy.  I expected to be surprised when this was revealed and, though I had figured it would most likely be Angel, I really thought Bendis would have thought that too easy as well.  I’m sure it’s leading into something bigger, but it left me cold, and killed my interest in the idea of a member ‘jumping ship’.  The worst thing a writer can do is kill excitement for a book’s development and although Bendis can write some pretty good stuff when he wants to, this is not a shining moment for him.

A lot of people I know have issues with Chris Bachalo’s artwork for this title, and wish he didn’t work on any of the X books.  While I had major issues with his previous work on Wolverine & the X-Men (where it felt too far ‘out of the box’ with no real grounding at all in the X Universe), I have been a diehard fan of his work since finding him in Shade: the Changing Man in the early 90s.  Not only was that title written wonderfully by Peter Milligan, but Bachalo’s artwork sealed the deal, making it one of my favorite runs in nearly any comic’s history.  So I’m a bit biased, as I’m a huge fan.  I have not had much of a problem here as I had with Wolverine, and a lot of his work is damn beautiful – especially the covers (with the exception of the poorly designed cover to #3), which have become mini-posters on my wall I love them so much.

It may sound like I’m not the fan that I make myself out to be when it comes to the X in Marvel, but it is actually that exact thing that makes me so critical of this issue.  This is one of my favorite recent eras for these titles, and having this issue fall so short of what it has been so far is a real downer.  I hope issue #5 will pick it back up.  I’ll be there, either way.  It’s an X book, after all.

 

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Review: Thanos Rising #1 – Jason Aaron & Simone Bianchi

thanos-risingUsually when I see Thanos’ name thrown around, it’s accompanied with titles such as “The Mad Titan” or “Avatar of Death”. So when Thanos Rising was announced, it was Jason Aaron and Simone Bianchi’s chance to introduce us to the villain making its rounds on the film side of Marvel. This team has set out to make Thanos more sympathetic, detailing the journey it took to create a villain in a more tragic light. Unfortunately, it seems that there is such a thing as being too sympathetic, as this first issue mostly fails to capture the spirit of a killer.

Thanos Rising #1 kicks off with the birth of Thanos himself, as his first moments in life are his own mother trying to kill him, then jumping forward to his life as a teenager. Seeing Thanos as a teenager is jarring- this is a man who conquers entire worlds and kills millions of people –  but at the moment he’s a soft spoken artist. It seems that some of the appeal of this super villain is lost when you begin to pull away the layers to find an child who has a penchant for not harming animals.

That said, Aaron does manage to fit in some truly disturbing scenes into this first issue. The scene where Thanos recounts a reccuring dream to his mother of how she is trying to kill him, while she sits in a straight-jacket, is particularly memorable, as well as a fairly gruesome scene later in the book when Thanos discovers his friends massacred, thanks to Bianchi’s art. It does sow seeds for what is likely to come, but right off the bat it isn’t enough.

Bianchi’s art is a mixed bag. In the aforementioned scene it is particularly fantastic, but some of his character work leaves something to be desired. Faces appear flat and wide, and the children all have the exact same stereotypical body shape of small body and big head – Thanos included. It’s an odd choice of artist, whose work appears more surreal, and perhaps the story would have benefited from more realistic looking art, but we’ll see how this plays out over the next four issues.

The intent is clear in Thanos Rising #1, and the talent is more than capable of delivering on such a promise, but the execution leaves much to be desired. However this is only the first issue of five, and Jason Aaron has proven himself in the past, so I’m willing to give the benefit of the doubt. Let’s just hope it can find its footing soon.

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Review: Superior Spider-Man #7 – Dan Slott and Humberto Ramos

superior-spidey7Dr. Elias Wirtham is a humanitarian about to re-open a free clinic to treat the city’s less fortunate.  The re-christened H.E.A.R.T. Clinic (Hospital for Emergency Aid and Recuperative Therapy) is located in the building that formerly served as a front for Mister Negative’s criminal empire.  The crime lord used the facility’s good works to hide his evil endeavors. Now Dr. Wirtham will treat New York’s poor ill and infirm while as Cardiac he will use the clinic’s remaining hidden passages to conduct medical procedures that have not been approved by the F.D.A. – procedures he deems medical miracles.

He and a team of like-minded doctors work tirelessly healing the forgotten of society with experimental technology. When a little girl with severe brain damage requires a device that can only be procured by stealing it from Yardale Storage, the police impound for items seized at superhuman crime scenes, Cardiac crosses paths with The Superior Spider-Man.

Peter is on the verge of a breakthrough in regaining control over his body from Doc Ock. Before being awakened by the patrol app on his phone Peter attempts to move his hand while his body under Doc Ock’s control slumbers. His attempt at scribbling a note is less than successful and he knocks his notebook into the trash can as Doc Ock wakes to go on patrol. Upon reaching Yardale Storage (also known as the Boneyard), Spider-Man orders the responding police officers to maintain a perimeter and leave the super-powered criminal inside for him to deal with, effectively relegating them to security guard duty. Once inside Spider-Man makes quick work of subduing Cardiac. He is about to pummel the apprehended culprit mercilessly when he hears a voice shout “Stop right there!” The voice belongs to Peter Parker.

Taken aback by the outburst in his head, Spider-Man allows Cardiac to regain his footing. Single-minded the doctor redoubles his efforts to obtain the device that has brought him to this place. There amidst the wreckage of crushed and battered evidence containers Cardiac finds exactly what he is looking for. But there is no way Spider-Man is going to allow him to leave with it, especially when he finds out that the object in question is one of his own technological breakthroughs, a neurolitic scanner, the device that allowed Doc Ock to communicate with his mechanical arms. He attacks Cardiac with renewed vigor and intensity, pinning him to the floor. All set to demolish Cardiac’s face, he is again put off by the disembodied voice of Peter Parker causing his punch to land just beside Cardiac’s head, crushing the concrete floor instead of the doctor’s face. This diversion allows Cardiac to escape but not before Spider-Man is able to attach a spider-tracer to the fleeing doctor’s ankle.

In the aftermath of the battle Spider-Man is collecting his thoughts when he receives a priority one alert from The Avengers. It seems they have noticed his disconcerting and uncharacteristically violent behavior of late. In light of this, Captain America calls for a full battery of tests to prove the identity of this Spider-Man. However this isn’t met with approval, not by a long shot. Spider-Man throws Cap across the room and challenges the entire team to a fight. This is exactly what Peter Parker has been hoping for. Finally Doc Ock’s sinister deed will be uncovered and the process of regaining control over his body can begin.

I have to admit that way back in the beginning when the idea of the “body swap” was announced, I was somewhat less than enthused. Although I am a life-long Spider-Man fan and have thoroughly enjoyed Dan Slott’s work thus far, this was sounding like the time to abandon ship. But I stayed through the entire clone saga so I had to at least try to get through this. As it turned out my misgivings and doubts were completely unfounded. This has been one of the most fun and exciting chapters in the Spider-Man universe in quite some time. I love it. Week after week I look forward to Superior as well as Avenging Spider-Man.

Dan Slott and Humberto Ramos are creating a perfect comic book, not just once but issue after issue. The writing has been flawless. The character of Superior Spider-Man is not merely Doc Ock nor is he just Peter Parker. He is conflicted in a way no other Marvel hero is or could be. He is truly his own worst enemy. Dan Slott has created a perfect anti-hero. Superior Spider-Man does what Amazing Spider-Man refuses to do. He kills, but not indiscriminately. He weighed his options, then he acted but in so doing he opened the floodgates. Now when faced with an opponent who does not deserve such harsh treatment, that thin blurred line is not enough to stay Superior Spider-Man’s hand. He is about to brutally beat a man who albeit by illegal means wants nothing more than to help sick people. These moral dilemmas are skewed when filtered through the mind of Doc Ock and governed over by Peter Parker. Decisions are reached by committee. Dan Slott does a great job of portraying that inner conflict and the helplessness felt by Peter Parker when watching Doc Ock destroy his reputation – but much more than that as Parker watches himself betray that great responsibility that comes with his great power.

This is a great time to be reading Spider-Man, not only for the fantastic writing but also for the amazing art of Humberto Ramos. His work is so dynamic and recognizable. His style is so kinetic and alive that it adds a fluidity and movement to his pages. He has also given Superior Spider-Man a look very much of his own. Subtle in some ways but no less unique are the changes to his eyes, hands and feet which make this a new character, not just a new costume.

The Superior Spider-Man is an original in every way. I love this book and number seven is a good spot for new readers to jump on. It begins a new story arc and promises to be a turning point in the evolution of the story and the character of The Superior Spider-Man.

So until next week see ya at the comic book store. You can follow me here and @bagandbored1 as well as on Twitter @shawnwarner629.

 

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Webcomic Wednesday – Twitter: The Comic

Hello and welcome to Webcomic Wednesday! Each week I take a look at a webcomic and let you know what I think about it. This week I’m taking a look at Twitter: The Comicthe brainchild of Mike Rosenthal AKA @VectorBelly.

twitter-comic

Oh wow, my sides.

I don’t think I have laughed this hard, in so long.

Twitter: The Comic  is just @VectorBelly and a few other artists taking tweets they have found, and making comics about them. At first glance these tweets just don’t make sense – a girl rubs a popsicle on her face, to attract “horned up bees”, or Mitt Romney mistaking a giraffe for Mexico – but when these artists provide their interpretations of these tweets, it is truly something amazing.

It makes me wonder about the nature of the people who tweet these stories. These people are either comedic geniuses, or completely insane. It’s the not knowing that makes these short stories all the more worth while.

If you want to lose an afternoon, you can check out Twitter: The Comic here. It’s absolutely brilliant and a genius idea, one that I’m surprised didn’t get made sooner. Do yourself a favour and check it out.

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.

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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.

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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.

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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.

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Webcomic Wednesday – MercWorks

Hello and welcome to Webcomic Wednesday! Each week I take a look at a webcomic and let you know what I think about it. This week I take a break from the serious stuff and looking forward to some much needed levity, I had a look at MercWorks, the brain child of Dave Mercier.

mercworks

I guess MercWorks reminds me a bit of Three Word PhraseDave Mercier seems to put his thoughts on the page and let it go. Unlike Ryan Pequin’s somewhat insane ramblings, which often veer into NSFW territory, Mercier seems to be a bit more… consistent, sticking to humour that is somewhat based on life, rather than sophisticated poop jokes . And that’s a good thing.

MercWorks is great – whether Mercier is trying to poke fun at his own insecurity, or if he’s creating comics about how he is running out of ideas for comics, it’s always wonderfully self reflexive. MercWorks actually feels like I’m getting to know Mercier through his work, as he comments on loneliness and the awkwardness of his everyday life. It also sometimes makes me think about myself, which only further makes it hurt so more.

You can check out MercWorks here. My favourites are this one and also this one. Check ’em out!

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.

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Review: Constantine #1 – Jeff Lemire, Ray Fawkes & Renato Guedes

Constantine-01cvrI was always a huge fan of Hellblazer, and while I eventually fell behind, Vertigo’s longest running series always had a special place on my shelf. With its end last month in issue 300, John Constantine has a new home in the universe of the New 52, standing toe-to-toe with Superman and Wonder Woman. Jeff Lemire and Ray Fawkes, alongside artist Renato Guedes, are behind the new series Constantine, but has his move to a new home diminished everyone’s favourite anti-hero? Thankfully he’s still the same alcohol swigging cheat he always was in this solid, but fairly standard first issue.

The plot is fairly standard fare for a first issue; it introduces John Constantine, and following a remark about how the world is filled with super-beings, throws him into a case regarding one of his friends, after which he manages to antagonize a fairly powerful sorceress. Just a normal day for our dashing hero. It’s not anything drastically new; it sets up the new world that we find Constantine in now, and also an opening story arc, but it plays it safe.

Playing it safe isn’t necessarily a bad thing – this issue reads more like a proof of concept to fans and makes clear that Lemire and Fawkes understand John Constantine. It has all the elements – his true British dialogue  betrayal, alcohol, and a con job, that makes the story feel like it wouldn’t feel out of place in the realm of Hellblazer.

Renato Guedes’ art looks great, and combined with Marcelo Maiolo’s colouring, it really stands out. While not as smooth as Constantine’s depiction in Justice League Dark thanks to some rough line work, it still manages to impress, particualrly when introduced to the demonic Sargon the Sorceress. Plus, I’m seeing some colours I’d never thought I’d see in a Constantine story, as he travels to an ice hotel in Norway –  a welcome change.

One last thing I will bring up is the nature of magic in regards to Constantine’s introduction to the New 52. Typically in Hellblazer, it was often a battle with Heaven and Hell and anything in between, being grounded within folklore and legend. But with the less religious nature of the DC Universe as a whole, it’ll be interesting if these more traditional elements came in to play some time down the line.

The new home and new creative team may have initially made some worry about a change in quality, or if it could even hold a candle to the original series. Fear not – Lemire, Fawkes and Guedes have shown in this first issue that they get John Constantine, and have set up our hero in a new and exciting world.

The old Constantine is dead; Long live Constantine.

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Sunday Snippets Issue 4

sunday-snippets

A regular roundup of interesting bits and pieces from the comic industry worldwide. If you’ve got an event or other piece of news to share, please drop us a lineYou can view previous issues right here.

There’s been an ongoing battle for who ‘owns’ Superman and the latest instalment in that battle is covered very nicely over at CBR. They also have a piece on Neil Gaiman’s return to Marvel, bringing the Angela character with him.

Interested in geners issues and how they are played out through comics? Then have a look at this.

Marvel wants to add dynamic soundtracks to your comics via its Marvel Gamma service, although it sounds like it has some work still to do.

If you like a good historical graphic novel, then this one on the Normandy Landings may interest you

 

 

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