Comic Review -- Amazing Spider-Man #698: Dying Wish prelude: Day In the Life

Okay, I needed a couple days to write this review.  The big development was a lot to absorb, and I wanted to be sure I came at this piece with a clear head.

I know most fans have read the issue by now, and while I'd love very much to talk plainly about the plot of this issue, I don't plan on spoiling anything until at least next Wednesday.  So, with that in mind, I'll launch into what I hope is a mostly spoiler-free review.

The cover is a picture of Doc Ock, on his deathbed, and truly looking like he's at death's door.  He has two words on his lips that you know are going to mean big things for the issue: "Peter Parker."  Paolo Rivera does a great job of making Octavius look both sinister and pitiful, as the condition of his body clearly shows the abuse he's endured (and, it could be argued, inflicted) over time.  What do these words mean, coming from this man, at this time?  It's a compelling hook, and grabs the reader's interest from the get-go before you even open the issue.  Excellent job here.

It is the writing of this issue that will take center stage, as things are laid out in the form of a typical slice-of-life vignette from Spidey's point of view.  He starts off web-slinging through the city in a carefree manner, moves to intercept a small-time crook robbing a business, and then glides into the non-superhero aspects of Peter Parker's life.  We see that Aunt May, Mary Jane, and Horizon Labs occupy the lion's share of Peter's time, and he moves smoothly through each of them with newfound boldness and confidence until he receives a distress call from his teammates on the Avengers.

He meets them at the Raft, a prison for super-powered inmates administered by S.H.I.E.L.D.  When he's told that Doctor Octopus is moments away from finally dying, Spider-Man asks for a private moment with him.  In the final pages and panels of the issue, they have a brief exchange that changes the entire dynamic of the story and suddenly makes for a harrowing, if not outright horrifying realization.

This is one of those stories that will send you scurrying for your back issues, re-reading and searching for clues as to where the seeds of the current plot were planted.  That's a fun treat in and of itself, but what makes this issue even more noteworthy is that it truly is well written, and would function ably as a "day in the life of" story by itself, even without the big reveal at the end.  It's fluid and versatile, moving effortlessly through the myriad touchpoints in Peter Parker's life and making each of them important without getting clogged by any particular one.  There's humor, heart, and plenty of action that would make it a worthy glimpse into the web-slinger's life.  Dan Slott has always been good with Spider-Man, and it shows here, on several levels.

I'm very happy with the artwork on this issue.  Richard Elson does a remarkable job of matching Slott's storytelling style.  The lines are clean, and convey a kinesthetic confidence that makes it easy to imagine the action in between panels.  Costumes and characters look classic yet fresh, realistic yet dynamic.  Fabela's colors succeed in making both the characters and their environments vibrant and compelling, and round out an amazing visual depiction of a memorable issue.

If you've kept abreast of what's going on and what will be happening in Spidey's universe, you knew this issue would be the start of a harrowing ride.  For me personally, that still did nothing to help me prepare emotionally for the revelation that pops up here. With the #700 finale just around the corner and the new Superior Spider-Man title coming out soon, this final arc has my full attention.  I'm sure the rest of Spidey's readers will agree.  Highly recommended.

I'll have a more spoiler-y video review/reaction next week.

Comic Review -- Avenging Spider-Man #12 / Kevin Shinick, Aaron Kuder, and Matt Hollingsworth

My take on Avenging Spider-Man #12.  Overall an amusing, slightly strange read, but entertaining.  Check out the full video here!

This video can also be found on my Youtube page!

Comic Review -- Avengers vs. X-Men #11 / Brian Michael Bendis, Olivier Coipel, Mark Morales, & Laura Martin

SPOILER WARNING!!  This review contains a BIG SPOILER about a character's fate in the Marvel Universe!  Please DON'T view if you don't know what it is and don't want it spoiled!

Overall, a good issue, though not without its flaws.  Still, it's heartening to see how this story has improved from its less than stellar beginning.  Hope you enjoy!

This video can also be found on my Youtube page!

Comic Review -- Avenging Spider-Man #11

I think I look more pixelated in this review, and I can't figure out why.  :-/  If anyone has any ideas, please let me know!  Enjoy!

This video review is also on my Youtube page!

Comic Review -- Hawkeye #2 / Matt Fraction, David Aja, and Matt Hollingsworth

Quick note: I meant that Clint thinks of Kate as his protege, NOT his mentor, despite what I say towards the end of the review!  Stupid brainlock!

This video is also on my Youtube!  Thanks for viewing!

Marvel NOW! Marvel, What?

Okay, I gotta say: little raccoon with a
minigun is pretty sweet!

Over the summer, a lot happened while I wasn't writing.  Yesterday I mentioned the recent kiss between Superman and Wonder Woman.  Superhero films The Amazing Spider-Man and The Dark Knight Rises came out and caused long lines at theaters (reviews in the near future).  Some big names at DC jumped ship from the New 52 titles.  Oh yeah, and Avengers vs. X-Men is still going on, though it's apparently due to wrap up soon (ish).

AvX has gotten better as it's gone along over the summer, and I'm both eager and apprehensive about its impending conclusion.  I want to see what comes out of such a vicious struggle between these two groups, as it at least in part stemmed from their relative insularity from one another.  Both Emma Frost and Cyclops have made comments that the Avengers have never bothered to help the X-Men with any of their major problems, and the X-Men have responded by often remaining neutral and getting minimally involved in events where the Avengers have had a large stake in matters, such as Marvel's Civil War from a few years ago.  After AvX, this appears to be getting addressed, and I'm interested to see what shape this takes and where it goes.

Yep.  "Nick Fury's" getting a "new
look."

But what makes me more than a little nervous is the sheer number of canceled, new, and "revamped" titles coming out under this new marketing initiative, Marvel NOW!  Characterized as NOT a reboot, but instead a major shifting of the Marvel Universe due to the events from AvX, there will be new teams, new status quos, and new perspectives explored by Marvel's stalwart heroes.  Some of the noteworthy changes I've observed so far seem to be a new regular team that consists of both Avengers and X-Men; a new "version" of Nick Fury who closely resembles the Nick Fury from the Marvel Cinematic Universe (who, as it happens, resembled Ultimate Marvel's interpretation of the character); and the return of Jean Grey, who's deaths in comics have never been permanent, though often well-thought out.

It's all very exciting, but it's also confusing.  To cancel so many long-standing titles like The Fantastic Four and Invincible Iron Man and immediately do another volume of the same title certainly feels like a reboot, or at the very least an unnecessary change.  And you can't argue that this is "just another phase" Marvel's going through, like Civil War, then Secret Invasion, then Dark Reign, then Heroic Age.  To my knowledge, those arcs didn't have anywhere near this scale of canceled and new titles, nor the number of fundamental changes.  Something's going on that's clearly bigger than the storylines of previous years, but not quite as sweeping as an overall reboot like the New 52 was.

It feels like Marvel saw how successful New 52 was, and decided, "We need to do something big and sweeping!  But, er, not quite a 'reboot,' per se.  Let's see what we can come up with!"

Now (pun intended), we're still a few weeks from this, and of course, I'm going to give it a shot.  Despite the reactionary feel to it, I know to give the minds at Marvel some leeway for the most part (except for Quesada.  I will never forgive One More Day.  You better not screw this up, man!).  And it does look interesting.  I'm just feeling a little unnerved by the scale and timing of this particular change.

Bring it, Marvel.  I'm apprehensive, but still eager to see what you do with this one.

GN Review -- X-Men: The Dark Phoenix Saga / Chris Claremont and John Byrne

In a lot of ways, this read was a long time coming.  I've read about the Dark Phoenix Saga for years, and I knew all about it: the seduction of Jean Grey, the Hellfire Club's involvement in her corruption, Phoenix's fall to malice and power and destruction, and Jean's final sacrifice so that her friends, her universe would live.  I've even read small segments of it: Jean holding in Scott's optic blasts so she could see his face, establishment of their psychic rapport, even a few shots of Dark Phoenix's debut and assault on her former teammates.

If this story proves anything, it's that knowing about a story and reading it are two entirely different things.

Collecting Uncanny X-Men #129-137, this arc does way more than I realized it did before finally cracking open the source material to read.  Sure, Jean Grey is manipulated, falls from grace, becomes a force for evil, and sacrifices herself during her final period of clarity; we all know that.  But a lot of other classic events occur during this story arc.

Kitty Pryde and Dazzler are introduced and foreshadowed as potential teammates.  Emma Frost is introduced as the White Queen, who will plague the X-Men in future storylines and eventually become one of their most prominent members.  And Wolverine finally throws down on the Hellfire Club by himself in a classic moment that has become the basis for his establishment as Marvel's badass-in-residence.

One other noteworthy feature about this story is the sheer density of the material.  It took me much longer to read this volume than it takes me to read most modern comics.  Chris Claremont packs every single panel with paragraphs of narration, exposition, and literary exploration as he weaves his epic tale of tragedy.  By comparison, most of today's comics seem to be written for an audience with a much lower attention span.  While I admit it could be a little exhausting to get through at times, I came through with a much deeper understanding and enjoyment of the story than I have with many.

The denouement of the story is what makes it particularly tragic, as the X-Men are kidnapped by the Shi'ar Empire for Dark Phoenix's crimes, and it is revealed that, though Professor X was successful in shutting down the Dark Phoenix, the possibility of her recurrence was all too real.  Jean, who was in control of herself at the time, knew maintaining that control for the rest of her life would be impossible, and engineered her own demise in the duel to the death between the X-Men and the Imperial Guard, regardless of the outcome and despite Cyclops's own plea with her to find another way.  Her explanation of how difficult it would be to keep the Dark Phoenix at bay is particularly moving and revealing, as we see that her absolute power would not only corrupt her absolutely, but also plague her for the rest of her life.

Artistically, I have to give props to John Byrne's work, and the many faces he so adeptly gave Jean as she switched from pure to decadent, from helpless to all-powerful, from angelic to demonic.  His depictions of the characters is widely considered classic, and while it looks less hyper-realistic than some of the art styles widely seen in comics today, it is nevertheless an excellent rendering that allows for a wide range of expressions and dynamics.  Emotion, action, and drama are all convincingly conveyed, enhancing the narrative immeasurably.

Overall, this classic storyline is a must-read for any serious comic book or X-Men fan.  It not only contains one of the X-Men's most heart-rending trials, but is well-told and well-drawn.  Highly recommended.

GN Review -- Marvel 1602 / Neil Gaiman, Andy Kubert, and Richard Isanove

I've been meaning to read Marvel 1602 for years, but only just recently hit that magical convalescence of having the time, energy, inclination, and proximity to put my hands on a copy and read it.  It's an imaginative take on my favorite superhero universe, by one of my favorite writers, and has an epic span that weaves history and fiction so seamlessly that you're almost convinced it could have been a part of the 1600s.

In other words, I can't believe it's taken me so long to read it.

In the year 1602, it is obvious that the world is in deep turmoil.  In addition to all of the provincial strangeness of the era--from the politics between England and its rival countries to countless assassination attempts on the life of Queen Elizabeth--there are other troubles brewing.  The witchbreed, humans born with freakish abilities that set them apart from everyone else, are hunted and persecuted by the Spanish Inquisition and others alike; strange individuals with fantastic powers and abilities are starting to emerge; and most disturbingly, a large, unusually powerful storm from afar is causing instability throughout the entire world, causing rulers and commoners alike to fear for their lives and very existence.

Warning: spoilers abound in this review.  I typically do spoilers, but if you haven't read this, do yourself a favor and stop.  Read the book first.  Enjoy the story as it unfolds.  You have been warned.

Stephen Strange, court physician
to the Queen.

When the queen's court physician, Dr. Stephen Strange, tells her top spymaster, Sir Nicholas Fury, that a powerful and mysterious weapon must be brought to the court from Jerusalem so that Strange can protect it, Fury employs his top freelance agent, the blind troubadour Matthew Murdoch, to retrieve it.  Strange, meanwhile, seeks answers about the far-off storm, while Fury travels to consult with his friend Carlos Javier about the witchbreed and their relationship to the Spanish Inquisition, headed by a Jew named Enrique.  A ship from the colonies, containing Virginia Dare, the first-born American, and her Indian protector Rojhaz, docks in England, marking the first sign that the strangeness affecting Europe is not necessarily confined to it.

As each of these threads twist, turn, and interact with one another, assassins leap from shadows and betrayals are set into motion as we are introduced to a number of other remarkable individuals and plots.  Queen Elizabeth is assassinated by Count Otto von Doom, allowing James VI of Scotland to assume the throne and enact his anti-witchbreed agenda, which Fury reluctantly executes himself.  Doom, a handsome man in this reality, has kept four Fantastick individuals captive, exploiting their abilities for various purposes; Fury takes the captive witchbreed to help him free his friend.  And Strange, who has been given knowledge of current event from Uatu the Watcher, is beheaded as a traitor by James.  Bound to keep the Watcher's secrets while he lived, he communicates from the dead with Clea's help that Virginia Dare and Rojhaz must be taken back to the New World, to the anomaly that is the source of the disturbances, to make the storms stop and preserve existence.

Rojhaz, revealed to be Captain America from the future, does not wish to return to his present time, and is deceived by Fury into a false sense of security before knocking him out.  With Enrique's help, Thor is able to execute Reed's plan and activate the anomaly, sending Fury and Rojhaz through it, gone from their existence forever.  Uatu, both shamed and praised by the Watchers for his part in preserving existence, is given a gift: an alternate universe, the 1602 universe, which he looks at to see how the individuals in it continue their lives.  Now in the New World, the heroes resolve to make an existence and declare independence from England.

I've said before that Neil Gaiman is one of my favorite writers--hell, he's one of my writing gods, frankly--and this story is yet another reminder of why.  In taking the pantheon of Marvel heroes and moving their existence to the time of the colonies, he weaves history in with the established lore of Marvel, subverting both just enough to craft a tale that is both believable in its execution and touching in its devotion.  The small but pivotal story of how this alternate reality's existence ties in with the other realities also pays loving acknowledgment to both the prime reality and the character responsible for its existence.

It made me wonder if perhaps the 2009 Star Trek film got some inspiration from this story in terms of how it both handled and acknowledged the two separate realities.  Just consider: Captain America is Spock...

Matt Murdoch, Fury's blind
freelancer.

We see both the characters and the historical conventions as they existed, but not quite the same as they were.  Matt Murdoch, blind and superhuman, is not Daredevil in this universe, but nevertheless plays the part with aplomb as Sir Nicholas Fury's go-to man.  The Spanish Inquisition, while it never hunted the witchbreeds that populate these pages, is still executing its historical charge of maintaining the status quo of those in power.  It's a surreal and breathtaking experience seeing each subversion each time it occurs, and one that can make you laugh, cock your eyebrows in disbelief, or in some cases, even shed a tear.

Gaiman also does a fantastic job of taking a measured approach to the heroes in this tale.  There aren't too many, and some fairly familiar faces do not show up in this tale, Iron Man being one big example.  Even Spider-Man, arguably Marvel's most iconic character, is downplayed as Peter Parquagh, Fury's assistant, in this tale.  Up until the last few panels of the story, you're left to wonder if that particular hero will even exist in this reality.  Again, the execution is unforgettable.

Artistically, this is a breathtaking story.  Andy Kubert's pencils, which are already nothing if not fantastic, are taken by Richard Isanove and digitally enhanced to give the artwork a finished, painted look that adds a visual flair to the fantastic narrative.  It really helps hold to the sense of magic and surrealism inherent in the story, and keeps you turning the pages to see what's coming next.  Excellent work!

Overall, I again find myself in the position of raving about Neil Gaiman's writing.  This was a story that made me laugh, kept me intrigued, and very nearly made me tear up towards the end.  Anyone who likes Marvel, likes historical fictions, or just likes good storytelling should check out Marvel 1602.  Gaiman, Kubert, and Isanove collaborate beautifully to bring us an epic masterpiece.  Highly, highly recommended.

GN Review -- Sense and Sensibility / Jane Austen, Nancy Butler, and Sonny Liew

While this isn't the first graphic adaptation of an established novel that I've read--The Last Unicorn and The Alchemist come immediately to mind--it is certainly the first one I've read of a novel that by far predates the twentieth century.  Jane Austen is an author whose work I haven't consciously tried to avoid, but who I wasn't at the time sad to have missed.  Having seen several films adapted from her works, I now feel like I should have read them, as the characters are enjoyable.  With Sense and Sensibility, I finally get that chance.

Sense and Sensibility, at least in this version of the story, is about two sisters, Elinor and Marianne Dashwood, two young ladies who are at or nearing marrying age at the time their father passes away.  Despite his wishes, their half-brother John, at the hard-headed behest of his domineering and materialistic wife Fanny, abolishes them, along with their mother and younger sister, to comparative poverty on a meager cottage out in the country.  Out in the countryside, having to make new lives for themselves, the sisters endure parallel adventures in love, heartbreak, and happiness as they each try to navigate the murky depths of courtship.

Elinor, who is an intelligent, chiefly intellectual woman, governs her passions to such a degree that Marianne, who is younger, more expressive and passionate, wonders if she has any feelings at all.  These differing personalities of course influence the kind of men each courts, and while Elinor handles her disappointments with quiet acceptance and deliberate introspection, Marianne wears her heart on her sleeve, at one point falling ill in despair over a failed romance.  Despite their different personalities and approaches, the sisters Dashwood love one another, and support each other as best they can when the other needs it.  When their fortunes finally take a turn for the better, they learn that perhaps their extreme approaches could do with a little more balance between the passion of love and the sensibility of logic.

As far as classical novelists go, I've heard that Austen is definitely one of the more pithy and readable authors out there, and if this adaptation is any indication, what I've heard is certainly true.  While there's not much of the action most comic readers would expect to go with the medium, there's certainly a lot going on, right from the get-go: a father passes away; a headstrong daughter-in-law moves in and makes herself the new mistress of the house; the wife and daughters of the father are essentially evicted; and they are moved to a smaller, comparatively dingy cottage.  Anyone who's ever had to depend on another family member's prosperity or fortunes for their livelihood should be interested in this story, as it's the story of how one's fortunes can change very quickly, often depending on more than just the individual.

The characters were also very memorable, particularly the sisters.  Both at times bordered on ridiculousness with their extreme personalities, and I found myself identifying with each of them as I remembered various points of my own life.  I also liked the character of Willoughby, the dashing young man who seems to good to be true--and eventually is proven to be exactly that--and Colonel Brandon, who I almost immediately visualized as being played by Colin Firth in some adaptation for film.

Artistically, I found myself enjoying Sonny Liew's alternately realistic and cartoony drawings.  I felt like they really complemented the tone and period of the setting, and they reminded me somewhat of the caricature-like political cartoons that often grace the political sections of newspapers.  I don't immediately know if they were around at the time, but they lent a convincing air to the tale that I appreciated.

Overall, Sense and Sensibility was a refreshing break from the many superhero comics I find myself reading these days.  The characterizations are memorable, as is the artwork, and as an introduction to Austen, I found it accessible.  I don't know how thorough it is--and Jane Austen fans, feel free to enlighten me if you want--but I did enjoy it.  Highly recommended.

Comic Review -- AvX VS #2 / Steve McNiven, Kieron Gillen, John Dell, Salvador Larroca, Morry Hollowell, and Jim Charalampidis

I like the illustrations on this cover.  Colossus looks out of his mind with rage as swings at a nimble and no-doubt quippy Spider-Man, while Gambit and Captain America both look like serious business as they struggle against one another.  While I'm not crazy about the large title in the center of the cover, it does make for a nice divider.  Not bad.

These two match-ups go a little more in line with what I expected in terms of an outcome, with plenty of action, name-calling, and destruction, along with a peppering of more AvX Fun Facts.  Though they eventually end up proving pointless within the context of the larger story, it's fun to see these match-ups with some detail and dynamics, as opposed to the brief gloss-overs you tend to see in the larger story.  A fight will start, and then move to another fight, and so on, before getting back to the main story, and such a sprawling narrative really needs a companion series like this, where things can really get exposed a little more in-depth.

Gambit may be one of my favorite X-Men, but watching him get his butt kicked by Captain America was actually very satisfying.  Theirs was actually a good fight, and Gambit got in an especially clever move by charging up Cap's uniform and making it explode while it was on him.  While I was a little surprised at how quickly Cap got up from that, I wasn't at all surprised when it came down to a fistfight, and Cap royally beat the crap out of Gambit.  I mean, for pure melee combat, there aren't many heroes that I think could stand toe-to-toe with Captain America.

And while I'm a big Spider-Man fan--you've seen my picture, right?--I'm not too surprised about how the Spidey-Colossus fight turned out, for two reasons.  First, Spidey was very cocky and presumptuous towards Colossus-Juggs, which is never a good way to go into a fight.  I don't know enough about Colossus since he acquired Cyttorak, but I'm betting he's even tougher than Cain Marko's Juggernaut.  So I'm willing to concede he may have an edge over Spidey.  Second, though, I don't think they'll do an issue where there are two Avengers or two X-Men wins in the same issue.  Just not gonna happen, as you'd risk alienating Avengers or X-Men fans.

When Cap won, I figured Spidey was going to lose.  And so far, my logic's worked.  We'll see if it stands up over the run of these issues.

Artistically, I like Dell's art in the Cap/Gambit match-up better than Larroca's in the Spidey/Colossus fight.  It's more realistic, less cartoony, and nowhere near as overdone.  Cap and Gambit both look like actual people within their uniforms, and while Spidey looks good in his story, Colossus looks too extreme, particularly with his facial expressions.  It's not bad art, but there was a noticeable difference between the two.

It almost makes me wonder how they would look if the artists would switch stories and draw their own versions of the others.  That'd actually be kind of cool to see, now that I think about it.

Overall, I am enjoying this mini-series, and can't wait to see more match-ups.  Are they great storytelling?  No.  Are they witty?  In places.  Are they full of action and destruction as two heroes beat the snot out of each other?  YES.  And that's what this series promises.  Successful delivery.  Highly recommended.

Comic Review -- Avengers vs. X-Men #4 / Jonathan Hickman, John Romita, Jr., Scott Hanna, and Laura Martin

I know I've been pretty critical of this series, but I must admit I like this cover.  It says, "Get Hope."  We've got the young lass on the run, the Phoenix getting nearer, and two teams full of heroes hot on her trail.  It sells the issue pretty well, and Jim Cheung's pencils here really make it look pretty.

Wolverine, who has done a hilariously admirable job of surviving in the Antarctic since Captain America marooned him there last issue, is picked up by Hope Summers, who tells him he's the only one she trusts to finish her off if she can't control the Phoenix--but, she stipulates, she deserves a chance to try.  Wolverine reluctantly agrees, and as the other teams fight each other while trying to track Hope down, he raids  the A.I.M. Worldworks and helps her secure a shuttle to the moon.  Once there, she is confronted by the Avengers and the X-Men, who threaten to start fighting over her fate once more, until Thor comes careening into their location.  He's been hit hard by the Phoenix Force--which has just appeared to all of them.

It's too late.  For better or worse, the Phoenix is on hand.  If it's gunning for Hope, it will probably get her.

Things finally got a lot more interesting in this issue.  I'm not sure if it's due to Jonathan Hickman's deft handling of the material or if there was an emergency editorial meeting that mandated things actually get more readable, but either way, this issue is a marked improvement over what's come so far.  Hope's seeking out of Wolverine for the reason she ostensibly ran away--that he was willing to kill her--was unexpected, and makes me a little more willing to give the girl a chance in the hero department.  Up until now, she's just been a badly written teen, full of snot and noise at all the wrong times; now, she's shown a real willingness to own up to how big all this Phoenix business is, and I do like that.

The beginning of this issue had me in stitches, for two reasons.  First, seeing that Wolverine killed a polar bear and used it as a gory overcoat was nothing short of hilarious.  And of course, Hope using beer cans as bread crumbs to lure Wolverine to her aircraft was a tension-breaking touch of genius that showed that Hope--along with Hickman--knows how to motivate the tough-talking mutant.  Brilliant.

The montage of fight scenes between the two teams as they work their way around the world in search of Hope felt a little obligatory and really did little to add to the story except remind you to BUY AVX VS FOR THE FULL STORY OF THESE FIGHTS.  While I intend to do so--the writing in the first one was better than the writing I'd seen in the first three issues of this main series--I think it's worth saying that this kind of blatant salesmanship is a little insulting to the reader.  If you want to make these fight scenes important to the main narrative, I'm all for them, but for fate's sake, MAKE THEM RELEVANT.

Finally, there's the artwork.  I don't think I've made any secret that I'm not fond of John Romita, Jr.'s artwork for something this expansive and wide-ranging, so I'll stop crowing as much about it for a while.  I will say there's been some moderate improvement in various scenes, particularly the ones where he's just focused on one or two characters per panel.  I really did like the partially shadowed Wolverine at the A.I.M. base after he's just gotten done slaughtering a bunch of bad guys.  His renditions of Hope are also pretty good in some places as well.  It's like when he's just got a little to concentrate on, he does decent.

Overall, I'd say this issue is worth picking up.  The writing is engaging, the artwork is a little more palatable, and things really appear to be coming to a head.  Highly recommended.

Comic Review -- X-Men #27 / Victor Gischler, Jorge Molina, Salva Espin, and Guru eFX

This is a pretty decent cover, though whether it works or not depends on how central you think Jubilee is to the team and the comic.  While Psylocke, Storm, Colossus and Domino all look pretty badass as they square off with Lord Deathstrike and his mercs, her absence is telling, given that the story has basically centered around her and her struggles with vampirism.  You could also say it's symbolic, given the ending of the issue, though I'll elaborate on that later.  In the meantime, I do think this is a nice cover.

Jubilee faces off against Kodo's assassin in a swordfight, and does all the heavy lifting on the banter and smack-talking end, as Lord Deathstrike is completely silent, and expressionless behind his mask.  Meanwhile, Warpath, Domino, Deadpool, and the Forgiven have succeeded in driving off the assassins that had come to kill them, and make their way back to Kodo and the other X-Men.  Unable to best Deathstrike in sword technique, Jubilee allows him to run her through so she can get close to him and, with sword sticking through her back, headbutt him hard in the mask, leaving him prone.  She nearly decides to drain him of blood then, but is stopped by a plea from Kodo and Storm, and spares his life.  He bows to her, teleports away, and leaves Jubilee to decide what her path should be now.  Electing to stay behind with the Forgiven, she vows to learn as much about being a vampire as possible, so that she may do the most good.

This was a good end to the arc I came into a few issues ago, and while I'm not very pleased about Jubilee's departure from the X-Men--she belongs there, as far as I'm concerned, and always will, mutant or not--it's an understandable one, as the Forgiven clearly have much they can teach her.  I think the parallels between these vampires and the X-Men are also noteworthy, in that both are hated and feared by the larger majority, despite the fact that they try to protect both.  So I will give my blessing for her departure, though I hope to see the day she returns home to her real family.

I also like the way the X-Men and the Forgiven have come to a kind of understanding of one another, through Jubilee.  They may not necessarily like one another, but they are more alike than they initially realized, both have had the opportunity to test and respect the other's combat prowess, and they both care for the teenager with the vampire complex, Jubilee.  It leaves the door open for possible future collaborations and storylines, and makes for the kind of relationship you might see in the real world between groups who respect one another: a silent kind of agreement or understanding, without extreme dollops of rage or love that we often see between super-groups in comics.

Also, I have to give props to how Jubilee handled combat with the mysterious Lord Deathstrike (though I do have issues with his name--is he related to Lady Deathstrike?  If not, find another moniker, please).  She clearly didn't have his level of skill, but decided to take a (normally) mortal blow to get close and finish the fight her way.  It was a badass move, and one that drives home the idea that you shouldn't mess with the teenage vampire girl when she's protecting an ally.

Art-wise, Molina continues to deliver a satisfactory rendition of the characters and the action, this time with some help from Salva Espin.  I can't tell who did what and where--it looks pretty much like what I've seen from Molina--but the overall result is a worthy blend of action, drama, and vampiric teenage rage that works for this installment.  One minor nitpick has to do with Jubilee's coat getting shredded during her fight with Lord Deathstrike, and then it being all fine and whole at the end of the issue.  Unless they have extras in the X-Jet, I don't see how this would be possible.

Overall, this was a fun, decent, if not particularly noteworthy romp through the dramas of the X-men and their world.  The story is fun, the artwork is good, and we see the departure of Jubilee for a while from the ranks of the X-Men.  Recommended.

GN Review -- Avengers: The Children's Crusade / Allan Heinberg and Jim Cheung

In continuing my exploration of the Scarlet Witch's recent past, I've skipped ahead to more recent developments, which are nevertheless surprisingly connected to some of the events I saw in Avengers Disassembled.  I was a little surprised to see that this was told mostly from the standpoint of the Young Avengers, who had apparently come about soon after the Disassembled story arc.

During a pitched battle with a group of overpowered zealots, the Young Avengers defeat their opponents only when Wiccan's powers seem to augment beyond his control.  Several Avengers witness this, and remembering all too well how powerful Wanda was, bring him and Hulkling to their headquarters for observation.  They eventually bust out of their new "home" with the help of their teammates and embark on a quest to locate the elusive Scarlet Witch, who Wiccan suspects is his and Speed's mother.  They end up enlisting the aide of Magneto, who may therefore be their grandfather, and travel to Latveria, where they suspect she is in hiding.

When they prove successful in locating her, there are still a number of complications they have to deal with.  First and foremost, she is about to marry Doctor Doom, who seems to be shielding her from her past memories, and also may be intent on keeping her nearby because she's so potentially powerful.  Iron Lad takes them to the point in time just before Jack of Hearts explodes in front of Avengers Mansion, and snatches Scott Lang to bring to the present, much to his daughter's delight.

The rest of the Avengers show up, as do a large group of the X-Men, who then start to argue and fight over Wanda's fate and who should decide it.  In the chaos, Cassie is killed by an over-powered Doom, who soon burns out from the power he stole from Wanda and escapes.  The X-Men decide to leave Wanda alone after an impassioned plea from Wiccan, and she decides to take some time to figure out what she will do with her life now.  The Young Avengers disband, but not before Captain America tells them that they will always be considered Avengers, whether they continue to be heroes or not.

Obviously, there's a lot going on in this story, which at times feels a little out of hand in terms of focus.  In addition to the main plot involving the Scarlet Witch, you have a sub-plot that's still very significant involving Iron Lad--who is apparently Kang at a younger age--saving Cassie Lang's dad, Scott, from his original death in Avengers Disassembled.  There are guest appearances from Doom, Magneto, the Avengers, the X-Men, X-Factor... it can get a little confusing to keep it all from spiraling out of control.

There's also more suspension of disbelief required to read this story than is usual in a superhero comic, mainly because of the involvement of magic and magicks as plot devices for the characters.  Apparently Speed and Wiccan are the "children" Wanda created before Avengers Disassembled, as they look remarkably similar to one another, and to Magneto and Wanda and Quicksilver, and their power sets mimic those of Magneto's children.  It's a very flimsy premise, and essentially one you have to decide to believe simply for the sake of allowing the story to continue.  I was willing to do so, but I will understand if many readers have a problem with this plot point.

Still, for all the events going on, it never really feels clogged or blundering, and Heinberg actually manages to juggle the multiple plots as well as could be expected, managing to infuse them all with feeling, value, and enough action and drama to keep you turning the page.  Wiccan is ultimately the main protagonist, and his quest to find Wanda is genuinely rendered.  Wanda, when finally found, is given plenty of room to shine, and the magnitude of her crimes against both the Avengers and the mutant population is explored in depth.

Art-wise, this is a great story.  I've seen Jim Cheung's work before, but I have to say that he's really got a talent for rendering superheroes in clear, dynamic fashion, and he has no problem with scale.  Be it just a couple of characters or twenty five in a panel, everyone looks marvelous.  Action scenes flow effortlessly, and everyone looks distinct, even if you take away the iconography that would be associated with their powers and costumes.  Very good work.

Overall, I think this is a great story, perhaps a little too big and unwieldy in places, but overall a good telling of the Scarlet Witch's return to the world at large that she helped create, for better or worse.  The believability factor is easy to gloss over in light of the rest of the action and drama, but some readers may feel cheated by it.  Still, the narrative flow really carries the reader through the action in some places, and the artwork is a wonder to behold.  Definitely a must-read for Scarlet Witch fans, Avengers completists, and anyone who enjoys comics primarily featuring teenage superheroes.  Highly recommended.

GN Review -- Avengers Disassembled / Brian Michael Bendis and David Finch

After reading Avengers vs. X-Men #0, I was astounded at how good the Scarlet Witch's tale was, and the urge to understand what had led her to that point became paramount.  I did a little searching, and decided a good point to start reading up about her recent history was Avengers Disassembled.

What unfolds is essentially the worst day ever in the history of any superhero team I've yet read.  Tony Stark, while at the U.N., suddenly is overcome with a sensation of drunkenness and threatens the Latverian ambassador, embarrassing the U.S. and causing him to have to step down.  The deceased Jack of Hearts shows up at Avengers Mansion briefly, then explodes--taking out a good portion of the grounds and killing Ant Man.  Then Vision arrives in a Quinjet--and crashes it into the already mounting wreckage.  She-Hulk freaks out in response, and starts to lose herself in her rage, tearing Vision apart before she can be put down.  And then there's a sudden invasion of Kree aliens, who start shooting at the heroes at the Mansion and the surrounding area and cause the death of Hawkeye before mysteriously disappearing.  All in the span of probably a couple of hours.

A visit from Dr. Strange reveals why so many bad things have been happening to them.  The Scarlet Witch, who at one time had had "children" she essentially created out of thin air, blamed the Avengers for their disappearance, and with the nature of her powers having driven her gradually more insane, she was manifesting some of their worst fears to destroy them.  Captain America tries to explain the situation to Wanda, but she doesn't want to hear it and continues to lash out with her powers.  With Strange's help, they are able to stop her, and she is taken away by her father Magneto, who vows to help her recover in any way he can.

Iron Man has one final bit of bad news, however.  The fallout from his spontaneous drunken episode at the U.N. has caused massive PR and financial crises in his company.  The foundation that he made to support the Avengers can no longer support them, and with the government pulling out any backing due to the embarrassment of the U.N. incident, they simply can no longer afford to exist as a team.  The teammates are forced therefore to disband, and they share recollections of some of their favorite moments from the Avengers history before going their separate ways.

Wow.  The Scarlet Witch is a lot like Eric Cartman.  Do not piss her off, ever.

I've known of the fact that she's supposed to be this uber-powerful member of the Avengers, having probably gleaned it from other stories and what I've observed or heard about from the fallout of House of M, which I also still have yet to read.  But since this story occurs before that one, I'm figuratively seeing her sheer power and imbalance through a mostly unadulterated and clear lens.  She seems mostly unaware that she's even doing the things she's inflicted upon the Avengers, which is extra cause for concern.  She can summon world-ending scenarios without even having to concentrate on them.

It seems the crux of all Wanda's trials and tribulations stems from a very simple but powerful desire--the desire for motherhood and children--transposed against the heartbreaking reality that she is not able to do so.  This desire caused her to use her powers--knowingly or not, I don't know--to create "children" that were, eventually, taken away from her.  Seeing her teammates as responsible, her resentment grew over time, and, with her sanity dwindling, she began to lash out at them without even fully realizing it.

So, it's hard not to pity her, too.

The action of the story is undeniably cataclysmic.  When I have a bad day, that's a problem already.  When my entire family or co-workers have a collective bad day, it's usually tragic.  This is super-powered tragedy, magnified on a cosmic scale and then given a shot of tragedy steroids.  The Avengers' home is totaled.  Several of their friends are killed, one directly by one of their own.  They lose the funding and government support they'd enjoyed until now.  And it was all orchestrated by one of their closest teammates.  It's hard not to walk away from this arc without having had to pick your jaw up off the floor several times, and I salute Bendis for his storytelling acumen here.

Artistically, I can't help but salute David Finch's work.  His characters are detailed, expressive, and work well for the genre and medium.  The action is dynamic, intense, and keeps you turning the page to see what happens next.  The round robin of art done by various artists in the finale also make for a noteworthy collection of styles and colors as the team's most memorable moments are revealed, highlighting how the looks and makeup of the team has changed over the years.

Overall, this is a compelling read, and definitely a must-read for anyone interested in the recent history and current goings-on in the world of the Avengers, and much of the Marvel Universe.  The storytelling is splendid, the artwork is great, and it's simply a pivotal story for a character who seems set to once again play a pivotal role in the upcoming events.  Highly recommended.

GN Review -- Amazing Spider-Man: Matters of Life and Death / Dan Slott, Fred Van Lente, Stefano Caselli, Humberto Ramos, and Marcos Martin

I don't think I've made any secret that Spider-Man is one of my favorite, if not my absolute favorite, comic book superhero. I've read a lot of the more recent story arcs, particularly after the lamentable One More Day, and have to admit I've found the treatment of the web-slinger to be pretty admirable since then. One volume that deserves mention in that group is the collection by Dan Slott and company, titled Matters of Life and Death.

There are several stories included in this collection, starting with the Revenge of the Spider-Slayer arc, where Alistaire Smythe tries to wreak vengeance on NYC's mayor, one J. Jonah Jameson, by using an assembly of insect-based villains--many of whom have a personal connection to the mayor--to kill everyone Jonah holds dear. Of course, Spider-Man gets involved, pitting him against the Scorpion and Smythe's minions, and calling on him to make a significant sacrifice, which even then may not prove to be enough.

We are then shown a story of the new Venom, the one joined to Flash Thompson, who has volunteered to bond with the unit for a total of 20 covert missions. The bonding gives him use of his legs, many of the same powers Spider-Man has, and quite a few other abilities. He uses his gifts to save an international banking magnate, learning that partnering with the Venom symbiote comes with quite a few risks of its own.

Two other plots encompassed in this volume are the funeral of Marla Jameson, wife of the mayor, prompting a personal psychological crisis for Spider-Man, and the Human Torch's death, which has effected Peter greatly and requires more than a little reassurance from the rest of the Fantastic Four. Several stories show the relationship Spidey and the FF had with the Human Torch, and at the end of the arc, Spider-Man is offered the Human Torch's place on the Fantastic Four.

I personally found this collection to be a delight to read. Spider-Man's relationship to J. Jonah Jameson has always been an antagonistic one over the decades, and it's fun to see the stakes amped up now that Jonah's blundered his way into political office. It's also telling to see that Jonah, while constant in his dislike of the wall crawler, is nonetheless willing to use him to divert or mitigate damage, suggesting that he knows deep down that Spider-Man is a good guy. He'll never admit it, but at least he has the werewithal to not blame Spidey for the most significant tragedy that occurs in the story, showing he has at least marginally matured over the years.

This is also the story arc where Spider-Man loses his very powerful Spider-Sense, which has an enormous effect on how he uses the rest of his powers. I remember reading about this, and am not sure how long the effects last or have lasted, but it's one of those questions I've pondered and would have loved to write. I'm happy to finally see the arc where it happens, and can't wait to see more about how he adapts to this loss of
one of his most reliable senses.

Finally, I really enjoyed the Human Torch story arc. I have issues with how Johnny was killed off and then brought back to life so quickly, but the time of his passing has not let me down in conveying a profound sense of loss. The stories Spidey and the FF tell about him are funny, touching, and make clear that Johnny was more than a friend to Spidey--he was family as well. My favorite story is the one the Invisible Woman tells, as it does an excellent job of conveying Spidey and the Torch's collective ability to torment someone with their combined sense of humor.

There are plenty of other good stories and scenes in this volume that are noteworthy and significant, including Marla's funeral, Spidey and Jonah quietly insulting each other during a public ceremony, and Flash's current life paralleling Peter's in many ways. It's all done well, and worthy of reading!

Artistically, there are a number of different styles playing on the different stories in this collection, all of them wonderful. Stefano Caselli brought a fun, detailed, and dynamic visual sensibility to the Smythe storyline, while Marcos Martin's style in the Marla Jameson funeral story was sparse, expressive, and packed an emotional wallop. Humberto Ramos is in his usual top form in the Venom storyline. All in all, the art is excellent collection of several different styles.

Overall, this is a highly enjoyable and well-told collection of stories. Spider-Man fans will definitely want to read this, as will anyone who wants action-filled, dramatic stories with good characterization, excellent myriad art styles, and excellent narrative exploration. Highly recommended.

Film Review -- The Avengers / Joss Whedon, Robert Downey, Jr., Chris Hemsworth, Chris Evans, Mark Ruffalo, Scarlett Johansson, Jeremy Renner, Tom Hiddleston, Samuel L. Jackson, Clark Gregg

So, I'm guessing most of you who read this blog have probably seen The Avengers at least once already, and are well aware of the box office juggernaut (pun intended) this film is becoming.  The advance reviews for it have been unprecedented in their uniform level of praise for a superhero movie, and the ticket sales back up the claim that this movie has not only been hyped, but anticipated at a ravenously frenzied level.  It has action, humor, and a narrative flow that never really bogs down the film, but by now you know this--unless you've been actively hiding under a rock.

And the reviews--oh, the scores of positive reviews--have generally said the same thing: excellent start to the summer movie season, best superhero movie yet, audiences of all ages and markets are going to love it.  The acting, writing, and directing is brilliant.  Excellent moments for all the characters.  Hulk steals the show.

But you already know this.

I'm well aware that any review I write of this film--which I will agree, was spectacular and mind-blowing and fun in a way I haven't quite experienced since Iron Man four years ago--is going to be yet another paean to a film that is racking them up left and right.  I'm also relatively late to this party.  So instead of a straight-up review, I'm going to focus on a few things that stuck out to me about the film and the experience of it.

Warning: spoilers ahead.  If you haven't see this movie and don't want to be spoiled, don't read any further.

I've seen this film twice now, and will probably see it several more times.  Iron Man, as I've mentioned previously, holds the distinction of being the movie I've seen the most times in the theater.  If there's a film that will break this record, it's this one, and I daresay it stands a pretty damn good chance of doing so.  Even after two viewings, my desire to see it again remains exceptionally high.

My first viewing of this film was a midnight showing, and as any fan knows, going to those is always an experience in and of itself.  The number of people in Avengers shirts, costumes, and gear was astounding, as was the overall atmosphere of excitement and anticipation.  I saw girls dressed up in Thor regalia, a Captain America who fashioned a shield out of a trash can lid, and a rather large gentleman who, rightly, got a loud ovation from the crowd when he appeared as the Hulk, his body and hair dyed green.  Applause and cheering were constant, from the moment the film began to the climax of so many excellent scenes, including the post-credits scenes.

The great thing about this experience is the sense of camaraderie and kinship you feel with these folks, all of whom share a high interest in what you do.  It's loud, raucous, and energetic.  It can also, of course, make viewing difficult.

One good example is during the scene where Loki gets beat down--authoritatively--by the Hulk.  We loved that scene.  I laughed harder than I had in a long time when I saw that.  And so did the audience, at length, and in that circumstance, it was all too easy to miss what the Hulk said to Loki as he walked away, leaving the Asgardian staring up at the ceiling in unmoving shock (a pitch-perfect "Puny god!").  I actually didn't catch it until the second viewing (where it was still hard to hear), and a friend I was with was upset that he missed the dialog due to the audience's loud appreciation of the prior moment.

Do you mind, Cap?  Bruce and I were having a moment!

I think the development that came out of this film that I liked the most was the budding bromance that developed between Tony Stark and Bruce Banner.  It's no surprise that these two would connect on an intellectual level--they're both super-geniuses--but I thought it was pretty ingenious to have Tony express an admiration for Banner on both aspects of his life, and then essentially take him under his wing.  The biggest obstacle to this new friendship seems to be Banner's own distrust of his Hulk side, which Tony Stark seems eager to see.  Tony's encouragement of Bruce to embrace his green side was also a brilliant way to set up the idea that the Hulk's rampages can actually be a good thing, a fun thing, a pleasure and an asset, when properly aimed and directed.

I also have to begrudgingly give Joss Whedon his due, in the scene where Agent Phil Coulson is killed.  I didn't see it coming, and I think I may now understand how Firefly fans felt when Wash was suddenly killed off in Serenity.  I mean, that was a surprise too, but I hadn't been as emotionally invested when I saw it the first time.  Here, I was both shocked and horrified, but even as I mourned this character who'd connected previous Marvel films to this one, I found myself nodding in unwilling agreement.  His death was necessary for the Avengers.  After all, they needed something to avenge, if I may finish the character's final, uncompleted thought.

All of the characters have moments to shine, which are all pretty fairly spread out.  Cap gets to be a noble, heroic super soldier.  Black Widow shows she has many skills, including interrogation.  Iron Man is the epitome of Whedon snark and banter.  Thor and Hulk throw down with aplomb, and Hawkeye shows that he's more than a man with a bow and good aim.  Coulson gets to be super-fan and get the last word in with Loki before he fades.  And Nick Fury shows why he's the top spy in the world, keeping and defending both his ship and his command in all his Samuel L. Jackson badass-ness.

There's a million other things I could compliment and talk about in this movie, but chances are extremely high they're covered in other reviews, which you've probably read.  If you haven't seen this movie, do yourself a favor and do so.  Even as a straight-up popcorn action flick, you'll be entertained and engaged throughout.  And if you're a comic book fan, shame on you for reading this review before having gone and seen it already.  Get out of the house and go see it!

Overall, this is a great comic book movie that truly does live up to the massive hype around it.  Packed to the brim with moments of awesome for all of its characters, it's epic, fun, and very clever.  I don't see how you can like superheroes and comics and not see this movie.  Very highly recommended!

Comic Review -- Amazing Spider-Man #684: The Ends of the Earth, part III: Sand Trap / Dan Slott, Humberto Ramos, Victor Olazaba, and Edgar Delgado

Spidey's trials and tribulations just never seem to end, for him and his allies in this case.  This cover shot of him, Black Widow and Silver Sable all caught up in a titanic fight with a desert-powered Sandman really drives that point home and pulls readers in for this issue's story.  The colors here are great, the action is intense, and Black Widow continues to do an excellent impression of Felicia Hardy by leaving her cleavage exposed by black leather.  She'll definitely need a shower later.  At the very least, I'm amused.

Spidey and the Avengers have just been defeated by the Sinister Six in a stunning turnabout.  Silver Sable, who has tailed Spider-Man this far, rescues Black Widow from the downed Quinjet and sets an explosive charge on it.  She uses the distraction caused by its destruction to mask herself, Spider-Man and Black Widow before Doctor Octopus can destroy Spider-Man.  The Sinister Six leave, with the rest of the Avengers in tow, leaving the three heroes to rely on each other to undo Ock's evil plan.

Locating a production facility for Ock's satellites, Spidey uses the down time for their travel, the collective genius of the workers at Horizon Labs, and a little of his own ingenuity to combat the likely threat there: Sandman.  When they find him there, Spidey and his teammates manage to defeat him using the improvised tech he's come up with, and take Sandman off the playing field.  But Ock has already planned for this, and uses his bully pulpit on the world stage to deem Spider-Man a terrorist and demand the nations of the world take him down at any cost!

One thing that I'm glad never changes during these Sinister Six storylines is that Spider-Man always, always needs help from other superheroes to defeat Doctor Octopus and his allies.  Thus far, the escalation between him and Ock has evolved in a believable manner over the years, with Spidey's new tech and Ock's meticulous planning heightening the stakes for each.  That Spidey is also relying on his civilian colleagues at Horizon Labs as well as Black Widow and Silver Sable shows that the game has changed between these two, and that firepower of all types is needed: stealth, brains, brawn, and ingenuity.  It all makes for a story that is both intriguing and amusing, in places.

I mean, come on: Project Pink Hippo?  It's both ingenious and over-the-top cheesy.  In other words, vintage Spidey.  And to whoever created Grady Scraps: kudos.  I really like his character.

Artistically, I continue to enjoy Humberto Ramos's pencil work for this series.  While his characters tend to have slightly bigger eyes than I'd prefer, you can't argue that it makes plenty of room for expressions, which he uses deftly in conveying the story visually.  I also find myself gradually warming to the new costume for this storyline, but I also find myself fretting that it'll soon be discarded once this story is over.  The fight with Sandman was appropriately epic, and, once we see the strategy they employ, quite amusing as Sandman gets manipulated.  Excellent work.

Overall, this was a fun issue.  It had plenty of action, an amusing premise for taking down Sandman, great artwork, and plenty of spot-on dialog for the main characters.  I'm enjoying the story very much, and waiting eagerly for the next part of the story.  Highly recommended.

Comic Review -- Scarlet Spider #2: After Life / Christopher Yost, Ryan Stegman, Mike Babinski, and Marte Gracia

It took me forever to get a copy of Scarlet Spider #2--I hadn't started a pull list by that point.  While I've since corrected that mistake, I still had to wait over a month for a second printing.  Once I got it, I finally allowed myself to read the issues in sequence.  Now, I can finally start reviewing them for you.

There doesn't seem to be as much detail in the second printing variant cover--and explosion seems to have been replaced with simple orange space--but it's still a decent picture.  Kaine is still obviously escaping from a crumbling pile of something, and looking pretty cool doing it.  I'd prefer the full picture for a poster or t-shirt, but this one's not bad for denoting a second printing.

Kaine has done his one good deed, saved a young immigrant girl from a horrible fate, and is ready to leave her in the hospital, washing his hands clean of any further involvement.  He's denied the need to help others, and this isn't his problem.  But when he sees an explosion coming from the direction of the building in which he left her, he flies right back into action, finally donning the Scarlet Spider costume--which looks cool as hell, I might add--and gets into a fight with someone called Salamander, who's hunting the girl down.  Kaine wins the fight, showing during the fight that he's not Spider-Man, pulling a gun and webbing up Salamander after beating him viciously.

When he goes to check on the girl, Aracely, he is asked by her doctor and a local cop to stay in Houston, where a superhero is needed.  They tell him that everyone saw what he did today, and that he'd be a welcome guardian for Houston.  Kaine initially refuses, but then decides otherwise, using some of the money he's come across to take Aracely and keep her in his luxury hotel suite, where he can keep an eye on her.  He finds himself unable to leave Houston yet, seeing a second chance at life and the opportunity to do some good and make amends for his violent past.

It was nice to see Kaine finally put on the costume and throw down with a supervillain.  We can see that, while he's not Peter Parker, he's definitely cut from the same cloth, deep down: he can't abide the suffering of innocent people, no matter what he says.  Despite a much more brutal fighting style and brusque manner, he still has a need to be the good guy, to do the right thing.  It's been his habit to do the opposite up until recently, but he's showing a gradual migration to the side of angels.  We'll have to see how far he gets.

We can also start to see the formation of a supporting cast of characters for Kaine as he starts putting down roots.  People are getting names--Aracely, for instance--and characters like her doctor are getting more exposure than they normally would if they were simply throw-away background characters.  Sure, it feels a bit formulaic, but it does make a certain amount of sense.  Kaine, for all his curtness, is not the Punisher, and will need the help of others, both for superheroing and to help him find and explore his humanity.  I'll be interested to see how this turns out.

Artistically, I very much enjoyed this issue.  The action sequences were intense and fluid, and I just loved the full-page shot of Kaine in the Scarlet Spider costume.  The black and red really works.  Salamander's flames, explosions, and super-heated air made for a visually interesting fight.  Stegman's people look realistic, distinct, and expressive, and his backgrounds nicely complement the main action.

Overall, I'm impressed.  I like the fact that my city, Houston, now has its own "superhero," even if Kaine despises the term.  I'll be interested to see how things progress, and whether the narrative will be able to maintain a compelling story in this new locale.  I like the look and feel of things so far.  Highly recommended.

GN Review -- Ultimate X-Men, v. 1: The Tomorrow People / Mark Millar and Adam Kubert

I've read and enjoyed various incarnations of the Marvel Ultimate Universe, most notably Ultimate Spider-Man and the Ultimates.  The X-Men from this universe, however, have until recently not made it to my hands for a thorough reading.  Sure, I've read about them, and know a lot about their adventures as far as they occur around Spider-Man, but their books have avoided me for a long time.

Wow.  What a read.

I don't know what I'm surprised about, to be honest.  I knew this was the Ultimate Marvel universe, where things were going to be ramped up and amped up to appeal to modern readers without the weight of continuity pressing down on the mythology.  I knew Mark Millar was writing it, and am well aware of how he can present a radical re-imagining of a superhero team in this reality that is both compelling and familiar.  But I was still pretty blown away by what I saw in this volume's pages.

Things start off with a recruitment drive as Jean Grey visits several troubled young mutants and pulls them to Xavier's school.  Their first mission--rescuing the young mutant Bobby Drake from Sentinels--reveals their existence to Magneto, leader of the Brotherhood of Mutants, who quickly decides to raise the stakes for Xavier and his charges.  He sends one of his assassins, the man known as Wolverine (!) to infiltrate and take out Xavier, then kidnaps the President's daughter, demanding an immediate end to the Sentinel program that has been laying waste to mutants throughout the story.

The X-Men go to Croatia to rescue the President's daughter from the Brotherhood, who of course put up a fight and eventually gain the edge when Magneto arrives on the scene.  Magneto, who is visibly upset with the X-Men for foiling his plan, nevertheless has his people help them free their injured, possibly dead comrade Beast, and tells them to "just go."  Cyclops, upset with how badly the mission went, temporarily leaves the X-Men and joins the Brotherhood, while Wolverine, who's seduced Jean, confesses to her his motives for joining--and staying--with the X-Men.  While successful in negotiating a suspension of the Sentinel program, Xavier is nevertheless horrified to see that the President will send them on one more mission: an assault on the Savage Land, Magneto's base of operations.

Magneto's response is both swift and forceful: he reprograms the Sentinels to attack any non-mutants, and sends them back to Washington, D.C.  He goes along with them to execute the President.  Xavier and the X-Men do everything they can to protect the populace, and Cyclops convinces Quicksilver and Scarlet Witch to come with him to stop their father.  In a final face-off, Xavier and Magneto clash, with Xavier surviving only because of the timely intervention of both Wolverine, who's switched sides and joined the X-Men; and Quicksilver, who steals Magneto's helmet and renders him vulnerable to Xavier's telepathy.  Magneto is vanquished in grand fashion, the Sentinel program is put on ice, and the Brotherhood has an opportunity to join the X-Men if they wish--with Xavier promising things will only get more interesting...

There's definitely a familiar feel to this X-Men story: the characters are all there, there's the wooing of prospective mutants, a tug-of-war rivalry between the Brotherhood, and the ever-familiar anti-mutant hysteria among the general populace.  But when the differences come up, they really rise up and smack you across the face.  Wolverine working for the Brotherhood?!  Magneto having eaten human flesh?!  Beast nursing an unrequited crush on Storm?!  Storm as a newbie who barely has any control over her powers?!  Magneto and Xavier so blatantly and forcefully trying to kill one another, despite their past frienship?!

Needless to say, this is a darker, more vicious incarnation of the X-Men and their world, and I'm eager to see what other changes to other characters and plotlines lay in store for future volumes.

Artistically, this was a very well done story.  Adam Kubert, along with brother Andy, deliver X-Men that look remarkably like their prime universe counterparts, with just enough difference thrown in to show that these are not *quite* the same X-Men.  All of the elements sport this motif, from the main characters, to Magneto and the Brotherhood, to the Sentinels.  The locales are all drawn extremely well, and the action scenes are epic, fluid, and memorable.  In short, exactly what is called for in an X-Men comic.

Overall, this was a highly enjoyable read, definitely one that X-Men fans should be aware of.  It's definitely on the darker side of the spectrum, with a more visceral Magneto and a downright vicious Wolverine, but it's also a compelling read, with good art and a worthwhile initial story arc.  Highly recommended.

Comic Review -- Avengers vs. X-Men #0 / Brian Michael Bendis, Jason Aaron, Frank Cho, and Jason Keith

I'd been meaning to read this issue weeks ago, but only recently got around to it.  Since I've already started the AvX stories, I figured I should get this one read and reviewed.  So, here goes!

I like the cover, though the Scarlet Witch and Hope Summers don't really appear together in this issue.  Instead, they have separate stories that feature each of them.  Still, the image is very evocative, and does a good job of selling the notion that these two will play some kind of prominent role in the coming saga.  Hope's apparent role is already pretty obvious, but Wanda's is a little harder to divine.  Still, we only know what's been written up to this point, so anything goes.  Did anyone notice the barely visible greyscale Ms. Marvel and Iron Man also on the cover?

In the first story, the Scarlet Witch makes a reappearance on the superhero scene by foiling as assassination attempt by M.O.D.O.K. and A.I.M. on one of their former scientists who tried to leave them.  While she isn't able to hold them off on her own, she keeps them occupied long enough for Ms. Marvel and Spider-Woman to arrive and help her finish the job.  They are happy to see Wanda, and insist on bringing her back to Avengers Mansion, but she is highly reluctant to go.  When they get there, she is greeted by Vision, her husband, who coldly rejects her and tells her she has no home among the Avengers.  Ms. Marvel flies a crying Wanda off the scene, while Vision silently weeps for his loss.

Hope's story features her flying off Utopia with Cyclops's jetpack.  Apparently she's been taking it upon herself to play solo vigilante to blow off steam.  Cyclops confronts her about it, and she uses the opportunity to ask him about the Phoenix Force.  When he's less than forthcoming, she leaves the island and goes to break up a late-night bank burglary underway by the Serpent Society.  By the time Scott and Emma find her, she's taken down their members and is beating Cottonmouth to a pulp.  She tells Scott that she's not afraid of the Phoenix Force, and that she's ready for it and wants it to come.  Emma expresses that this is all too much pressure for Hope, and Scott replies that either way, for good or bad, Hope is special, and will find a way to handle it.

I really enjoyed the Scarlet Witch's story.  I'm not terribly familiar with Wanda as a character, but I know she has a long, deep history with the Avengers.  It's also not hard to imagine that she's something of a pariah, as she nearly obliterated the entire mutant race with the phrase, "No more mutants" a few years ago to spite her father Magneto.  She's very aware of all of this, and even though she's trying to do better by playing the hero again, she knows she can't go home again, at least not yet.  When Vision rejects her, you can see the fear realized in her face as she tearfully apologizes for her past actions.  Clearly there are a range of opinions about her return: Wolverine and Beast seemed less than thrilled to see her--probably in light of the mutant issue--but Thor and Iron Man, long-time comrades in arms of hers, seemed sympathetic, and even sad to see her go away at Vision's behest.  It makes me more interested in Wanda's backstory up to this point, and I will have to endeavor to read all the Avengers Disassembled, House of M, and Decimation stories where she features so prominently.

I was not so keen on Hope's story.  Again, I'm not terribly familiar with her character either, but all the depictions I've seen of her haven't painted a very good picture.  She comes off as an overpowered, petulant teenager whose sense of self-importance is a little too confident for her age.  She openly defies Scott, blows off his concerns and attempts to discipline her, and barely seems moved by the impending events concerning her.  While she's ostensibly resorting to her vigilante activities as a form of coping with it, I'm still not feeling any real sense of fear, or trepidation, or uncertainty from her.  That would go a long way towards making her portrayal more sympathetic.

The art in both stories is very good.  I like Frank Cho's pencils, and while I have some issues with how old Hope looks if she's supposed to be an actual teenager, I have nothing but praise for how his adult heroes look.  Wanda looks beautiful and almost lost in her apprehension.  Iron Man and Beast looked a little off during their brief appearances, but I'm perfectly willing to forgive that, since they were little more than talking heads with up-or-down thumbs in that story.  Very enjoyable to behold.

Overall, it's difficult at this juncture to see how relevant these stories are to the upcoming AvX arc.  Each is intriguing in its way, and I will be keeping an eye on these two characters throughout the story, but there's little that's conveyed that directly ties in to the main arc.  It informs it more than anything else.  Still, they're good reads--I obviously think the Scarlet Witch feature is better than Hope's--with good art, and worth a glimpse, at the very least.  Recommended.