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 -- 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!

Film Review -- Iron Man / Jon Favreau, Robert Downey, Jr., Gwyneth Paltrow, Terrence Howard

There are many movie reviews that are long overdue on this blog, and Iron Man is perhaps the most such entry for me.  Released in 2008, this fun, high-flying superhero masterpiece by Jon Favreau will go down as the movie that kickstarted the Marvel Cinematic Universe that links several of their recent films, and which recently featured the overwhelming success of The Avengers.  While I don't have as high an opinion of its direct sequel, this movie currently holds the record for repeat viewings in the theater for me, at 6.

Who knows how many times I've re-watched the DVD.

Iron Man has never been one of my all-time favorite superheroes, and at the time the film was released, Tony Stark was not one of my favorite characters due to his role in the Marvel Comics Civil War story arc.  I also didn't have the highest opinion of Robert Downey, Jr. at the time, but I will admit that I found the combination of this actor with this hero was highly intriguing.  Tony Stark was, after all, a highly successful individual whose struggle with substance abuse had damaged his standing before, which is exactly the same thing you could say about Robert Downey, Jr.  The premise was also interesting, and they cleverly used the Black Sabbath song in marketing the film, so I knew I'd end up at least giving it a shot.

It ended up being one of the most enjoyable experiences I'd ever had in a movie experience.  Robert Downey, Jr. was an ideal Tony Stark, making him both a likeable character and an arrogant bastard with effortless ease. The plot and action were highly dynamic and enjoyable; I don't ever recall being bored or restless during any part of the movie, including the origin story exposition.  I particularly enjoyed the idea of Tony Stark as a hero who has actively chosen to embrace his destiny as a hero, which is not a common telling of the hero's story.  After seeing how he realizes his unique position in the world to make a difference, his decision to pursue a hero's life of selflessly defending the weak is both easy to believe and get behind.

Not being very familiar with Iron Man's world, I also enjoyed how very accessible the film made the characters, settings, and actions in Tony Stark's life.  I knew very quickly that Pepper Potts was an important person in Tony Stark's life, as was Rhodey.  Obadiah Stane, I later learned, was a previous villain from Iron Man's rogues gallery, given a little bit of a creative facelift for the film, and he came off as fully realized and believable.  Stark Enterprises and Tony Stark's station as the premiere weapons development were also immediately and believably communicated.  For having read so relatively little about Iron Man in the past, I felt like I really hit the ground running with this film.

The blend of action and comedy made this movie supremely entertaining, and added to its rewatchability.  After seeing it myself and enjoying the hell out of it, I started taking any friends who hadn't yet watched it to see it.  Everyone enjoyed it, and I enjoyed it even more with each subsequent viewing.  Few of my friends were as stunned and excited about the famous post-credits scene as I was, in which Samuel L. Jackson's Nick Fury mentions The Avengers Initiative to Tony Stark, but everyone was pretty wowed by the actor's very brief appearance in the film.  I knew from the second I saw that scene that more movies would follow, including The Avengers.

Overall, I would rank this as one of my favorite comic book movies of all-time.  It's not only enjoyable, action-packed, and funny, but it establishes itself as the first part of a larger universe, which ties in with the lead-in films to The Avengers.  It's fun to notice and connect those links in subsequent films, and it lends itself nicely to repeat screenings, something I don't often say about a lot of movies.  Highly recommended.

Shawarma, Anyone?

 For anyone who reads this blog and happens to still be living under a rock, there happens to be this wildly successful superhero movie called The Avengers, that has broken all kinds of box office records, raised the bar to an insane level for superhero movies, and took Joss Whedon from being a cult favorite to a household name.  The sustained level of praise for The Avengers is unprecedent for a film of its kind, and it's won over fans and critics alike with its winning combination of high-octane action, dynamic storytelling, and deft characterizations.  It is also, probably unsurprisingly, my favorite film of the year, so far.


Right now, I'd like to talk about a small, almost throwaway, part of the film, though, that has had a noticeable impact on sales for a particular food.  Namely: shawarma.

If you're anything like I was, you probably left The Avengers wondering what the heck shawarma was, even after watching the post-credits scene.  Google searches for the delectable Arab dish shot up shortly after the film hit the United States, and apparently sales have received a serious bump due to its fairly prominent mention.  I had never had it before, and was finally introduced to it this weekend by my girlfriend, who's eaten it many times and was happy to broaden my horizons.

I've since had it again, and have to say, that while the presentation and flavors may vary by individual restaurants, shawarma is so far proving to be very tasty in any iteration.  It's a delicious spiced meat preparation (the meats themselves can vary; the preparation of slow-grilling the large hunk of meat and cutting the shavings off the hanging meat are what distinguish it as shawarma), served in a pita with a number of vegetables and sauces.  I'm always glad to try something new in the foods realm, and this food is certain to become a staple of my regular dining repertoire.

Amusingly, if not unexpectedly, shawarma has been making other appearances on the Internet.  Quite a few of them are taken directly from the post-credits scene in The Avengers, while another amusing iteration has popped up in the Marvel: Avengers Alliance game I'm still obsessively playing.  While I can't stock up on it yet due to other considerations (trying to unlock Mockingbird and all the resources that entails), I grabbed a couple of them once they became available and have found them a very useful in-game power-up.   I'll be adding as much of it to my stash as soon as possible, once I've taken care of other in-game business.

For anyone who has yet to try this tasty dish, I would highly recommend it.  I know a lot of my friends out there will actively avoid trendy topics and things that are popular for the moment, but this is one indulgence you shouldn't avoid.  It's highly enjoyable, there's likely more than a few places that serve it nearby, and it's always good to try new foods, if only to be sure you don't like them.  I highly doubt that will be the case here.

Anyway, you've read this far.  Here's a small reward: me, eating shawarma, looking exhausted, in a lame impression of the heroes at the end of The Avengers.  Enjoy, and feel free to laugh at my expense.

Our Obsession With Particular Actors for Particular Roles

One of the developments that I really liked after seeing The Avengers was how the character of Bruce Banner was so amazingly handled.  I truly enjoyed Mark Ruffalo's portrayal of the character, and think his rendition of Banner will be considered the definitive modern portrayal of the character.  He was charming, intelligent, and just a bit bumbling as the gamma-irradiated doctor who's learned to control the beast raging within him (to an extent, at least).  It was truly a joy to watch, and I have no problem saying his performance in The Avengers dwarfs Edward Norton's portrayal of him in The Incredible Hulk.

Of course, that's not to say I didn't like Norton's version of the character, either.  His Banner was also intelligent and charming, but had a little bit more of an obsessive edge and an action hero feel to him than Ruffalo's (who was mostly a nerdy guy out of his element among superheroes,  until he turned into "the other guy), which I can honestly see a need for in a movie where Banner has to be the main hero.  I'm glad his star power and recognition helped that film do what it needed to do to be successful, and I respect that it allowed the character to come to The Avengers and take a different direction.  It reinforced, in my view, the idea that different actors can play the same part when a project needs it, and each contribute to the overall success of the whole thing.

But some people just can't avoid picking a fight.

I can't tell you how many snide comments I'd heard--mostly before the movie was released--of people claiming that Edward Norton's absence was going to ruin the character and, somehow, the whole rest of the film.  It was like continuity itself had taken a hit, and would alter the entire trajectory of the movie, simply because Bruce Banner would be sporting a new face and frame.

While these naysayers have been for the most part roundly silenced by the success of The Avengers, it reminds me of the obsession so many moviegoers and television watchers have with associating one actor so exclusively with one single part.  I remember, on more than one occasion, fans of the Harry Potter films claiming that if Daniel Radcliffe, Emma Watson, or Rupert Grint ever left their roles, that they would stop watching the films because, as they put it, those actors were "the only ones" who could play those parts.  The audiovisual establishment of a character in a movie or a television show is, apparently, a sacrosanct thing that can not be violated for any reason for these people.

Umm, no.

In the Harry Potter films, Richard Harris plays the character of Albus Dumbledore for the first two films, and then is replaced by Michael Gambon for the rest of them due to Harris's death.  In the awesome 2009 Star Trek reboot film, the parts of the Enterprise crew members are portrayed by a number of new actors, for the simple reason that the surviving originators of those parts are too old to play their characters as young as the movie needed.  What do these situations have in common with Ruffalo's succession of Norton as Bruce Banner?  Simply, they collectively stamp the reality that parts change actors in the film industry with regularity, and for a number of legitimate reasons.  Contractual disputes and creative differences are just as valid reasons for shifting parts to another actor are as death and aging are, which is something I feel many fans need to remember and respect about their favorite films.

Was Ruffalo a better Bruce Banner than Edward Norton?  In many ways, I think so.  But even if I'd favored Norton's performance, I wouldn't be (and wasn't) upset that Ruffalo replaced him after The Incredible Hulk.  I loved Richard Harris's Dumbledore, but also thought Gambon did a wonderful job with the role, and that he contributed largely to the franchise's success.  And as for Star Trek... come on.  That was just a no-brainer.  If you're rebooting the franchise after several decades, you have to go with another cast.

As The Amazing Spider-Man approaches release, I'm seeing more iterations of this obsession, as people bemoan Tobey Maguire's absence and claim that Andrew Garfield just won't be anywhere near as good as Peter Parker.  It's difficult for me to sympathize with them, not because I didn't like Maguire--on the contrary, I thought he was great--but because I understand that these are films, with there own sets of rules and conditions that go into their production; and that these stories are separate from the films that preceded them.

Tobey Maguire, while a great Peter Parker and Spider-Man for the Sam Raimi films, was never the only Peter Parker to me.  He embodied a lot of the qualities of Peter Parker, but not all of them.  There were different looks and attitudes I'd seen of the character in the comics.  There was Peter Parker as drawn by Mark Bagley in the 1990s.  There was Ultimate Peter Parker, also drawn by Bagley.  There's also the post-One More Day iteration of Peter Parker, who's similar but not quite like the others.

What I'm liking so far about Garfield's Peter Parker is that he brings a bit more sass and edge to the role.  While I know some old-school purists will decry that aspect, I think he's channeling a lot of Ultimate Peter Parker in that respect, and I think for this day and age, it makes a lot of sense.  Even nerdy kids feel the need to lash out or quip back at a world that often seems out of their control, and I think a lot of the decisions I've seen Garfield make as an actor make for just as valid an interpretation of Parker as Maguire's.  He's bringing us a different Peter Parker who's just as much the real thing as the others.

I think we need to occasionally step back from our obsessions with this aspect of storytelling, and take pleasure in simply enjoying the stories.  It's perfectly fine to like one actor's interpretation of a role better than another's.  And it makes perfect sense to be upset or bummed when an actor leaves a particular part.  But making categorical statements like, "I won't go see these films anymore if Maguire's not Peter Parker!" or claiming that Norton, Harris, or Shatner's absences from the roles they originated will ruin all subsequent films or shows is simply absurd, and doesn't make for a good appearance to others.

If nothing else, remember that these are fictional characters.  Mythological figures, if you will.  They may seem real, but they're not.  The actors who play them are real people, with their own talents, lives, flaws, and motivations.  I think it's showing a measure of respect for them not too obsess too much over their portrayal of one particular character.  In the end, they're portraying this one character in addition to hundreds or thousands of others.  Enjoy those portrayals, but make sure it doesn't come at the expense of your enjoyment of the rest of the story.

You may find that, once you get into the overall experience of the story, one actor's departure from it may not be so bad.

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.

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.

Comic Review -- Avengers vs. X-Men #3 / Ed Brubaker, John Romita, Jr., Scott Hanna, and Laura Martin

I really like the cover of this issue.  It's intense, personal, and vicious as Cap and Wolverine struggle for dominance.  Costumes are torn, sweat and what appears to be blood are flying, and both men are determined to beat the other.  The artwork itself is wonderful, and it really sells the idea that this issue will contain some violence.

Wolverine recovers from his ordeal with Hope and is told that Cyclops and the X-Men have surrendered.  While Cap and Iron Man argue about how to handle their new prisoners, Wolverine immediately recognizes that the X-Men are merely playing possum, and isn't able to prevent them from escaping by using Magik to teleport away.  Both teams set out to locate and retrieve Hope, but she's gone and found a way to scramble Cerebra's sensors into putting her at five different locations across the world, forcing them to split up.

While talking with her over the intercom from Wolverine's school, Wolverine detects some attitude from Rachel, who it turns out is feeding information to the X-Men.  Cap confronts Wolverine about his inability to follow orders and how he tried to kill Hope, and Wolverine responds that he knows how to deal with the Phoenix, and that Cap won't be able to save Hope from the Phoenix Force.  A fight breaks out between them, and Wolverine is expelled from their shuttle.  Calling Cap a blind old-fashioned fool, Wolverine pulls himself up and sets out after them, convinced that their fates are all up to him.

I will say, the writing in this issue has gotten a little better than what I saw in Round 2, but that's actually not saying much.  I think Ed Brubaker is doing what he can to ameliorate the poor direction of this story, which has clearly been written by committee.  Great swaths of action get glossed over, and some plot points are just flat-out ignored.  So the X-Men all surrendered, off the page?  Not impossible, I suppose, but given the amount of event skipping already portrayed in this series, I'd think the writers would want to keep bridging events on the page.  And why was the fight between Dr. Strange and Magik not shown?  If she can beat the Sorceror Supreme, I want to see how!

Also, if Emma was effectively de-psionicized in the last issue, why does she only regain her abilities after they've escaped from the Avengers?  If she actually had recovered her telepathy at that point, she could have just shut all the Avengers down psychically.  Why didn't she?  It just seems the logical effects of the storyline are discarded or ignored at the whims of the writers, no matter how ridiculous it looks.

I was happy, however, to see that Wolverine's conflict with Cap didn't directly involve him having a change of heart and deciding he wanted to fight on Scott's side now.  It came about for a perfectly plausible reason, though I am more than a little skeptical that Captain America is only now realizing how far Logan would go to defeat the Phoenix Force.  It really raises the question of just how much research Cap's done about the Phoenix Force and the X-Men's brush with it.  Any idiot should know that the X-Men have faced this thing several times, and are both more experienced and more vicious in dealing with it.

I was also glad they at least acknowledged the parallels to the Civil War in this issue, as they were becoming very obvious.  While Scott is not free of blame here--he was written like a crazy person in issue #1--Cap is increasingly showing his lack of preparation and realism in this arc.  He's brushed off the input of two X-Men experienced in dealing with the Phoenix; he was willing to imprison the X-Men for getting in his way, when there was technically no call to do that--I'm glad Iron Man was the one to call him on that; and he basically pulls a Spock on Wolverine when he won't start marching to his orders, ejecting him out the shuttle.

Art-wise... John Romita, Jr. is again drawing far too wide a scale for his work to come off as anything but rushed, blocky, and distracting.  Nuff said.

Overall, I'd say this is an improvement over the last issue, though between JRJR's art and the flawed storytelling, it still leaves a lot to be desired.  The fight between Wolverine and Cap is pretty cool, and while I'm not surprised to see the X-Men still have a few tricks up their sleeve, they didn't really do much this issue.  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 -- Avengers vs. X-Men #2 / Jason Aaron, John Romita, Jr., Scott Hanna, and Laura Martin

This cover is okay, but it does seem a little crowded this time around.  You've got nearly a dozen people on it, engaged in battle, and with the exception of the characters in the forefront, everyone's a bit overlit from the Phoenix flash coming from Hope Summers in the background.  It's not bad, really, and I can understand the need to convey the grand scale of the battle between the teams, but I think this effort could have come off better.

The gauntlet has been thrown down, so to speak, and the Avengers are engaging the X-Men in hand to hand combat, now that Cyclops has fired on Captain America.  As the battle begins, we see a jumble of match-ups and taunting as friends fight friends, lines are crossed, and relationships are stretched to the breaking point.  By the time the Avengers reach Hope, she has begun to feel the power of the Phoenix Force, and busts her way out of Utopia, leaving the skirmish behind to go and look for the Phoenix Force.  Meanwhile, in outer space, a team of Avengers has reached the approaching cosmic entity, and are preparing to battle it in the hopes of stopping it from reaching Hope.

I've got quite a few problems with this issue, a few of which stem from the previous issue's lead-in to the present.  For instance, Scott starts fighting with Cap out in the water, and the X-Men and the Avengers rush into the fray soon afterwards.  Now we seem to be back just before the fight, where something completely different happens.  Scott's standing with the X-Men, who are now asking him what the hell he's done, while the Avengers, up in the Helicarrier, contemplate the fact that they're about to engage the X-Men.

How the hell is that scene logical in terms of the previously established action?

There's a lot of taunting and smack-talking in this issue between combatants, which I can understand, but there is an undeniable air of awkwardness that comes from it all, as if in an attempt to squeeze as much meaning into each conflict, it all comes out stilted and artificial.  Yes, I know Tony Stark and Emma Frost had a thing some time back, but you don't need to insert that into the dialog.  Just pit the two against each other and let them fight.

Now, I will say that some of the descriptions are engaging, as Aaron puts a perspective on, say, the punch thrown by Emma Frost at Iron Man, or the Mach 5 family reunion between Quicksilver and Magneto, or the marital discord between Storm and Black Panther, complete with hurricane-force winds.  They get a little cheesy and overused at some points, but I do like them a lot more than much of the dialog employed.

I continue to dislike Hope, who continues to vacillate between brashness and idiocy at all the wrong times when she's not swaying to the call of the Phoenix.  By the time she's taken down the friends and allies trying to protect her and Wolverine shows up intent on killing her, I halfway want him to gut the little brat.  This isn't something I fault Aaron's writing for so much as the direction that's been taken with her by committee up to this point.  She's a Mary-Sue character without any redeeming qualities so far, and I have no sympathy or even liking for her at this point.

Finally, there's the art.  I know there are people out there who love John Romita, Jr. and worship the ground he walks on, and under certain circumstances, I'm a fan of his too.  But when it comes to large-scale, wide-ranging epic scenes of battle, I just can't get behind his style.  The art looks too rushed in panels featuring more than three characters at a time, and the overall aesthetic just comes off as too cartoony and awkward. Please, for the sake of reason, find another artist for this story!

Overall, I'm more than a little disappointed by this issue.  It has its good points, but between the clumsily relayed jumble of activities going on, the artwork that leaves much to be desired, and the central character who just oozes unlikability, I'm just not impressed with this one.  I think there's too much crammed into this story, and if the creators could take a less bloated and chaotic approach to the story, it would improve it immensely.

Many of the tie-ins to AvX work very well because they're telling a story, not squeezing an elephant onto a canoe.  It's for that reason that I'll stick with this limited series, but I don't think the main title is all that impressive, so far.

Barely recommended, with serious reservations.

Comic Review -- Avengers vs. X-Men #1 / Brian Michael Bendis, John Romita, Jr., Scott Hanna, and Laura Martin

The cover for this issue is decently drawn, but suffers from two things.  First and foremost, it's crowded as hell, which I understand.  Some covers are simply going to look like this, especially when you have a story covering two large super-hero teams.  That doesn't stop it from looking primarily like a bunch of angry heads on one page.  There's no real opportunity for action or dynamism.  The second problem is exposure: this image has been promoted for months, so we knew this was coming.  Still, it sets up the story and gives us an idea of who will be fighting who.

The plot, which has also been known for months, is that the Phoenix Force is on its way back to Earth, this time seeking out Hope Summers, the apparent mutant messiah, as its host.  The Avengers are intent on taking Hope into protective custody, while Cyclops and the X-Men are intent on keeping her on Utopia and dealing with the problem themselves.  Cyclops seems to be of the opinion that the Phoenix, though a destructive force, always brings rebirth, and that part of the equation could be the key to somehow resurrecting the mutant people, who were all but obliterated by the Scarlet Witch on M-Day.

The only thing Scott will ever have in common with Han
Solo?  He shot first.  This issue makes the X-Men--or at
least their leader, Scott--look like the aggressors.

The actual issue itself doesn't reveal too much that isn't already known, it just gets the game started.  Cap and company come to Utopia, hoping to peacefully retrieve Hope, and Scott, who's already been obsessively--one might almost say brutally--training Hope, brashly refuses to turn her over, to Cap's--and apparently Emma Frost's--disappointment.  He basically acts like a complete and total ass during this issue, which doesn't make me optimistic for the X-Men at this point.  Not only are the Avengers a larger team, but where Cap went diplomatically, with a good head on his shoulders, Scott is shooting from the hip, casting insults, and basically acting like a child.  I know being leader of a mutant team isn't easy, but he needs to get his head on straight, and quickly.

I'm guessing this has something to do with the fact that Bendis has been an Avengers-centric writer for a while, and either has to do with an unfamiliarity with or contempt for the X-Men.  That's fine--write what you know, I say--but I am hoping we'll get a more balanced view of both teams as the story arc widens.  I'm sure we will, as other writers and artists get involved, but with this kickoff issue as the only AvX title this week, it leaves things looking a little one-sided in terms of who has the moral high ground with this struggle.

It fulfills the sense of anticipation, and reads pretty well once the primary conflict is brought into play, but the lead-up does drag on a little bit--and for me to say that is a rare thing.  It consists primarily of material that was included in the previews, and some material involving Nova that seems contrived to provide action where there otherwise would be none.  I'm hoping things will be considerably tighter as this goes on.

Speaking of art, I have to say that I'm not a big fan of John Romita, Jr.'s work in this issue.  I've said it in the past, and I'll say it again: he does pretty well in more intimate, less wide-ranging stories, but when you have something as grand and sprawling as the Avengers versus the X-Men, his pencils really become distracting, to where I notice the style all the time, to its detriment.  It's something about the line work, the faces... I don't know if they just look overly cartoony, but something is making notice it, and not in a good way.

Overall, I'd say this issue suffers primarily from overexposure, and while I'm not too thrilled with the introduction, the actual start of the conflict brings things up to a more interesting level.  My issues with the artwork, I'm sure, are simply my own, but I just have issues with Romita's depictions of multiple characters over a wide-ranging group.  Nevertheless, as the start of the Marvel's premier summer event, it's a must-read for anyone who wants to get involved.  Recommended.

Comic Review -- Amazing Spider-Man #683: The Ends of the Earth, part 2 / Dan Slott, Stefano Caselli, and Frank Martin, Jr.

Whenever I look at cover, I basically ask myself two things when determining whether I like it or not: would I wear this on a shirt? And, would I want this for a poster on my wall?  The answer in both cases is a resounding yes for this cover.  It's a dynamic pose of Spidey and the Avengers, along with his new costume.  While I'm still a little iffy on that, I'm pretty impressed with all the new tech he's put in it to combat the Sinister Six.  Overall, a definite thumbs-up.

While Ock has the Sinister Six out stealing artifacts, Spidey and the Avengers crash an emergency gathering of the world's leaders to persuade them not to go along with assisting in the creation of Ock's Octavian Shield.  Spider-Man brashly punches Al Gore during the discussion, revealing him to be the Chameleon in disguise.  Ock sees this, and in response reinforces the effects on his lens, blocking out all harmful effects of ultraviolet rays.  Meanwhile, Mayor Jameson shuts down Horizon Labs, even as they're trying to help the world leaders with new information about Ock's lens.  Ock requests the Chameleon's release, which is granted, with Spidey tagging him with a tracer so the Avengers can follow him.

In the ensuing battle, it looks like the Avengers initially have the overwhelming advantage, but Ock has prepared his men for this.  Using a combination of the stolen artifacts and solid tactics, the Sinister Six manage to down the Avengers handily, with Doctor Octopus forcing Spider-Man to kneel before him in front of his knocked-out allies.  It seems Spidey's given Ock the greatest gift of all: his complete and utter destruction.

Wow.  I have to admit, I was pretty blown away by this issue.  From the Stephen Hawking and Al Gore cameos to actually seeing the tech Peter created to deal with some of his greatest foes, there's plenty in here to enjoy.  I'm on the fence about the new costume, looks-wise, but I do think the forethought Peter's put into its gizmos makes for some really neat and useful ways to combat his foes.

The battle between the Avengers and the Six was pretty awesome too, though I did think Electro's taking down of two Avengers and a Quinjet to be a little much.  Thor shooting him into the sky, however, was pretty funny.  I'm not sure how Ock is able to get his hands on Stark tech from the future, but whatever.  It's not like Cable didn't use a similar strategy to beat Iron Man recently.  He really should look into that.

I'm pretty sure Spidey and friends aren't down and out yet, though.  Black Widow remains unaccounted for, and Silver Sable was talking about keeping an eye on Spidey in this issue as well.  I'm sure we'll see them in the next chapter.  And, of course, I can't wait to see how the crew at Horizon shows up a power-tripping Jonah in the segments to come.

The artwork was really good in this issue, as well.  I enjoyed the cameos of Hawking and Gore, which looked pretty accurate, and was especially surprised when Spidey punched out "Al Gore." The beach-side battle was well portrayed, action-packed, and very vicious in places.  Seeing Rhino impale Thor from behind threw me a little.  Very solid work all around!

Overall, I enjoyed this issue very much.  Compelling story, excellent artwork, and still more to learn and ascertain about Ock's final motives.  A definite must-read for Spider-Man devotees, especially if you're currently collecting.  Highly recommended.

Comic Review -- Uncanny X-Men #9 / Kieron Gillen, Carlos Pacheco, Cam Smith, and Guru eFX

I like the cover for this issue.  It's dynamic, not too crowded or busy, and it's always nice to see team-ups between groups of superheroes.  The composition is particularly satisfying for me, as you've got eight bodies on one page, which could be potentially taxing visually, but they're spaced very logically.  Iron Man and Magneto are back to back, knocking each of their opponents off-screen, while Cap in the front and Magik in the back do similarly with their opponents.

I know I've been on a warpath lately about banners (DC, I'm looking at you), but this one's not as much of an issue for me.  Sure, I'm not crazy about it, but I'm willing to give it a pass because it's advertising an upcoming in-comics event.  An event that's already been ridiculously promoted and which you can't go anywhere without hearing about, but hey, what are you gonna do?

Incidentally, I don't know what creatures the heroes are fighting on this cover.  Someone with more knowledge, please feel free to fill me on in whose butts they're kicking.  I would appreciate it.

The story begins with some observations from Danger, who is essentially Magik's jailer when she's not out on missions with the X-Men.  Her reservations about continuing Illyana's imprisonment are shared by Colossus, who starts to voice this to the X-Men leaders when a distress call from S.W.O.R.D. gives them an urgent mission to perform.  The Peak, S.W.O.R.D.'s prison for intergalactic fugitives, has been sabotaged in cataclysmic fashion, and several dangerous groups of criminals fall to various points in the Earth's surface.  The X-Men quickly take out a group of aliens in Nevada, and then agree to team up with the Avengers to take on multiple threats across the western hemisphere.

Meanwhile, a creature by the name of Unit, who is presumably the one who engineered the Peak's explosion, has landed in Canada, where he murders two human beings after cutting one of them open to see how they work.  After Hope Summers joins up with her team and teleports to his location, he sends the rest of them away and talks about how excited he is to meet her.  The issue ends with him advancing on her in a manner menacingly reminiscent of how he approached the man he dissected.

This was an enjoyable issue for several reasons.  First off, it was fun to see the Avengers and the X-Men teaming up and coordinating, even if the actual team-up was confined to just four panels spread out over two pages.  It's always interesting to see how such a diverse assemblage of skills and power sets can be blended to solve the more powerful problems.  And given that these two groups are scheduled to throw down on one another soon in AvX, you can bet this will be the last time they cooperate for a while.

Unit, the antagonist of this issue.

Unit is also an interesting character.  At times he seems virtually android-like in his detachment from emotional concerns, but he gets excited when meeting humans, and then mutants for the first time.  He seems to be able to make people do exactly what he says, and can spontaneously kick out a powerful mutant signature whenever he wants.  He looks, as one character put it, like an iPhone redesign, but he's clearly shown himself to be powerful and dangerous.  There's a lot of potential use for a character like this, and while I don't expect him to last very long in this story, he could be of interest down the road.

Finally, there's plenty of internal drama on the X-Men team, and while it doesn't take center stage, it's given various glimpses enough to show that some issues, like Illyana's imprisonment and Emma's recent trauma enduring the near-loss of her arm, won't likely stay on the back burner for long.  Given the amount of action that occurs in this issue, and the unspoken anxiety Scott is undoubtedly feeling at the impending return of the Phoenix Force, it's a testament to Gillen's deft plotting that these issues are able to receive their due coverage.

I do enjoy Pacheco's pencil work in this issue, though there are some places where I was distracted.  At times, the eyes on some of his characters seem a little too long for their faces, while at others, they're dead-on and perfect. His art style reminds me a little bit of John Romita, Jr.'s, though it's less distinctive, and I feel, more fitting to the narrative.  Pacheco clearly does action very well, and his linework on Unit, which could have been overwrought or underdone, was clean, efficient, and effective.  Smith's inks and line work frame everything up nicely and shade appropriately, while the colors provided by Guru eFX look vibrant and pleasing to the eye.  I'm overall very impressed by how everything turned out.

Overall, this was an enjoyable issue, with a lot of action, a subdued allusion to the standing drama on the team, and good artwork.  There's an inter-team team-up, and an interesting new creature who could be a formidable foe in the future.  All-in-all, an X-Men issue that was a worthwhile read.  Highly recommended.

Comic Review -- Avengers X-Sanction #4: Sundown / Jeph Loeb, Ed McGuinness, Dexter Vines and Morry Hollowell

Oh, jeez.  Let's get into the laundry list of issues that I have with this issue, and the mini-series.

What was the point of this cover?  It lies, even as it tells the truth.  Sure, Wolverine and Spider-Man "fight" Cable in this issue, but why are they wearing completely different costumes from the cover?  I'm also none too impressed with the artwork, particularly how Wolverine's claws are sticking out of Cable's knuckles with no blood, no torn or strewn metal, and no reaction from Cable to that.  Underwhelming.

We start with an arguably unnecessary flashback to how Spider-Man and Wolverine realize their comrades are missing, and go off to find them.  Then, back in the present, Wolverine tears into Cable, disarming him of his gun, which Hope takes and fires at Spider-Man.  He dodges, pulls the weapon away from her, and then gets blasted by an annoyed Cyclops, not to be seen for the rest of the conflict.

While Cable struggles with Wolverine, Blaquesmith directs Hope to disarm the bomb Cable has planted on the captured Avengers.  With little time left, she yanks the bomb wiring out, with no harm.  The Avengers come to, and Red Hulk burns out the techno-virus Cable porcupined him with in the previous issue.  Against his own techno-virus and them, Cable stands no chance, and is handily defeated as the virus kills him.  Cap agrees to let Cyclops take Cable to Utopia as long as Cable's technology and weapons remain with the Avengers.

Hope visits Cable in the infirmary, where the techno-virus starts to infect her, but she engulfs both herself and Cable in a vortex of phoenix-shaped flaming energy.  It burns out the virus completely, apparently resurrecting Cable, who is now appears to be free of the techno-virus.  Cyclops and Cable have a conversation on the astral plane sometime soon after, and Cyclops promises Cable he'll protect Hope from the Avengers, if and when they try to attack her.

While I will admit this is the best segment of the story, I'll also qualify it with the realization that it's not saying much for the whole story.  As a setup for the upcoming Avengers vs. X-Men storyline (AvX), it is a success: it sets up the coming conflict between the two groups and teases the fact that this all-out fight will be caused by the return of the Phoenix Force as it seeks out Hope.  But it really doesn't do much more than that, the rest of the story feeling all too much like filler material that gives Cable an excuse to fight the Avengers.  Because, you know... that'll sell comics.

It's not due to any failing of the story plot, which is actually very simple.  It's basically due to poor execution, a sense of glossing over some very important details (Cable's continued ability to keep on going and capture prime superheroes, even as he gets progressively worse; Red Hulk's ability to simply "burn out" the techno-virus), and the feeling that many of these characters, who have such history together, simply ignore or miss out some prime opportunities for characterization and development... even as they bash each other's brains out.  And don't even get me started on Spider-Man's brush-off in this issue.  There's no way he would have stayed out of the fight that long.

Art-wise, things look passable, even good in places.  The 2-page splash featuring Wolverine and Cable joining the battle looked really good, and I think Hope's moment of Phoenix scariness looked appropriately powerful and unsettling.  Scott's reaction to her was right on the money.  I did, however, think the floating heads shot of the Avengers as Hope huddled over Cable's body could have been done differently.

Overall, I'll damn this issue with faint praise, since it's the only one of the whole mini-series that deserves it.  It does try to flesh out Cable's reasons for doing what he does, but the flimsiness of his present actions ruin the narrative too thoroughly for it to be truly saved.  If you can be happy with pure superhero slugfest action, then you might like this series.  If you need a little substance, this issue is really the only one that I feel has any of it.  Recommended.

Comic Review -- Avengers X-Sanction #3: Noon / Jeph Loeb, Ed McGuinness, Dexter Vines, and Morry Hollowell

Alright, so I've got the all-red variant cover for this one, which doesn't look too bad, given the content of the issue, but I do have some issues here.  First of all, the all red feels like a lazy cop-out.  I can understand altering some of the tones to give the cover a different look, but really?  One-tone red, for 99% of the shot?  Give me a break.

I'll save my commentary for how he's fighting Red Hulk for my analysis below.

Cable has taken down Falcon, Captain America, and Iron Man, all because he's convinced the Avengers are directly responsible for the inability of his adopted daughter Hope Summers to save the world at the dramatically appropriate time it needs saving.  This has had a serious effect on his timeline and future, so he travels back in time, with tech from his time, to take on Earth's greatest heroes.  He's dying as the techno-virus overtakes and destroys his body, and he's fought alongside the Avengers innumerable times, but neither of these things will stop him from destroying them so that his daughter may live.

But things have hit a serious snag.  Red Hulk has shown up, and he's no pushover.  With the help of Blaquesmith, whose version of the future is what brought him back to assassinate the Avengers, a final psi-blast, and one seriously weird power stunt to take him down.  Cyclops and Hope show up, brought by Blaquesmith, but before they can contain the situation, two more Avengers show up, who will presumably feature in next month's final fight: Spider-Man and Wolverine.

To say I'm feeling let down by this story at this point is something of an understatement.  First of all, there's very little action going on in this chapter--which actually makes sense, as any kind of sustained fight with Red Hulk would surely end in Cable's destruction or death.  Instead, we see more flashbacks of what led us here, and how Cable got some of the tech that's allowed him to beat and capture some of the most premier heroes of the day.  When Red Hulk finally gets Cable in position to grapple and crush him into submission, readers get the most surprising and ridiculous display of power yet...!

Cable PORCUPINES a bunch of metallic spines out of himself and THROUGH Red Hulk's steel-like hide and body, apparently infecting him with the techno-virus!

Now, I'll admit, I've not read many of Cable's recent exploits.  It's perfectly possible that he's developed this power over time, even if it doesn't seem like something that would match his power set by anything I have read.  But the idea that this situation--you know, the one in which he's on his last legs, and being consumed by his own illness--and his love for Hope alone is what triggers this "unthinkable" turnabout in the tussle, just comes off as contrived and downright ridiculous.  I also think the paucity of action scenes between Cable and Red Hulk was a major cop-out.  At this point I really would have preferred to watch Red Hulk just pound on Cable until he shattered, bent, or broke.

I can't find much more to comment about with the art that I haven't already said.  Cable and Red Hulk look big and impressive enough in the few action scenes where they're actually fighting each other, but I was underwhelmed by the appearances of Scott and Hope, visually.  I don't know why exactly, but Hope in particular looked a little too wide-eyed and cartoony in her appearances.  Maybe that's simply emphasizing her youth, but it just didn't work for me.  And Scott just looked wooden and flat.  Oh, wait, never mind, McGuinness nailed him perfectly!  Even Spidey and Wolverine seemed a bit off in their one appearance.  Not a great setup for your final smackdown.

Overall, I'm really starting to get pissed at this story.  Unless something fan-frickin'-tastic turns things around in the last issue, I'm going to see this as simply a puerile, pointless piece of fluff fiction that's not even passable as a setup for the next story arc.  I don't want to have to say that about Jeph Loeb's story, and I'm willing to acknowledge again that this might not all be his fault, but this entire experience has been nothing short of disappointing, thus far.  NOT recommended.

Comic Review -- Avengers: X-Sanction #1-2 / Jeph Loeb, Ed McGuinness, Dexter Vines, & Morry Hollowell

Avengers: X-Sanction #1: Midnight

The cover for this issue isn't bad, but not great, either.  I like the use of colors, and the depiction of Cable and Captain America, who have fought on the same side many times, locked in mortal combat is conceptually interesting, but the facial expressions ruin it for me.  This is a vicious, balls-to-the-wall fight--there should be more expression on both their faces.  Gritting teeth, eyes locked on each other... something more that what I'm currently seeing.  As it is, it just seems too contrived and pre-posed for me.

The Avengers are called out to stop a jailbreak.  As they take on the Lethal Legion, Captain America goes after Whirlwind.  Falcon gets shot while watching Cap's back, and Cable drags him off to his base.  Cap eventually pursues, and upon finding Falcon held captive in a medical vat, gets ambushed by his former ally.  Both put up a vicious fight, but Cable narrowly wins, shackling Cap to a chair, turning a gun on him, and pulling the trigger with a loud bang, ending the issue.

So, apparently Cable's been dead for a while, having sacrificed himself for his adopted daughter, Hope Summers.  Now he's back, looking to kill all the Avengers with the vague goal of protecting her.  It seems that when people come back from the dead, or limbo, or wherever the heck they are that takes them away from the world, they come back with a few screws loose.  It looks like Loeb has decided to take this tack with Cable, and it gives me pause.  Much as I've enjoyed his writing in other stories, I can't help the feeling that, come the climax of the story, we're going to see that Cable's been made into a foolish old man, manipulated by someone else into doing something he otherwise never would have done.

It's not just the sickish sense of discomfort created by Cable so coldly and unfeelingly shooting down Avengers, or viciously beating down his former comrades, which he justifies ad nauseum throughout the narrative.  It's not just how he's able to best Cap in hand-to-hand combat, however narrowly.  It's not just the feeling that this plot feels so much like a flimsy excuse for a lead-in story to the upcoming Avengers vs. X-Men event later this year that I know there's no real risk here.  I mean, really--Captain America's going to die in a limited series, at Cable's gun?  Come on.

It's all of these things together.

I've generally liked Jeph Loeb's work, particularly when it involves showcasing one adversary per issue during a larger story arc, then moving to another.  But this is off to a shaky start, for a number of reasons.  I realize he may be constrained by narrative mandate at Marvel, but I'm so far only mildly intrigued by the Cable-as-Terminator thing we've got going here.  Hopefully it'll get better.

Artistically, I'm only moderately impressed.  Ed McGuinness does a good enough job with the supporting characters--Spidey, Wolverine, and Iron Man all look great in their appearances--but falls a little shorter when it comes to the two heavies in this issue.  Cable, I know, is not a small man, as neither is Cap, but they seem a little too widely rendered at various points in their fight, as if they've both consumed large amounts of cheeseburgers right before their brawl.  I'm also not sure I like how Cable's face is looking, and I don't just mean due to the effects of the techno-virus.  It's like every scar, vein, and wrinkle have been purposely exaggerated, and I don't like it.

Overall, I can't help but feel more than a little disappointed at how this story is starting off.  I like the overall concept, but the execution leaves a lot to be desired.  I'm confident in Loeb's ability to turn things around, but I have to say the start doesn't feel so great.  Recommended, with reservations.

Avengers: X-Sanction #2: Dawn

Okay, I like this cover because it basically shows that Cable's playing the role of the Terminator.  It's very simple, but sinister and expressive.  But I have to wonder, does he have to adorn all his guns with stylized X insignias on them?

Iron Man notices that Falcon and Cap have disappeared, and follows Redwing, Falcon's sidekick, to Cable's hideout.  Cable, of course, is ready for him, and they engage in a duel of technological and firepower proportions, with each getting the upper hand on the other at various points.  Cable finally dispatches Iron Man and shackles him to another torture chair like Cap's, and starts his version of monologuing before he's shot in the back by Red Hulk, who's eager for a crack at the mutant from the future.

For someone who's getting closer and closer to death with each passing minute, Cable's putting up a hell of a fight.  He just physically bested Cap, and now he puts his brain and technological know-how to the limit by taking down the "mighty" Tony Stark and his vaunted Iron Man suit.  I'm hoping he'll finally stay down now, with his breathing problems and the techno-virus working him over so thoroughly, but I'm skeptical that will be the case.  By all appearances, Red Hulk is on deck for the fight next issue, and I'm sure Cable will reach deep down and think of Hope and suddenly have the ability to fight him.  I hope not, but that's what I fear will happen.

Artistically, there's been improvement, now that Cap isn't one of the focuses.  Iron Man appears comparatively slight to Cable, which is appropriate.  It looks like there'll be plenty of thick-fest next issue with Red Hulk, which is fine for that hero.  It just really bothered me with Cap.  Cable's facial expressions are also better in this one; there appears to be more emotion in his face and less emphasis on veins, wrinkles and scars.

Overall, I'm still none too impressed.  We're halfway through this, Red Hulk will be the fight in the next issue, and I'm sure Cable will find some way to beat him, too, despite his ridiculously deteriorating condition.  I'm just none too excited for what's coming next.  I'll continue to read, because I'm a completist, but at this point I'm not expecting things to get much better.  I hope I'm proven wrong.  Barely recommended, with serious reservations.

GN Review -- The Avengers, v. 2 (2010) / Brian Michael Bendis, John Romita, Jr. & Bryan Hitch

When I reviewed volume one of The Avengers, I said I’d keep an eye out for further adventures of this team, so I could see how they shape up over time. When I got my hands on volume two, I took one look at the summary, and just about lost my faculties at the sense of giddiness that ensued.

You could say that it was the plot, in which the Hood, some presumably minor Marvel villain, goes looking for the Infinity Gems in a search for power that could conceivably topple the super-team, that excited me. Or perhaps it was the added element that the gems were each hidden by the Illuminati--a clandestine group of established superheroes assembled by Tony Stark before the Civil War--and that Steve Rogers, currently in charge of the Avengers, was about to discover all of this for the first time. Throw in a few elements like the appearance of the Red Hulk, the discovery of Attilan’s earthly remains, and Wolverine, Beast, and Professor X interacting tensely, and I was sold.

I really enjoyed the premise of this story, for multiple reasons. The madman on a power quest that could actually humble all of the Avengers is an entertaining one, particularly if it’s well plotted, which this is, and well paced, which it also is. The fact of Tony Stark’s idea of the Illuminati assembly of super heroes coming back to give him a well-deserved bite in the ass is also entertaining, particularly since it’s Steve Rogers--with whom he has the longest history of both friendship and enmity--to whom he has to defend himself. It makes for an engaging piece of internal drama within the Avengers, who are noticeably affected by the fact that these two guys--two of the quintessential Avengers--are arguing almost as viciously as they ever did during the Civil War.

I’d personally never heard of the Hood until this story, but he’s a good choice for the villain, as a man who happens to stumble upon a clue to what has to be one of biggest secrets in the Marvel Universe. His quest is motivated by pure selfishness and a desire to only live in the world if he can bend it to his own will, and in grabbing just one of the vaunted Infinity Gems, he takes a major step in securing that reality. The tension between the Avengers and the now-exposed Illuminati--arguably some of the most singularly powerful and well-intentioned heroes around--is also an interesting dynamic, as they fluctuate between resentment, humility and understanding between one another with the onset of this particularly dangerous puzzle.

I’ve said it once, and I’ll say it again: I’m not John Romita, Jr.’s biggest fan when it comes to these kinds of wide-ranging, epics story arcs. Still, I actually felt his style worked in this particular arc, which revolved around several brightly colored gems and had to potential of affecting all of reality. He rises to the occasion during the times good visuals are called for on this story, and his rendering of facial expressions works especially well for the villain, Parker Robbins, who at the end of it all is a small man who only cares for the world as far as he can control it.

Overall, I was thoroughly entertained by this work, and highly recommend it to fans of superhero comics. It’s a good crisis aversion story, and the art and writing actually mesh very nicely to tell a tale that both entertains and moves quickly to a memorable denouement. Highly recommended.

Five Comic Book Movies Coming Out In 2012

Since today was the Super Bowl, traditionally a huge day for new comic book movie trailers (though not so much this year), I thought I'd go ahead and give my two cents on which comic book movies scheduled for release this year will likely get my filmgoing dollars.

I'm  generally pretty picky about when I go to see movies.  They either have to be from a franchise or mythology that I have affection for (think Harry Potter, Transformers, Spider-Man, the Muppets, etc.), or they have to be extremely imaginative, well-marketed, or recommended to me by people I trust (The Social Network, Avatar, and Scott Pilgrim vs. the World [at the time] fit this category for me).  Comic book movies generally fall into the first category for me, but even then it's not always a guarantee that I'll go see it.  I didn't, for example, see Daredevil in the theaters, thank goodness, and I've yet to watch either of the Fantastic Four movies at all.

Five fairly big movies are due out this year, though whether or not they all qualify as comic book movies is up for debate.  It seems like overall it'll be a pretty good year for comic book movies--particularly comic book movies that feature women in black leather.  I'll elaborate below:

• Ghost Rider: Spirit of Vengeance--This one comes out in less than two weeks, and I have to say, it looks to be the least promising of the bunch.  Granted, it seems considerably darker and more serious in tone than its cheesy predecessor, but there are a few moments from the trailers that just look contrived, juvenile, or just plain bad.  Still, I rather did enjoy the first Ghost Rider, so I may give this one a shot despite my misgivings.  At the very least, I'll have plenty of words for the review if it's bad.

Scarlet Johansen in black leather?
Check!

• The Avengers--The only thing that would keep me from seeing this as soon as it releases would have to be a serious medical condition.  Seriously.  I've known--known, this was coming since I stayed behind after the end of Iron Man and saw the post-credits scene in 2008.  Iron Man?  Check.  Hulk?  Not the same actor, but check.  Thor?  Check.  Captain America?  Check.  Plenty of cameos tying their films together to create a unified cinematic universe?  Check.  Awesome writer, creator, comic book fanboy Joss Whedon directing?  Check.  Big, titanic, unknown threat to Earth requiring the formation of a team of heroes who otherwise probably shouldn't be working together?  Check.  This promises to be a superhero team movie extravaganza, and it looks like it will deliver the goods in spades at this point.  It was already a foregone conclusion that plenty of comic book nerds were going to check this one out, but with the premier of today's trailer during the SuperBowl, you can be sure that plenty of others will be joining them in lining up to see this one when it opens in about three months.

• G.I. Joe: Retaliation--Okay, a few things here.  First of all, calling G.I. Joe a comic book franchise is a shaky move, at best.  I remember it as a toy and a cartoon before a comic.  Granted, I wasn't reading comics at the time the cartoon came out, but clearly it existed as a toy line long before that.  Still, it had a significant run as a comic book series, so I suppose I'll give it a pass for that reason.  The next issue is the lackluster performance of the last G.I. Joe film, The Rise of Cobra.  Honestly, aside from watching Snake Eyes's action scenes, I was thoroughly disappointed.  With all of that said, however, I will also say that the trailers for this one look promising, as does the basic premise, in which they're framed and all but a few are killed, then must fight back on their own.  Will it get me into the theaters?  I'm not sure yet.  I'll probably wait to hear some initial reviews and make the call then, but at this point, I'm slightly leaning to yes... barely.

• The Amazing Spider-Man--Anyone who knows me has a pretty good idea that I'll see this one.  I'm a pretty big fan of all things Spider-Man, and thought the previous film franchise was pretty good.  This is a reboot, where they start from scratch again, and it looks like they're going to incorporate story elements that were hardly even considered in the first set of films--most notably the use of Gwen Stacey as a major character.  Its tone appears more subdued and dark than the previous movies as well, which I really like.  Oh, and last but not least, it looks like the Lizard is the main villain in this film--one of Spidey's oldest and, pound for pound, most dangerous foes.  You can bet I'll be in the theaters for this one.

Anne Hathaway in black leather?  Check!

• The Dark Knight Rises--Okay, first of all, if you haven't seen the first two Batman films done by Christopher Nolan, I'm forced to question your competence as a living being.  Seriously, like them or not (and there are people who don't like them), they put an important spin on the Batman mythology that continues to influence the comics every bit as much as they were influenced by them in their creation.  The Dark Knight Rises is the third and final story within this franchise.  Will the brutal new villain Bane break Batman, or worse, eight years after the events of the second movie?   Internal and external conflict abound in this film, and it sets up a mood that suggests that perhaps not everyone who used to be in Bruce's corner is necessarily there anymore.  The realism and premise of this franchise absolutely guarantees that I'll be in the theaters to see how this all plays out, possibly at a midnight premier showing.  Given the popularity of Nolan's work with these films thus far, you can bet I won't be the only one there.