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 -- Batman: Hush / Jeph Loeb, Jim Lee and Scott Williams

This story is widely considered one of the more recent masterpieces in the Batman mythos. I remember the first time I read this story, I simply could not put it down. It has everything: a wide-ranging story, supporting parts by virtually every character in Batman's life, and stunning artwork.

Starting with a battle against a strangely mutated Killer Croc, Batman discovers he and the many people in his life are being manipulated from the shadows by someone who seems to have an awful lot of insight into his personal life. He is soon led on a months-long journey to gradually discover who has been toying with him, his allies, his enemies... even a childhood friend of his. When all is said and done, Batman is left with another new, insidiously dangerous, addition to his rogues gallery, a villain known by the moniker of "Hush."

Jeph Loeb, whose Batman: The Long Halloween I've also read, is again in top form, scripting a gripping narrative as Batman finds himself questioning who could possibly know so much about him. Loeb uses mini-arcs within the larger story to briefly feature various friends and foes of Batman's, and then moves on to others as the plot dictates. It's a familiar device from him, as he used it in The Long Halloween, and he proves as adept with it in this volume as he was before.

The many characters featured in the story produce some interesting conflicts and more than a few noteworthy moments, such as the Joker insisting on his innocence after Batman finds him standing over the body of a man, just shot, gun in his hand. Batman ends up having to fight Superman, who is being controlled by Poison Ivy, which tests the limits of his mettle and resourcefulness... and shows just how awesome Batman is at taking down a heavy hitter when he has to. His long-standing on-again, off-again relationship with Catwoman blossoms into a full romance during this story, leading to him unmask and let Selina into his life, making for interesting new dynamics as she interacts with the others who know Bruce's secrets.

The artwork in Hush is, of course, as beautifully rendered as you could expect by Jim Lee's pencil work. I know there are some who have issues with his work, but for me, Lee draws superheroes and supervillains perfectly: they're iconic, they're well detailed, and they're beautifully done. As someone who's followed his artwork in comics since I was a teen, I can't help but feel both nostalgic and overwhelmed with awesome when viewing his work. Batman and Superman look larger than life in his renditions, and Catwoman, Poison Ivy, and Huntress are beautiful, deadly, and fun to look at. I don't have any drawing skills, nor do I plan to ever try, but if I did, Jim Lee is the comics artist I'd want to draw like.

If you haven't read this story yet and consider yourself a Bat-fan, then get your hands on it and start reading. If you're like me, you'll finish it in one sitting. Hush proves itself to be a fun story that is both gripping and a good look into the life that the Dark Knight and his cohorts lead. Anyone who likes superhero stories should read this. Anyone who likes a good mystery with plenty of twists and turns should read it. Anyone who likes a good graphic novel should read it. Very highly recommended.

GN Review -- Batman: The Long Halloween / Jeph Loeb and Tim Sale

This review belongs here, as opposed to Goodreads, where I first posted it. It's everything a Goodreads book review shouldn't be: namely, long. I mean, I start the damn thing with a quote from the story! What was I writing, a book report? A dissertation? I'll let you be the judge, but needless to say, anymore reviews I write for that site will be more succinct.

On this site, though, I hope for them to be at least as long as this one. ;)


*************************************

"Do you know what my people call this past year? The Long Halloween... my nephew was the first one to die. On Halloween night. It could have stopped there. But, it didn't. And we both know why. You and the cops just let it continues because he was killing our people. Mia famiglia! And you stand here and act like your hands are clean." -- Carmine Falcone to Batman

In Gotham, several months after the events in Batman: Year One, a killer starts knocking off Falcone family mobsters on specific holidays throughout the year, starting on Halloween. He leaves a card and calls himself Holiday. Batman forms an alliance with Jim Gordon and District Attorney Harvey Dent, and occasionally Catwoman, to find and bring Holiday to justice.

Subplots include Batman wondering about Catwoman's loyalties; Harvey Dent's tragic eventual disfigurement and transformation into Two-Face, one of Batman's most dangerous foes; turf wars between the Falcone and Maroni families; and Calendar Man's involvement in trying to catch a killer who, like him, is themed around holidays. Denizens of Batman's rogues gallery make feature appearances, including the Joker, Penguin, Poison Ivy, Scarecrow, Riddler, Mad Hatter, and Solomon Grundy.

This was an engrossing read, which kept me interested throughout the entire tale even as various elements were introduced and, at times, seemed to take away from the story. Not the case in hindsight, though without a clear idea of the overall narrative, it was easy to occasionally get confused. It's clear to see where parts of the story influenced Christopher Nolan's Batman movie, particularly those scenes involving Harvey Dent/Two-Face, and they work well both as sequential art and in transfer, with some occasional tweaks, to the medium of film.

The idea that crossing a moral line is very easy to do takes center stage near the end of the story, with two examples. Batman, who barely manages to pull back from the edge upon discovering and confronting Holiday, only seems to do so with the help of Jim Gordon. Two-Face, on the other hand, is alone, and plainly crosses the line in the name of "doing what must be done" after his horrific transformation, killing two people responsible for his turmoil. The message here is clear: be careful not to cross the moral threshold, lest you become the very thing you despise. It is wonderfully set up and built on throughout the story, and the payoff at the climax yields dividends for the reader.

There is also the implication that belief can be a powerful force, be it for either good or ill. At the introduction of the story, when Bruce Wayne, in a scene taken directly from the first Godfather film, tells Carmine Falcone he believes in Gotham City, he is obliquely referencing one of the reasons he fights crime as Batman. The same line is applied to another character (names withheld for spoiler purposes) at the tail end of the story, when someone involved in the Holiday killings cites belief in another character as justification for their involvement. It's a chilling turn of events, which totally took me by surprise, but which also solidifies its impact and ties the threads of the story together nicely.

I read this right before reading Batman: Hush, which I didn't realize until afterwards was also written by Jeph Loeb. I have to hand it to the man, he has a talent for weaving a lengthy narrative and keeping it interesting the entire way. He also seems to enjoy spotlighting the villains in the rogues gallery briefly before moving on to the next one!

Artwork in comics tends to be very subjective, and Sale's art works very well with the narrative here, for me. He maintains the iconic look of the characters while leaving just enough room for exaggerations that still support the overall tone of the story (the number and length of teeth the Joker has, the length of Batman's cape in certain shots). Things do seem rather flat and cartoony at times, which is why I'd get sick of looking at it constantly, but it works well with the plot and characterization in the story. It has a very noir feel to it, which is definitely supported by the art style. Wright's use of flat colors can likewise be a bit off-putting at times, but actually help the artwork maintain symbiosis with the story.

Overall, a very good read. The writing is tight, the artwork is pretty good, and both work to make a graphic novel worthy of your time. Highly recommended.


******************************************

Thoughts, opinions? Anything else that suggests this review shouldn't have been posted to Goodreads? Any arguments that it should have been? What did you like about The Long Halloween? If you haven't read it, will you consider doing so now?

More later. Until then, enjoy...