Amazing Spider-Man #625
Joe Kelly (w), Max Fiumara (a), Fabio D’Auria (c). Marvel Comics.
There was a very different narration style used in this issue — that of an article by Norah Winters recounting the events taking place. It was an interesting idea, but by spreading a short article, breaking it up over the course of the various pages and panels, well, you just can’t follow it. It’s an attempt to meld two very different mediums of communications that doesn’t work for me, and took me out of the story. This is a shame, because if you just sit back, just read the dialogue balloons, and look at the pretty pictures, it’d be an awesome comic. Maybe this is just because I’m anti-Norah. — Isaac Mills
Isaac’s rating: 3 out of 5
Avengers Vs. Atlas # 3
Jeff Parker (w), Gabriel Hardman (a), Elizabeth Breitweiser (c).
Paul Cornell (w), Leonard Kirk (a), Brad Anderson (c). Marvel Comics.
After the twiddling of thumb last issue, this one redeems the series completely. A healthy fight scene followed by a healthy exposition scene to get the plot moving. It’s classic, old school comics with a modern twist (book quote me, Marvel!). No wheels have been reinvented, it’s just well-executed fun. Increased points for a hilarious back up by Cornell and Kirk. Kirk really brought his A-game to it. And-and-and… I figured out why Marvel keeps hiring Ramos to do covers! It’s to make Liefeld’s art look well-structured. (Yes, Liefeld jokes. Fish in a barrel.) — Miles Baker
Miles’ rating: 4.5 out of 5
Batman #697
Tony S. Daniel (w), Tony S. Daniel (p), Sandu Florea with Tony S. Daniel (i), Ian Hannin (c), DC Comics
So, I haven’t been reading Tony Daniel’s Batman and I thought that I’d check out this issue to see how it goes. As it turns out, it’s not really anything. It has the feeling of a completely bland, generic Batman story, and not a very good one. I was frustrated with the narration, which was used excessively for exposition, and found Daniel’s pencils to be inconsistent (what was going on at the end?). It’s not a bad book. I may stick around until issue 700 to give it a fair chance. – Owen Craig
Owen’s rating: 2.5 out of 5
Booster Gold #30
Dan Jurgens (w), Dan Jurgens, Norm Rapmund, Jerry Ordway (a), Hi-Fi (c). DC Comics.
Sorry Blue Beetle, I love you man, but I’m glad you don’t have a backup in Booster Gold anymore. It wasn’t really well written (as far as I’m concerned) and it feels good to pick up Booster Gold with a $2.99 price tag (instead of $3.99). It’s usually pretty weird when another artist helps out on some pages, the visuals don’t gel — but this time the extra art is handled by one Jerry Ordway, and I love that guy. I’d explain the bit of nostalgia why, but that wouldn’t really have anything do with this comic, would it? Honestly, I’ve probably already talked about it in a previous review. — Isaac Mills
Isaac’s rating: 2.5 out of 5
Brave and the Bold #32
J. Michael Straczynski (w), Jesus Saiz (a), Trish Mulvihill (c). DC Comics.
There’s only one way this issue could be good, and that’s if it continues. See the story follows this half-drowned sailor as he joins Aquaman and Jack Kirby’s “The Demon” on an underwater adventure to keep an eldritch abomination from entering our world and wreaking havoc. An adventure which, if I read this comic right, has to be repeated every year lest it finally succeed. So instead of a by the numbers fight (by the numbers especially to the heroes) we could have been told the story of when this thing tries to reappear during the time Aquaman wasn’t around to save the world. That would have been a much more interesting story, so here’s hoping for a surprise part two. Otherwise this comic is kind of boring. — Isaac Mills
Isaac’s rating: 2 out of 5
Dark Avengers # 15
Brian Michael Bendis (w), Mike Deodato (a), Rain Beredo (c). Marvel Comics.
Here is my understanding of the Sentry: he’s an old hero created by Stan Lee; but it turns out that was just a hoax and he’s created by Paul Jenkins; and he just made the world forget he existed; then he did it again; then he comes back; then he has schizophrenia; then it turns out that he’s actually a drug addict who got his powers by doing drugs; and now he has an evil blob inside him that may or may not be the Void or the living embodiment of drugs. The Marvel Heroes vs The Living Embodiment of Drugs! Drugs are bad! I really hope it turns out that we’ve all been on drugs this whole time. Take that DEA. — Miles Baker
Miles’ rating: 2.5 out of 5
Green Arrow #31
J.T. Krul (w), Federico Dallocchio (a), Michael Atiyeh (c), DC Comics
It’s definitely an improvement over the Rise and Fall Special, that’s for sure. Krul’s out of prologue mode and that helps thing a lot. On top of that, Dallocchio’s art (while not quite my cup of tea) is a huge improvement over the batch of artists we got last week. The fundamental problem is that this story reek of being an editorial mandate rather than a story Krul wanted to tell. This is a story for die-hard Green Arrow fans (like me) only. Everyone else should wait and check out Krul’s next arc. — Owen Craig
Owen’s rating: 2 out of 5
Green Lantern Corps #46
Peter J. Tomasi (w), Patrick Gleason (p), Rebecca Buckman, Keith Champagne & Tom Nguyen (i), Randy Mayor with Gabe Eltaeb (c), DC Comics
A lot of people are fans of this book but I’ve never been crazy about it. This issue, though, was quite good. A lot of the issues I’ve had in the past still stand, such as cluttered panels and meandering stories, but Tomasi and Gleason really succeed at making this issue freaking epic. They use the extra issue pages well to feature some nice character beats and the “trawling web” is awesome. Between the black lantern war, the personal battles Guy and Kyle fight and the battle against the Anti-Monitor I’d say this is the best issue I’ve read of this series yet. — Owen Craig
Owen’s rating: 3.5 out of 5
Nova #35
Dan Abnett, Andy Lanning (w), Mahmud A. Asrar (p), Scott Hanna (i), Bruno Hang (c). Marvel Comics.
This looks to be the last chapter of a mystically powered enemy arc — a story which has felt to me as if it went forever. Again, this kind of fight isn’t my cup of tea. That said, the day WASN’T saved by all the heroes shooting their whatever beams at the magic bad guy, a fact I am most certainly grateful for. In fact, as far as crazy magic storylines go it had a pretty satisfying ending. I liked seeing Mr. Fantastic doing “mass out of energy conversion” calculations on the ground with some chalk. That’s more fun and awesome than the recent Hulk story method of genius battle “I did this advanced calculation in my head, and therefore beat your force shield” “Ah, but while you wasted time saying that, I did an advanced calculation in MY head that gave my force shield back at twice the strength and disabled your jet pack” “Ah, ah, but while YOU said THAT…” etc. etc. It’s the worst techno babble ever. I recommend skipping that stuff and reading Nova. — Isaac Mills
Isaac’s rating: 3 out of 5
Marvel Boy: The Uranian # 3
Jeff Parker (w) Felix Ruiz (a). Marvel Comics.
This is actually a great issue. It’s a great issue 3 — out of a 4-part series. It’s certainly not an ending to a short mini-series because the main plot of the whole second book is completely and utterly unresolved at the end. Well, it resolved in the first Agents of Atlas series, but it was handled so briefly. The ending really just hangs there, and not in a good way. But as an issue, it’s great — funny, interesting art, thought-worthy themes. That said, at the end of this book I looked at the cover, looked up and thought, “That’s it?” Never a good sign. — Miles Baker
Miles’ rating: 2 out of 5
Siege #3
Brian Michael Bendis (w), Olivier Coipel (p), Mark Morales (i), Laura Martin (c), Marvel Comics
I was a little down on the first two issues of this series, but all that changes with this issue. This was a great comic. Bendis’ pacing was spot on here, showcasing moments of the epic battle while still building momentum. In the midst of that, though, focus is kept on Norman, showing his growing concern that he can’t win this one. Coipel is a great fit for this book, as he sure can handle large casts and dynamic fight scenes, although he’s relying a little heavily on explosions, fires and smoke for backgrounds. And let’s talk about that ending: I’ve complained to anyone who would listen that the last two issues ended with Steve Rogers deciding to join in the fight, and then joining in the fight. Both moments we saw coming. This issue, though, I totally dug it. Completely. Bendis turns the story on its head and delivers a moment that has me pumped for the next issue. After three issues you guys have won over one of your toughest critics, now bring it home, guys. – Owen Craig
Owen’s rating: 4 out of 5
Siege: Embedded# 3
Brian Reed (w), Chris Samnee (a), Matthew Wilson (c). Marvel Comics.
I hate to go all nerd on you here — but an over-weight, ex-news anchor is not able to knock out a top-level secret agent wearing a helmet in one blow. I know this series is playing it for light comedy (until the ending of this issue where the horrors of war are seen and the contrast is highly effective) but that’s stretching it. The agent’s got a helmet on and he’s highly trained in combat. There was another way out of that corner, Brian Reed. There was another, way less lazy way and you just didn’t bother to think about it. — Miles Baker
Miles’ rating: 3 out of 5
Sonic Universe #14
Ian Flynn (w), Tracy Yardley (p), Jim Amash (i), Jason Jensen (c). Archie Comics.
For the most part this book is really full of exposition. Like, everywhere. All in an effort to build to some key “cool” moments. And yes, there are one or two cool moments here, but that kind of payoff isn’t worth all the in between parts. Also, for whatever reason, I have no problem with a blue hedgehog running around having adventures — but when a monkey starts awkwardly romancing a chipmunk I can’t help but notice I’M WATCHING A MONKEY ROMANCING A CHIPMUNK. It totally takes me out of the story. Now where’s that two tailed flying fox — surely his presence will make sense and get me back into things. — Isaac Mills
Isaac’s rating: 2.5 out of 5
Spider-Woman # 7
Brian Michael Bendis (w), Alex Maleev (a). Marvel Comics.
Six months ago I watched the ending of this comic and said, “I get what Bendis is trying to do with this ending, but it’s a little weak to have the day saved by someone other than the title character in their inaugural story arc.” I still feel that way, and it turns out that this will not be the inaugural story — it will be the only one. So that’s worse. Thematically, I get it — Jessica has to learn to trust people — it just doesn’t work for me. I don’t get why Jessica feels so fucked over and it comes off too cheeseball. But, as stated before, Maleev’s art is second to none and that makes this comic special. I wish I could get behind that ending — Miles Baker
Miles’ rating: 3 out of 5
Uncle Scrooge #389
Staff Di If (w), Francesco Bargad Studio (a), Boom Studios
I’m enjoying this little caper that the team has put together here. I enjoy the comedy (especially Donald explaining that a slip-up was “for a good cause! Girls!”) and the rivalry with John D. Rockerduck is engaging. Plus, a Gladtone Gander appearance is always welcome. Sure, I’d like to see this comic lean more towards the treasure-hunting, Indiana Jones-esque Scrooge that is found in the Don Rosa stories, but in the meantime I’m enjoying what Boom is offering. – Owen Craig
Owen’s rating: 3 out of 5
X-Men Legacy # 234
Mike Carey (w), Yanick Paquette (p), Michel Lacombe (i), Nathan Fairbain (c). Marvel Comics.
I’m running out of nice things to say about X-Men Legacy. So I’ll say some nice things about Paquette, who turns in a predictably wonderful-looking issue. All he seems to do these days is really solid fill-in issues and that’s a shame. Great talent and I hope he finds an art home soon. Lacombe inks him a little differently than most other inkers with mixed effect. I think there are places the blacks are a little too think, but he knows when to pull back and simplify his line. Anyway, still like this book. — Miles Baker
Miles’ rating: 4 out of 5
Miles, you and I are like Bizarro versions of each other. I LOVED Dark Avengers. I’m a little unclear as to the true nature of The Sentry/The Void but I think at this point we’re supposed to be. I love how Bendis is tying up all the loose ends of his series’ and filling in the blanks left by past issues, something most writers don’t even bother trying. All my confusion of the past few issues is clearing up and I love it.
You’re not wrong that the origin of The Sentry is convoluted…there’s even a bit where he projects his stories into the brain of comic book writer Paul Jenkins, who wrote his origin story, and then Blondie Black Widow absorbs his powers and Void and Sentry get into a slapfight and Sentry killed his wife but it turns out not really. I have no idea about those parts, it sounds like a gibbering idiot wrote it.
BUT. All you really need to know is that Sentry and The Void are (so far) two beings, or two personas perhaps, one good and one evil, living together in the same Superman-powerful body, and that they’ve each been struggling for control. As for the drugs thing, Bendis only changed the fact that Bob Reynolds was a drug addict who took the super-formula that turned him into the Sentry, rather than a dude who was hand picked by the scientist who invented it to drink his formula. I’m pretty sure it’s not Marvel versus Drug Addiction Because Drugs Are Bad.
Is your complaint about this issue that you don’t understand The Sentry’s backstory? Or that Marvel is subtly sending us the message that drugs are bad? I’m honestly not sure what you’re getting at. I loved how it related back to an old issue and explains what it was that took out Doom during that Cabal meeting.
I’m hoping the mystery of the Sentry will be explained in forthcoming issues of Siege. I can’t tell you how much I appreciate that Bendis wrote this incredibly long arc subtly building up to the idea that The Sentry is dangerous and more powerful than anyone really imagined. What started out as a Superman-level hero with a touch of mental instability has turned into a God-killing, possibly Galactus-level entity bent on destruction. It’s fucking brilliant how this has evolved. And the timing is good too; as the story unfolds in “deleted scenes” in Dark Avengers it unfolds in a parallel manner during the present in Siege and it all comes together nicely.
Owen — Siege did have a bit of a rough start but I was more or less won over with issue 2. Sentry vs Ares was a shocker, I loved when Thor lightning-bolted Daken into crispy strips, BECAUSE HE’S THOR GODDAMMIT AND YOU’RE JUST A DUDE WITH POINTY THINGS COMING OUT OF YOUR WRISTS, and I thought the last page of Siege 2, with the reflection of Cap’s shield getting closer and closer to Norman Osborn’s armoured head, was super-cool.
Further supporting my theory that Miles and I are opposite copies of each other, I liked everything about Spider Woman except the horrible, horrible art.
I will cop to being a little silly with my Dark Avengers review. I don’t think it’s going to come out that The Void is drugs. Though that would be hilarious/terrible.
My score should probably be a little higher. I also thought it was cool that it matched up with The Cabal one-shot but I detract marks because the scene doesn’t really match up in how it was drawn or written. There’s dialogue missing that I thought was crucial — but that dialogue is also in The Cabal issue and it’s deletion gets the plot moving so I can see why they cut it.
The timing did synch up really well with the release of Siege #3 that day too. So, for all the times we scream about scheduling screw ups you gotta applaud them for getting that one right.
And you could not be more wrong about Maleev’s art.
I gotta say, I was SO gratified by the synchronous timing in these issues — especially after the horrible timing being displayed in not just this crossover, but numerous crossovers in the past. And yes, the scene in Dark Avengers doesn’t match up perfectly with Cabal, but holy shit is it ever better than 99% of other match ups. Blackest Night in particular is riddled with inconsistencies, and the latest Green Arrow crossover was so poorly done it made me actually question if I was reading about a totally different scene. Like when GA shoots Prometheus in the middle of a mansion in Justice League and then when GL and Flash visit the scene of the crime in Green Arrow it’s a shack. I can appreciate that coordinating multiple projects can be a challenge, but come on, people.
Though I am tempted to start an argument about Maleev, I will refrain because I’m pretty sure it will go nowhere. I suspect you and I have violently different standards for what constitutes good art. Related to that, I do have a question for you: what do you think of David Mack’s artwork?
I think Mack is an innovative artist but I’m not interested in his work. However, I haven’t read a lot, so that’s not really fair to say.
I read his Daredevil story with Bendis, but I didn’t love it.
I read his Daredevil arc about Echo and I thought that was pretty terrible. Every time he got to an interesting part of the story he chickened out and started to write about something else (But I only read it once four years ago, so I don’t remember it well enough to fully review it).
I’ve never tried to read Kabuki.
Hmm. I don’t really like his art either. It’s interesting, but only as art and not as a storytelling medium, if that makes sense. My exposure to him is pretty limited though, I have also never read Kabuki and all I know of him is the stuff he did in Daredevil and Alias.
One of my favourite artists of all time is Mark Bagley. His stuff is always clean, dynamic, easily comprehensible, detailed, attractive, and very importantly, ON TIME. I think he might be the last good artist left in comics who’s able to put out one whole comic a month.
Bagley? Really? All-time? Like, he’s decent but I would never show him to anyone and say “You gotta check this guy out.”
I find his art often borders on really unattractive. Some of those last issues of Ultimate Spider-Man he clearly phoned in.
From the previews that I saw of Trinity, that art was getting pretty rushed and terrible at the end. Huge, empty panels, distorted faces — not so great.
For me, putting out a monthly product isn’t as important as the quality of the product. Bagley might meet the deadline, but McNiven (for example) will make it worth the wait.
We should do an article about this, because I don’t think any artist (or writer) is worth the wait most of us have had to suffer at one time or another. Comics is about storytelling if it’s about anything, and you can’t stop a story in the middle and then resume it months later and expect readers to care as much about it as they did before.
And in this world of tie-ins and status-quo changing stories, publishers can’t afford certain titles being months late, because it messes everything else up. How many pointless fill-in issues or flashback issues have readers spent money on because the final issues of mini series like Civil War or Final Bullshit Crisis 14 were months behind?
Maybe Bagley’s art for Trinity was looking a bit rushed, but Jesus, the man did a weekly comic. Half the artists today can’t even manage a monthly one and make it look decent. I’ve always really liked his art because it’s very functional, and the action scenes make sense, and all that stuff. I’m a Bagley fan from way back in the New Warriors days.
Since you mentioned McNiven specifically, I’m not sure I’d say Old Man Logan was worth the wait…15 months for 8 issues? And if I recall, the art was kind of crap by that last issue. And it wasn’t a bimonthly thing either; the first few issues came out on time and the later ones were like, three to four months apart I think. Had I known it was going to be that way, I would have just waited and picked up the trade.
IN FACT, now that I think of it, I accidentally bought one of those issues twice and had to return it, because it was so late at one point that those wankers re-released a previous issue with a different cover.
Hmm, you know, maybe Bagley isn’t one of my favourite artists of ALL TIME. But he’s reliable, and that counts for a lot for me. Some of my other faves would include Jim Lee, Steve Dillon, John Cassaday, John Byrne, Carlos Pacheco…
I know this isn’t Lee’s fault, but remember when All Star Batman & Robin came out once in a while?
Old Man Logan was crappy. But I’d put that squarely on Millar. In a perfect world, McNiven would work with a writer, not a marketer.