S.H.I.E.L.D. #4 - Jonathan Hickman (w), Dustin Weaver (a)
Tweeview:- "S.H.I.E.L.D4: still not sure how accessible this is. It's genius, and often leaves me needing multiple readings. Art is lovely "
S.H.I.E.L.D. is a very interesting series.
It's incredibly that it's a Marvel book to be honest; it's deeply esoteric, complex and not in a years of continuity way, but rather in a genuinely thought provoking and mind-boggling way.
In fact, if you're an average comic fan with no background knowledge of Mystery Schools and esoteric thought, this seems to me really hard to get into.
Myself, I know a bit about the ideas that make up the groundwork of this series. And I'm a massive fan of the book The Secret History by Jonathan Black, so that has helped me understand a lot in this series.
It's genius, essentially working like a mystery school initiation for the reader as much as the characters. It's s deeply thought out that each issue requires multiple readings (as this one will) and then multiple readings of the whole series to date!
However, at this point, it's hard to see where it's going. It's brilliant, but I fear that it could start alienating the average comics reader. Also, it would be nice to see how the events in this book connect with the Marvel Universe as a whole, especially with the heroes we already know.
The art from Weaver is as ever absolutely gorgeous and fitting for the story. It grounds it and gives it excellent pace, whilst still providing interesting and new panel layouts, playing with the art form as much as Hickman plays with the story form.
The back-up material is still some of the most complex, interesting and sometimes frustrating part of the book. It occasionally feels like there's a part you're missing, and for me this issues left me feeling that way. But as I've mentioned, multiple readings required, maybe I'll get it next time.
I'm certainly not going to leave this book, and I hope that no one actually does...but I fear it's a tight rope being walked on a windy day at times.
Chaos War #1 - Fred Van Lente and Greg Pak (w), Khoi Pham (a)
Tweeview:- "ChaosWar1: very old school styled story. Fun but feels light and a little fluffy. Good after Siege etc. Pham's art rough, but good"
This event book has a distinctly old school feel to it. Like maybe '80's era, like Secret Wars. It feels light and fluffy, not terribly serious or thought provoking, and certianly with no real 'OMG!' moment in it. And this is a great idea; a perfect pallet cleanser after the likes of Siege, Dark Reign, Secret Invasion etc.
In terms of modern events, it suffers a little from bouncing around a lot in the beginning, and the comedy feels a little hammy in places. Now, as a Herc book, that fits: the slapstick comedy style of The Incredible Hercules was part of what made it such an incredibly popular book. But as this is meant to be a line wide event, it kind of made the story lose it's gravitas for a moment.
However, towards the end things got back on track, and left us with an interesting state of affairs, and it'll be fun to see where it goes next.
Pham's art on the book is very rough around the edges, and in some scenes it really fits. It's also got a watercolour style to the colouring that really makes for pretty panels and pages. However, it lacks power in some panels. It does tell the story with ease though.
Uncanny X-Force #1 - Rick Remender (w), Jerome Opena (a)
Tweeview:- "UncannyXForce1: interesting set up, nice twists and characterisation. Violence handled better. Art is superb, every panel "
Totally my favourite book this week.
The plot is wonderfully twisty and jumpy in terms of the way it progresses, with interesting set up of the situation, dynamic characterisation and some interesting twists thrown in there.
Fantomex stole the show for me, as he so often does. In this issue he comes across as a man of intrigue but just as much coming in on the ground floor as we are.
I also fancy that Remender is handling the violence better on this book than the violence was done in the predecessor to Uncanny X-Force. In the old X-Force, it was kind of gratuitous and seemed to have deaths for deaths sake a lot of the time. However, here the violence is more subtly played, and it makes it all the cooler and more accessible for it.
I still find Deadpool terribly irritating though, but maybe I'm meant to. All the other characters do after all.
Opena's art is simply gorgeous! Every panel and page is a masterpiece, sumptuous with detail and feel and nuance. He makes the character's look and feel real, even when they're flying in a spaceship made from a puked up nervous system. Also, his Betsy Braddock/Psylocke is sexy without being cheesecake, and that's lovely to see in comics.
I've never seen any of Opena's art before, but frankly he's one to watch for me now.
I'm astounded to say that the overall package of this book now means that I'll be picking up an X-Force book, featuring Deadpool, regularly from now on.
Buffy The Vampire Slayer: Season 8 #37 - Joss Whedon (w), Georges Jeanty (a)
Tweeview:- "BuffySeason8issue37: story continues with great pace, and more twists an turns. Art is lovely and serves to story well"
The story continues at excellent pace here, allowing for some witty exposition, great character moments, and fantastic action, not to mention Whedon's regular compliments of unforeseen plot twists and fun.
The art is lovely, and tells the story with ease, and has some really dynamic moments throughout too, and some nice attention to detail.
There's not much else I can say about this issue...it's kind of a middle issue that's heavy on exposition but in a good, fun to read way. I definite buy for Buffy fans, but maybe not new readers, you guys may wanna wait for the trade.
Ultimate Thor #1 - Jonathan Hickman (w), Carlos Pacheco (a)
Tweeview:- "UltThor1:fantastic set up, multiple plot lines, interesting hints and parallels. Great choices. Best handling of Ult Thor is ages"
The wonderful thing about Hickman is that there is often a lot going on in his books, but it's always juggled so well and with such ease and class that it makes sense and is totally worth it. Sure, there will be moments when you're a little confused, but the payoff will rock your world.
Ultimate Thor has that going for it in spades. This issue is all set up, and yet there is so much going on in it that it feels genuinely intriguing. We've got three parallel plots running, each in a different time setting, following vastly different characters (although in two of these settings the character's are in fact the same (or are they?)). There's a couple of notes of intrigue too, such as why exactly do we never see Dr. Donald Blake's face? It's quite purposely obscured throughout the pages he's in.
Also, the story features a great choice of source materials that is rarely touched on in recent Thor stories; it focuses on the Nazi's genuine obsession with Nordic mythology. This obsession was genuine in real life, in fact, the swastika is actually an old symbol representing Thor. So Hickman bringing this up and playing it as big as he is, well, this is going to be interesting.
Carlos Pacheco delivers some fine art that moves the story along well, and in some pages and panels it's really beautiful. But I didn't feel blown away by it, like I have by some of his other work. I'm betting he'll blow me away on this book eventually, but this issue is soberly that there wasn't anything crazy brilliant art-wise, just well executed, clear and great art.
One last thing this book has going for it: this is simply the best that Ultimate Thor has been handled since Mark Millar handed the reins of The Ultimates over to Jeph Loeb. This Thor acts and speaks more like how he originally did, instead of feeling like a cheap knock-off of 616-Thor.
I simply cannot wait to read more.
Showing posts with label tweeviews. Show all posts
Showing posts with label tweeviews. Show all posts
Thursday, 7 October 2010
Saturday, 2 October 2010
Comics Pile Specal - X-Men: Second Coming
Tweeview:- "X-Men:SecondComing: A classic style X-Men event, done on a grand scale with some epic moments. Art is largely great"
SPOILERS AHEAD!!!
Okay, unlike my other reviews where I do my best to avoid spoilers, I am just not going to bother here. Firstly because it would be next to impossible. Secondly, I'm reviewing the collected Hardcover edition of this event, and so there's little chance that you wouldn't know the key points and major outcomes if you're a comic fan, especially if you're an X-Men fan.
So here's your warning, here be spoilers. If you don't want to be spoiled, and have somehow remained so still, then don't bother reading this review.
Okay, now that they're gone, I'll begin.
X-Men: Second Coming is the third part in a trilogy of events that started with epic, game-changing Messiah CompleX, continued through the X-Force/Cable event Messiah War, and now concludes, as the 'mutant messiah' baby Hope, now a fully grown young woman, returns to the present with her guardian and father figure, Cable.
The story encompasses a vast range of the X-camp, bu mainly focuses on Hope and Cable, Scott Summers, and X-Force. The rest of the X-Men finally learn of the murderous team formed by Cyclops for covert wetworks missions, and some of the initial story points deal with the fallout of this.
Now, on the internet while the series was being released weekly across Uncanny X-Men, X-Men Legacy, New Mutants and X-Force, some fans seemed upset by some points in this series, especially some of the major deaths. I'll go into these individually, but suffice to say, the X-Men find themselves at war, literally, and if there had been no deaths at all it would have been a let-down and would have ruined any idea of realism and drama in the story. The fact that there are also a fair number of mutilations in this series I take with a mixed bag...it kind of makes sense that even some survivors would be forever scarred in some way, but it also feels gratuitous and unnecessary at certain junctures.
Onto the plot. Scripting duties are shared out between Matt Fraction, Mike Carey, Zeb Wells and Chris Yost and Craig Kyle. They work well together; for the most part it's hard to tell who's writing which chapters, though Fraction and Carey stand out most as they have some of the most distinctive dialogue to give the characters. The whole piece kind of feels like a Yost and Kyle story, and feels very much like a wider scale X-Force adventure, which makes sense given the villains and the revelation of the team.
However, no matter how vast this story is, and it is vast, the revelation of the X-Force group and the disparate reactions of other X-Men feel ultimately unresolved and incomplete. It would have been nice to see Cyclops having to deal with it more, maybe even facing more dissension in the ranks, but obviously the main point of the story is finding out what Hope is capable of an if she is indeed the messiah they all hope for.
My other quibble with the plot is the use and portrayal of Bastion. Now, Operation: Zero Tolerance was one of the first major crossover X-Men events that I ever read, and was able to get in on the ground floor on, reading it as it progressed in the American issues. Bastion is frightening in his zealotry and being the embodiment of some of the worst features of humanity, despite not actually being human himself. In Second Coming however, he is all machine, and there is nothing of the cool terrifying sentience of the original Bastion here, except in maybe one or two scenes handled by Fraction and Carey, and also at the very end.
As much as I realise that he was merged with a Nimrod unit, it felt a shame that the lead villain was essentially a computer intelligence and came across as such. Luckily, Bastion's cadre of fascists and anti-mutant hate mongers more than make up for it.
Which kind of brings me to why this is a great, classic X-Men storyline, done in the classic vein. This story feels very much like the culmination of decades of stories about the X-Men facing off against a humanity that would rather see them dead. This is a story about the hate and bigotry that those that are different face, and the dark futures that hatred and genocide spawn. And when, ultimately, the forces of the oppressed rally together, not just saving themselves but also the normal, average people around them, it feels like a fitting end to those stories, and that the X-Men can finally move on.
Grant Morrison kind of started doing something similar in his seminal New X-Men run. His stories were still the classic X-Men stories about bigotry and minority groups, but it was told from a different angle; the minority group culture becoming mainstream, the 'coming out of the closet' and rallying Rights movements. But they were all still essentially 'classic' stories; there was a bigotry one, a genocide one, a space one and a dark future one.
Here however, the story ends with a sense that these kinds of tales may finally be put to rest, and that the stories will move forward. Yes, the X-Men will continue to face those that would destroy them, but the motivations of these villains may be different now, as the X-Men finally finish off the threat of bigotry against them.
All in all, I loved this story. It was great to read, and had a wonderful end that felt like the future for the series held so many different possibilities. But there were those that weren't so keen, and the main reason is the two major deaths of popular characters. I'm now going to go into them, so last warning, if you don't want to know, do not read on.
The first major death was the sad loss of Nightcrawler. Nightcrawler has been a major part of the X-Men cast for decades in the comics, and was always a firm fan favourite. He was also the heart and spirit of the group, with his deeply moving religious struggles, and he was also a symbol of innocence for the X-Men in how he made everything seem like an adventure and always seemed to be having fun.
He had however been a little out of the spotlight lately, appearing sporadically in the comics in maybe an arc or odd issue. Many fans felt that he was brought into the spotlight in this series just to be a high profile death, and I can see why they could feel this way. As I mentioned, he'd barely been touched upon and had little in the way of a fully formed character arc in some time, only to be brought in as the voice of conscience and innocence for the team, and then be lost.
I think it is a shame that the character has been in the shadows for so long only to come to die at this point, but frankly, it couldn't really have been anyone else. After finding out about X-Force, Nightcrawler is shocked and appalled, but continues on like a good soldier, and he seems to struggle with the knowledge. Sadly, we don't see much of this struggle but it is implied, and well it should be. The death of Nightcrawler thus signals a loss of innocence for the team as they realise that they too can be capable of murder, and all mourn the loss of this innocence. Ultimately, this reignites the sense of moral conscience in all the team, which comes into play at the epilogue; and it also serves to bring Wolverine back to the point of nearly ever-present murderous rage that made him an unstable and interesting character to begin with.
The second major death was Cable. However, with the death of Cable I can see why many fans were left cold by it. It was badly telegraphed not just in the early chapters of the story but also in the promotional material that Marvel were putting out before the story started. As a result, his death was obvious and felt like a mere formality to get on with the story. Thus, Cable's death, though important and emotionally motivating for the characters, feels trivialised and inevitable to the readers.
I would have to say that this may not be the fault of the writers, but maybe higher up within Marvel. If the promotional material didn't make it so blatant, maybe the telegraphing wouldn't have seemed so obvious, and Cable's death may have struck an emotional chord with readers too.
However, all in all, the plot is damn near perfect. It's vast, spread out, and yet urgent, and feels like the ultimate showdown it should be. Hell, they could have easily made this the end of the X-Men entirely if they had so decided.
As for the art, the artistic chores are also spread out between Terry Dodson, Ibraim Roberson, Greg Lad and Mike Choi and Sonia Oback. There are also bookends to the series by Stuart Immonen, David Finch, and Esad Ribic, and a wonderful little assist in one issue by Lan Medina and Nathan Fox.
As a whole, the art is great, and everyone for the most part is one the top of their game. But as you can probably tell from my choice of words, there is a weak link.
Ibraim Roberson's art is nice, straightforward and tells the story perfectly. He makes an excellent month-by-month artist. Sadly, compared to the other artists though, his art feels the least accomplished and thought out, and sometimes looks static and cold. There's a definite sense of one to watch here, but he doesn't feel up to his A game yet, unlike the others.
Now, I bet some of you thought I was going to say the weak link was Greg Land. I normally agree with the internet folks who like to diss Land's work for it's gratuitous use of referencing, in particular when he appears to be simply tracing from pictures (worse yet when he appears to be tracing from porn pictures). For example, Land's work on major Ultimate Marvel event, Supreme Power, was filled with so many porno style faces; all women had a 'Cock goes where?' expression, and all men had a 'eeech, cummming!' look, it wound up making what was meant to be a serious event come across as a farce. However, here Land serves up some brilliant artwork. There seems little evidence of tracing, rather simple harmless referencing, which all artists do to some extent. His action sequences flow much better, and frankly it's some of the nicest work he's put out in ages.
Terry Dodson's more stylised cartoonish style manages to be very different yet fit wonderfully, and looks as gorgeous as ever. And Mike Choi and Sonia Oback produce some of their best art ever; in fact, it's them that have to deal with both major death scenes, and they do so with ease. Nightcrawler's is by far the best, handled with such care and warmth as the character deserves.
The assist by Nathan Fox and Lan Medina is a welcome surprise in the latter end of the series, as the more indie comic style art takes us inside the head of Legion and seems like a perfect choice for it. In fact, I could have happily seen more of it!
The book ends too largely look great, with Immonen and Ribic delivering some wonderfully detailed and poignant scenes with ease. David Finch's issue to kick off the event is a little odd to look at sometimes, with some peculiar anatomy and faces, but is largely gritty, powerful and heroic.
Finally, the presentation of the hardcover collection...it's epic. You get loads for your money in this book, not just the main series but some nice extras and all the covers too, all beautifully laid out and reprinted. It's one of the nicest collections this year, only just being trumped by the Batwoman GN released earlier this year.
So all in all, X-Men: Second Coming is a must read, featuring some of the best writers and best artists around, and is well worth forking out the large sum of cash for.
SPOILERS AHEAD!!!
Okay, unlike my other reviews where I do my best to avoid spoilers, I am just not going to bother here. Firstly because it would be next to impossible. Secondly, I'm reviewing the collected Hardcover edition of this event, and so there's little chance that you wouldn't know the key points and major outcomes if you're a comic fan, especially if you're an X-Men fan.
So here's your warning, here be spoilers. If you don't want to be spoiled, and have somehow remained so still, then don't bother reading this review.
Okay, now that they're gone, I'll begin.
X-Men: Second Coming is the third part in a trilogy of events that started with epic, game-changing Messiah CompleX, continued through the X-Force/Cable event Messiah War, and now concludes, as the 'mutant messiah' baby Hope, now a fully grown young woman, returns to the present with her guardian and father figure, Cable.
The story encompasses a vast range of the X-camp, bu mainly focuses on Hope and Cable, Scott Summers, and X-Force. The rest of the X-Men finally learn of the murderous team formed by Cyclops for covert wetworks missions, and some of the initial story points deal with the fallout of this.
Now, on the internet while the series was being released weekly across Uncanny X-Men, X-Men Legacy, New Mutants and X-Force, some fans seemed upset by some points in this series, especially some of the major deaths. I'll go into these individually, but suffice to say, the X-Men find themselves at war, literally, and if there had been no deaths at all it would have been a let-down and would have ruined any idea of realism and drama in the story. The fact that there are also a fair number of mutilations in this series I take with a mixed bag...it kind of makes sense that even some survivors would be forever scarred in some way, but it also feels gratuitous and unnecessary at certain junctures.
Onto the plot. Scripting duties are shared out between Matt Fraction, Mike Carey, Zeb Wells and Chris Yost and Craig Kyle. They work well together; for the most part it's hard to tell who's writing which chapters, though Fraction and Carey stand out most as they have some of the most distinctive dialogue to give the characters. The whole piece kind of feels like a Yost and Kyle story, and feels very much like a wider scale X-Force adventure, which makes sense given the villains and the revelation of the team.
However, no matter how vast this story is, and it is vast, the revelation of the X-Force group and the disparate reactions of other X-Men feel ultimately unresolved and incomplete. It would have been nice to see Cyclops having to deal with it more, maybe even facing more dissension in the ranks, but obviously the main point of the story is finding out what Hope is capable of an if she is indeed the messiah they all hope for.
My other quibble with the plot is the use and portrayal of Bastion. Now, Operation: Zero Tolerance was one of the first major crossover X-Men events that I ever read, and was able to get in on the ground floor on, reading it as it progressed in the American issues. Bastion is frightening in his zealotry and being the embodiment of some of the worst features of humanity, despite not actually being human himself. In Second Coming however, he is all machine, and there is nothing of the cool terrifying sentience of the original Bastion here, except in maybe one or two scenes handled by Fraction and Carey, and also at the very end.
As much as I realise that he was merged with a Nimrod unit, it felt a shame that the lead villain was essentially a computer intelligence and came across as such. Luckily, Bastion's cadre of fascists and anti-mutant hate mongers more than make up for it.
Which kind of brings me to why this is a great, classic X-Men storyline, done in the classic vein. This story feels very much like the culmination of decades of stories about the X-Men facing off against a humanity that would rather see them dead. This is a story about the hate and bigotry that those that are different face, and the dark futures that hatred and genocide spawn. And when, ultimately, the forces of the oppressed rally together, not just saving themselves but also the normal, average people around them, it feels like a fitting end to those stories, and that the X-Men can finally move on.
Grant Morrison kind of started doing something similar in his seminal New X-Men run. His stories were still the classic X-Men stories about bigotry and minority groups, but it was told from a different angle; the minority group culture becoming mainstream, the 'coming out of the closet' and rallying Rights movements. But they were all still essentially 'classic' stories; there was a bigotry one, a genocide one, a space one and a dark future one.
Here however, the story ends with a sense that these kinds of tales may finally be put to rest, and that the stories will move forward. Yes, the X-Men will continue to face those that would destroy them, but the motivations of these villains may be different now, as the X-Men finally finish off the threat of bigotry against them.
All in all, I loved this story. It was great to read, and had a wonderful end that felt like the future for the series held so many different possibilities. But there were those that weren't so keen, and the main reason is the two major deaths of popular characters. I'm now going to go into them, so last warning, if you don't want to know, do not read on.
The first major death was the sad loss of Nightcrawler. Nightcrawler has been a major part of the X-Men cast for decades in the comics, and was always a firm fan favourite. He was also the heart and spirit of the group, with his deeply moving religious struggles, and he was also a symbol of innocence for the X-Men in how he made everything seem like an adventure and always seemed to be having fun.
He had however been a little out of the spotlight lately, appearing sporadically in the comics in maybe an arc or odd issue. Many fans felt that he was brought into the spotlight in this series just to be a high profile death, and I can see why they could feel this way. As I mentioned, he'd barely been touched upon and had little in the way of a fully formed character arc in some time, only to be brought in as the voice of conscience and innocence for the team, and then be lost.
I think it is a shame that the character has been in the shadows for so long only to come to die at this point, but frankly, it couldn't really have been anyone else. After finding out about X-Force, Nightcrawler is shocked and appalled, but continues on like a good soldier, and he seems to struggle with the knowledge. Sadly, we don't see much of this struggle but it is implied, and well it should be. The death of Nightcrawler thus signals a loss of innocence for the team as they realise that they too can be capable of murder, and all mourn the loss of this innocence. Ultimately, this reignites the sense of moral conscience in all the team, which comes into play at the epilogue; and it also serves to bring Wolverine back to the point of nearly ever-present murderous rage that made him an unstable and interesting character to begin with.
The second major death was Cable. However, with the death of Cable I can see why many fans were left cold by it. It was badly telegraphed not just in the early chapters of the story but also in the promotional material that Marvel were putting out before the story started. As a result, his death was obvious and felt like a mere formality to get on with the story. Thus, Cable's death, though important and emotionally motivating for the characters, feels trivialised and inevitable to the readers.
I would have to say that this may not be the fault of the writers, but maybe higher up within Marvel. If the promotional material didn't make it so blatant, maybe the telegraphing wouldn't have seemed so obvious, and Cable's death may have struck an emotional chord with readers too.
However, all in all, the plot is damn near perfect. It's vast, spread out, and yet urgent, and feels like the ultimate showdown it should be. Hell, they could have easily made this the end of the X-Men entirely if they had so decided.
As for the art, the artistic chores are also spread out between Terry Dodson, Ibraim Roberson, Greg Lad and Mike Choi and Sonia Oback. There are also bookends to the series by Stuart Immonen, David Finch, and Esad Ribic, and a wonderful little assist in one issue by Lan Medina and Nathan Fox.
As a whole, the art is great, and everyone for the most part is one the top of their game. But as you can probably tell from my choice of words, there is a weak link.
Ibraim Roberson's art is nice, straightforward and tells the story perfectly. He makes an excellent month-by-month artist. Sadly, compared to the other artists though, his art feels the least accomplished and thought out, and sometimes looks static and cold. There's a definite sense of one to watch here, but he doesn't feel up to his A game yet, unlike the others.
Now, I bet some of you thought I was going to say the weak link was Greg Land. I normally agree with the internet folks who like to diss Land's work for it's gratuitous use of referencing, in particular when he appears to be simply tracing from pictures (worse yet when he appears to be tracing from porn pictures). For example, Land's work on major Ultimate Marvel event, Supreme Power, was filled with so many porno style faces; all women had a 'Cock goes where?' expression, and all men had a 'eeech, cummming!' look, it wound up making what was meant to be a serious event come across as a farce. However, here Land serves up some brilliant artwork. There seems little evidence of tracing, rather simple harmless referencing, which all artists do to some extent. His action sequences flow much better, and frankly it's some of the nicest work he's put out in ages.
Terry Dodson's more stylised cartoonish style manages to be very different yet fit wonderfully, and looks as gorgeous as ever. And Mike Choi and Sonia Oback produce some of their best art ever; in fact, it's them that have to deal with both major death scenes, and they do so with ease. Nightcrawler's is by far the best, handled with such care and warmth as the character deserves.
The assist by Nathan Fox and Lan Medina is a welcome surprise in the latter end of the series, as the more indie comic style art takes us inside the head of Legion and seems like a perfect choice for it. In fact, I could have happily seen more of it!
The book ends too largely look great, with Immonen and Ribic delivering some wonderfully detailed and poignant scenes with ease. David Finch's issue to kick off the event is a little odd to look at sometimes, with some peculiar anatomy and faces, but is largely gritty, powerful and heroic.
Finally, the presentation of the hardcover collection...it's epic. You get loads for your money in this book, not just the main series but some nice extras and all the covers too, all beautifully laid out and reprinted. It's one of the nicest collections this year, only just being trumped by the Batwoman GN released earlier this year.
So all in all, X-Men: Second Coming is a must read, featuring some of the best writers and best artists around, and is well worth forking out the large sum of cash for.
Thursday, 23 September 2010
Weekly Comic Pile 23/09/2010
Thor #615 - Matt Fraction (w), PAsqual Ferry (a)
Tweeview: excellent start to new run. Art is superb, characters well rounded, dialogue sparkling. Follows on wonderfully
Matt Fraction's eagerly anticipated run on Thor begins, and it's off to a great start. Obviously, I have been waiting to get my hands on this since Fraction's Thor one shots, which were epic and seemed to really find the voice of the character naturally.
That's continued in this issue. In fact, all the characters feel fully formed, as most of the main cast is given a couple of layers within just one issue, and others seem to have interesting ideas set up before them.
The great thing about this issue if you've already been reading Thor is that it doesn't just start afresh. It builds and flows on organically from what Kieron Gillen has done on the book, including strands and character arcs that Gillen was exploring being continued here.
And yet, it remains a perfect jumping on point for new readers.
The story feels immediately epic and grandiose, whilst being filled with small human moments, and light, well-handled comedy. Easily some of Fraction's best in-house work, much like his run on Invincible Iron Man.
As for the art, Pasqual Ferry knocks it out of the park. Many of the panels and pages feel huge, with large vistas, flowing line work, and excellent story telling. It's topped off by some great colours from Hollingsworth, which feels much more like the colours were lavishly painted on digitally, instead of blocks of colours and tones. In fact, the deftness of the modern 'painting' technique manage to infuse the art with a sense of the new and the old, which is where Thor is always at its best.
The lettering from Workman is a great job, with perhaps onepossible exception. The new villains of the piece all have an odd white fuzzy thing (that's seriously all I can describe it as) in their speech bubbles. I found it so hard to tell what it was or why it would be there that it actually managed to pull me out of the story for a moment. If it turns out that this is on purpose and will be explained later, fair enough, but if it's some kind of artistic license, I really hope they drop it.
Overall though, this book is excellent, easily one of the best picks of my haul this week. In fact, it's only being trumped as my best by one ...story...and it's an odd choice, which I'll be getting to at the end.
True Blood #3 - Alan Ball (w), David Messina (a)
Tweeview: story a little clunky, and art too. It's great when Messina isn't working of photos, but ref'd panels are static
The True Blood comic is an odd thing; I find most liscensed comic books to be odd though. It's hard to tell if we're supposed to consider this canon. Fact is, I'm fairly certian Ball has said it is, but it feels like it shouldn't be.
It's possibly that on a comics page, the characters just don't come across as well as on the screen; dialogue often reads as forced, or plain bad. Similarly, the plot is a little clunky. In this issue, three rednecks appear from seemingly nowhere, and fight sequences end as quickly as they start. And the ending just feels sudden, almost like an 'oops, out of pages, ah well' moment.
However, it has it's moments. Occasionally, the characters feel like the ones we know and love, and in some cases lust for, and the mood and themes match the show well enough.
The art by David Messina is a bit 'clunky' too. The art seems to split into two types: art that is referenced from pictures of the cast and show, and art that is entirely Messina's free work. The free work is excellent, and dynamic, and the movement is palpable. But the referenced panels feel entirely static. They look excellent and spot on for the most part. Only when perhaps a character is smaller in the background to they look completely off.
All in all, this continues to move te story forward at a slow and slightly clunky pace, but it's hardly the worst comic around. I just can't help but feel it would have worked better as a Graphic Novel, and with Messina not referencing so much.
Avengers #5 - Brian Michael Bendis (w), John Romita Jr. (a)
Tweeview: Important plot element added, but otherwise straightforward middle issue. Pacing little too fast. Art is great
The problem with this issue is that it feels like a fairly standard middle of a run issue, but it's issue 5, and it's hard to see how this arc can be wrapped next issue in anything but a breakneck pace.
In fact, that accelerated pace is felt strongly in the last couple of pages of the issue. Bendis' pacing in New Avengers has been proving much better than here sadly.
That being said, it's not a bad issue. It's nostalgically reminiscent of classic Avengers/Marvel stories, with uneasy alliances being heroes and villains, but with Bendis' usual element of intrigue and modernity to it.
The main reason I had for picking this up was the apparantly important double-page spread in the issue hinting at possible future events within Marvel. Now, it by no means feels original: DC have already done this, twice or more, with Rip Hunter's whiteboards. This one equally feels like not just a big important plot element to this arc (though that in itself raises the question of why it's being introduced so late) but will also have intriguing things for fans of the rest of the Marvel Universe. Whether it's worth picking up for the $3.99 price tag if you don't usually read Avengers....probably not. And you certainly couldn't read this issue without the others.
Artwise, Romita Jr. continues to produce some fine work, not his best, but pretty solid, with some fantastic spreads. He feels like a good fit for this book as he can produce good work like this, that can tell a story plainly and well, on a fast turnaround, which frankly this arc certainly needs to keep interest.
Uncanny X-Men #528 - Matt Fraction (w), Whilce Portacio (a)
Tweeview: nice story progression. Finally some Northstar&Dazzler action. Art sometime sparse and but effective
The story of the Five Lights is progressing well. So far, I haven't been that excited wih Fration's X-Men work. It has it's spectacular moments (Utopia) and it has it's slow and not very spectacular moments, not bad, just not amazing (the Sisterhood and Predator X arcs).
However, I think what's needed to properly understand those slow moments is to really view the run so far as a whole. The stories Fraction has been weaving seem to be very different themes than usual X-Men stories: instead of just focusing on how hard it is for people persecuted for being different, we see people and societies struggling with ideas of change. Similarly, the effects of fame and being thrust into the spotlight on these people and groups. This thematically links with what Morrison was doing in his stellar New X-Men run; though unlike Morrison who introduced these themes to look at the same classic X-Men stories from a new angle, Fraction focuses on these new themes with the characters.
Classic style X-Men stories then are now being told in the other X-books, but Uncanny is dealing with a very different theme, and is having to do so on a broad scale, across whole arcs. The book itself is changing just as much as it's dealing with the concept of change.
Thus, if we look at it like that, as well as being a good issue in and off itself with interesting character moments and good progression of individual character arcs and intrigue; it's also a great story progression for the overall theme, especially evidenced in some dialogue beteen Hope and the newest Light, and a scene with Northstar and Dazzler.
And another thing, FINALLY some Northstar/Dazzler action! We got a tease in a previous issue, but since then this 'tag team to watch' have essentially just run around in the background if they appeared at all in the main book. Finally here we see them bantering away at each other, a gay and his glamorous fag hag, as they kick ass! And it's brilliant to see them! There needs to be more. Hell, if it were up to me, they'd get their own mini. But offering the chanceto shine, in Uncanny of all places, is great to see.
The art by Whilce Portacio...well, I'm not the biggest fan of his superhero work. I think he works fine doing grim 'n' gritty and horror, but superhero not so much. But it does the job. The story progression is easy to follow and clear. However, some of his panels and pages are sparse, with blocks of bare colour or characters and action all appearing to one side of the panel. Also, there are a couple of occassions where the anatomy is way off (in one panel, Emma Frost looks like a butch man with fantastic tits). But as I said, it works. It tells the story and does so well, it may nt be the prettiest to have graced the book, but it damn well gets the job done. Plus, it's some of Portacio's best on the title so far, so it feels like he's getting more of a feel for the characters now.
Jimmy Olsen's Big Week: Action Comics Co-Feature part one
Available for free on the DC App - Nick Spencer (w), RB Silva (a)
Tweeview: it's free! It's funny. It's smart. It's pitch perfect. And the art is superb. RB Silva is a revelation!
Now this is the odd one. Odd because this has been my favourite bit of comic book picked up today...and it was done online, or rather on my phone, for free, and is technically a back-up feature, not a main event. Yet it hands down beats the full comics I spent cash on this week.
Jimmy Olsen can be a fun character. Grant Morrison showed how quirky and insane and wonderfully entertaining he can be in All Star Superman....however, in the main DC Universe, he's not handled quite so well lately. In fact, in Countdown he was used pretty badly.
However, Nick Spencer gets him. He gets the concept of following Superman's powerless 'best pal'. And not only does he know what made the concept great and fun and quirky in the past, but he knows how to update it and make it modern yet essentially stay true to the original idea.
Also, the DC Universe finally has it's Chloe Sullivan. She's smart, she's sassy, and she's quite literally Jimmy's answer to Lois Lane. He even gets his answer to Lex Luthor.
And I think that this is going to be one of the fun things about this story: if Superman is meant to make us realise our potential and live our lives a bit more bravely and optimistic like him, then Jimmy Olsen is the Everyman Superman. He may take a little time to realise it, but this guy can save the day when he sets his mind to it.
The Everyman thing is important: we instantly connect with Olsen and root for him, and understand him. He's likeable and geeky and funny, and he's just this gawky adorable guy you wanna see win (but kinda wanna see the mishaps along the way too).
The art is stunning. RB Silva is a revelation to me, being completely unfamiliar with his work. His art looks a cross between Olivier Coipel and Ryan Sook, and all the characters and settings look great! In fact, that's part of what makes this 10-page comic more enjoyable than the full comics; I spent time pouring over each panel admiring the craftsmenship and artistry, on my tiny iPhone screen.
Frankly, as if you really need another reason to be picking up Paul Cornell's Action Comics anyway, but if you still need convincing download this on the DC app and be blown away. A bloody great pick!
Tweeview: excellent start to new run. Art is superb, characters well rounded, dialogue sparkling. Follows on wonderfully
Matt Fraction's eagerly anticipated run on Thor begins, and it's off to a great start. Obviously, I have been waiting to get my hands on this since Fraction's Thor one shots, which were epic and seemed to really find the voice of the character naturally.
That's continued in this issue. In fact, all the characters feel fully formed, as most of the main cast is given a couple of layers within just one issue, and others seem to have interesting ideas set up before them.
The great thing about this issue if you've already been reading Thor is that it doesn't just start afresh. It builds and flows on organically from what Kieron Gillen has done on the book, including strands and character arcs that Gillen was exploring being continued here.
And yet, it remains a perfect jumping on point for new readers.
The story feels immediately epic and grandiose, whilst being filled with small human moments, and light, well-handled comedy. Easily some of Fraction's best in-house work, much like his run on Invincible Iron Man.
As for the art, Pasqual Ferry knocks it out of the park. Many of the panels and pages feel huge, with large vistas, flowing line work, and excellent story telling. It's topped off by some great colours from Hollingsworth, which feels much more like the colours were lavishly painted on digitally, instead of blocks of colours and tones. In fact, the deftness of the modern 'painting' technique manage to infuse the art with a sense of the new and the old, which is where Thor is always at its best.
The lettering from Workman is a great job, with perhaps onepossible exception. The new villains of the piece all have an odd white fuzzy thing (that's seriously all I can describe it as) in their speech bubbles. I found it so hard to tell what it was or why it would be there that it actually managed to pull me out of the story for a moment. If it turns out that this is on purpose and will be explained later, fair enough, but if it's some kind of artistic license, I really hope they drop it.
Overall though, this book is excellent, easily one of the best picks of my haul this week. In fact, it's only being trumped as my best by one ...story...and it's an odd choice, which I'll be getting to at the end.
True Blood #3 - Alan Ball (w), David Messina (a)
Tweeview: story a little clunky, and art too. It's great when Messina isn't working of photos, but ref'd panels are static
The True Blood comic is an odd thing; I find most liscensed comic books to be odd though. It's hard to tell if we're supposed to consider this canon. Fact is, I'm fairly certian Ball has said it is, but it feels like it shouldn't be.
It's possibly that on a comics page, the characters just don't come across as well as on the screen; dialogue often reads as forced, or plain bad. Similarly, the plot is a little clunky. In this issue, three rednecks appear from seemingly nowhere, and fight sequences end as quickly as they start. And the ending just feels sudden, almost like an 'oops, out of pages, ah well' moment.
However, it has it's moments. Occasionally, the characters feel like the ones we know and love, and in some cases lust for, and the mood and themes match the show well enough.
The art by David Messina is a bit 'clunky' too. The art seems to split into two types: art that is referenced from pictures of the cast and show, and art that is entirely Messina's free work. The free work is excellent, and dynamic, and the movement is palpable. But the referenced panels feel entirely static. They look excellent and spot on for the most part. Only when perhaps a character is smaller in the background to they look completely off.
All in all, this continues to move te story forward at a slow and slightly clunky pace, but it's hardly the worst comic around. I just can't help but feel it would have worked better as a Graphic Novel, and with Messina not referencing so much.
Avengers #5 - Brian Michael Bendis (w), John Romita Jr. (a)
Tweeview: Important plot element added, but otherwise straightforward middle issue. Pacing little too fast. Art is great
The problem with this issue is that it feels like a fairly standard middle of a run issue, but it's issue 5, and it's hard to see how this arc can be wrapped next issue in anything but a breakneck pace.
In fact, that accelerated pace is felt strongly in the last couple of pages of the issue. Bendis' pacing in New Avengers has been proving much better than here sadly.
That being said, it's not a bad issue. It's nostalgically reminiscent of classic Avengers/Marvel stories, with uneasy alliances being heroes and villains, but with Bendis' usual element of intrigue and modernity to it.
The main reason I had for picking this up was the apparantly important double-page spread in the issue hinting at possible future events within Marvel. Now, it by no means feels original: DC have already done this, twice or more, with Rip Hunter's whiteboards. This one equally feels like not just a big important plot element to this arc (though that in itself raises the question of why it's being introduced so late) but will also have intriguing things for fans of the rest of the Marvel Universe. Whether it's worth picking up for the $3.99 price tag if you don't usually read Avengers....probably not. And you certainly couldn't read this issue without the others.
Artwise, Romita Jr. continues to produce some fine work, not his best, but pretty solid, with some fantastic spreads. He feels like a good fit for this book as he can produce good work like this, that can tell a story plainly and well, on a fast turnaround, which frankly this arc certainly needs to keep interest.
Uncanny X-Men #528 - Matt Fraction (w), Whilce Portacio (a)
Tweeview: nice story progression. Finally some Northstar&Dazzler action. Art sometime sparse and but effective
The story of the Five Lights is progressing well. So far, I haven't been that excited wih Fration's X-Men work. It has it's spectacular moments (Utopia) and it has it's slow and not very spectacular moments, not bad, just not amazing (the Sisterhood and Predator X arcs).
However, I think what's needed to properly understand those slow moments is to really view the run so far as a whole. The stories Fraction has been weaving seem to be very different themes than usual X-Men stories: instead of just focusing on how hard it is for people persecuted for being different, we see people and societies struggling with ideas of change. Similarly, the effects of fame and being thrust into the spotlight on these people and groups. This thematically links with what Morrison was doing in his stellar New X-Men run; though unlike Morrison who introduced these themes to look at the same classic X-Men stories from a new angle, Fraction focuses on these new themes with the characters.
Classic style X-Men stories then are now being told in the other X-books, but Uncanny is dealing with a very different theme, and is having to do so on a broad scale, across whole arcs. The book itself is changing just as much as it's dealing with the concept of change.
Thus, if we look at it like that, as well as being a good issue in and off itself with interesting character moments and good progression of individual character arcs and intrigue; it's also a great story progression for the overall theme, especially evidenced in some dialogue beteen Hope and the newest Light, and a scene with Northstar and Dazzler.
And another thing, FINALLY some Northstar/Dazzler action! We got a tease in a previous issue, but since then this 'tag team to watch' have essentially just run around in the background if they appeared at all in the main book. Finally here we see them bantering away at each other, a gay and his glamorous fag hag, as they kick ass! And it's brilliant to see them! There needs to be more. Hell, if it were up to me, they'd get their own mini. But offering the chanceto shine, in Uncanny of all places, is great to see.
The art by Whilce Portacio...well, I'm not the biggest fan of his superhero work. I think he works fine doing grim 'n' gritty and horror, but superhero not so much. But it does the job. The story progression is easy to follow and clear. However, some of his panels and pages are sparse, with blocks of bare colour or characters and action all appearing to one side of the panel. Also, there are a couple of occassions where the anatomy is way off (in one panel, Emma Frost looks like a butch man with fantastic tits). But as I said, it works. It tells the story and does so well, it may nt be the prettiest to have graced the book, but it damn well gets the job done. Plus, it's some of Portacio's best on the title so far, so it feels like he's getting more of a feel for the characters now.
Jimmy Olsen's Big Week: Action Comics Co-Feature part one
Available for free on the DC App - Nick Spencer (w), RB Silva (a)
Tweeview: it's free! It's funny. It's smart. It's pitch perfect. And the art is superb. RB Silva is a revelation!
Now this is the odd one. Odd because this has been my favourite bit of comic book picked up today...and it was done online, or rather on my phone, for free, and is technically a back-up feature, not a main event. Yet it hands down beats the full comics I spent cash on this week.
Jimmy Olsen can be a fun character. Grant Morrison showed how quirky and insane and wonderfully entertaining he can be in All Star Superman....however, in the main DC Universe, he's not handled quite so well lately. In fact, in Countdown he was used pretty badly.
However, Nick Spencer gets him. He gets the concept of following Superman's powerless 'best pal'. And not only does he know what made the concept great and fun and quirky in the past, but he knows how to update it and make it modern yet essentially stay true to the original idea.
Also, the DC Universe finally has it's Chloe Sullivan. She's smart, she's sassy, and she's quite literally Jimmy's answer to Lois Lane. He even gets his answer to Lex Luthor.
And I think that this is going to be one of the fun things about this story: if Superman is meant to make us realise our potential and live our lives a bit more bravely and optimistic like him, then Jimmy Olsen is the Everyman Superman. He may take a little time to realise it, but this guy can save the day when he sets his mind to it.
The Everyman thing is important: we instantly connect with Olsen and root for him, and understand him. He's likeable and geeky and funny, and he's just this gawky adorable guy you wanna see win (but kinda wanna see the mishaps along the way too).
The art is stunning. RB Silva is a revelation to me, being completely unfamiliar with his work. His art looks a cross between Olivier Coipel and Ryan Sook, and all the characters and settings look great! In fact, that's part of what makes this 10-page comic more enjoyable than the full comics; I spent time pouring over each panel admiring the craftsmenship and artistry, on my tiny iPhone screen.
Frankly, as if you really need another reason to be picking up Paul Cornell's Action Comics anyway, but if you still need convincing download this on the DC app and be blown away. A bloody great pick!
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