This issue really dives headfirst into the Speed Force problem that has been at the heart of this series since the start, as Barry gets a tour of the Force from an angry, deranged, time-displaced kook named Turbine and pages upon pages of astounding visuals roll by. Manapul and Buccelato continue to merge art and story with this issue in interesting ways. The Speed Force is comprised of a series of rock outcrops, which wind and twist across
beautifully-designed splash pages. Turbine falls from one
panel's rock and lands in another's. He and Barry walk across winding
rocks, through purple and blue hazy memories of Barry's life. The wonder
and danger of the Force is bewildering for the reader, and helps
explain Turbine's alternately angry and amazed behaviour. Turbine
provides some exposition to explain how the time disturbances, EMP
pulses, displaced objects, and displaced people have been occurring, as
well as he and Barry's respective roles in these problems. The
explanations fit together quite well and it's all very interesting. I'm a
bit hesitant about how neatly it all comes together, but I'm willing to
see where it goes. There are also some beautiful full-on fight pages in
this issue, where Manapul plays with the speed lines of both characters
and Buccellato throws in vibrant reds and yellows to create some
fantastic images. The subplot material is of varying quality. I'm
getting a little tired of Patty's rallying against the Flash as a
menace. It feels a little abrupt and laid on thick at the moment.
However, the Gorilla Grodd stuff is golden. I'm not a long-time DC fan,
although I know he has a big following. His introductory scene here is
highly entertaining, and I can't wait to see where this issue's
cliffhanger takes it. This is another beautifully-rendered, exciting
issue. Despite the odd kink here or there, this title is never less than
great.
Uncanny
X-Men#11 - Kieron Gillen/Greg Land
I have not been a fan of this relaunched Uncanny. I have never been a fan of Marvel's contrived, all-consuming events. And I hated every single page of this issue. I've spewed enough bile at this title already that I don't even know if I have much to say. It's not that I have critiques of
specific plot
points. I just hated everything this issue was. The shifting narration (from
Namor, to Colossus, to Hope), meant to be insightful and provide variety, fell
completely flat for me and provided nothing of value. Namor's scene had no
purpose beyond giving him more pompous, obnoxious dialogue. Colossus' scenes
could have been a good opportunity to explore his Cyttorak problems (something
that, frankly, should have been addressed already). Instead, they were a
confusing mess of conflicting statements and hollow dialogue. Hope's scenes
were basically a recap of her character and crises. Great. The ending, with
Cyclops' PR person sending out a mass letter, was really an abomination. In
parts, the letter seems like a trite attempt to get sympathy. Then it becomes a
threat to the world. It was just so mind-numbingly stupid, I had trouble
finishing it (not unlike this comic). Whoever gave the order, years back, to
turn Cyclops' character into a completely irrational fascist asshole needs some
warm milk before bed. All of this garbage is drawn by Greg Land, who hasn't
drawn a good issue of this title since he joined it in 2008 (technically, he
hasn't actually drawn, so much as traced, for almost 10 years now). I have
never not purchased an issue of Uncanny X-Men, but I don't know if I can
handle all these AvX crossover issues.
X-Men: Legacy#265 - Christos Gage/Rafa Sandoval
More fun with the Mimic and Michael Pointer... In all seriousness, this is a decent comic, I just could not care less about those two guest stars, and they take a lead role in the issue. This is
another issue of Rogue and friends
trying to solve Michael's energy absorption problem while the Mimic mopes in
the background about losing his best friend. I'm not engaged by these characters, I don't find their story interesting, and I had a hard time getting
through parts of this issue. And yet, the rest of it was perfectly good. I've
complained that Gage lays it on thick with the character interactions (in stark
contrast to Mike Carey's approach), but those scenes worked here. Rogue and
Toad discuss their dependency on Magneto, and Rogue and Mimic discuss living a
life defined by taking from others. And both conversation scenes worked very
well. There were smaller character moments that succeeded as well - the growing
mystery of Husk's condition, Rachel's hesitancy in using her powers, and Rogue
inviting Mimic to stay at the school. The art was also very strong. I like
Sandoval's style - the lines are rounded and lush, but the characters still
have a unique look to them. And the splash pages are usually powerful images.
So yes, the lead plot itself isn't wholly engaging (unless you love the two
guest stars), and boy is it dialogue heavy. But, around the edges, Gage seems
to be getting a handle on the cast and pacing. A good issue.
Astonishing X-Men#49 - Marjorie Liu/Mike Perkins
This is Marjorie Liu's second issue, like her first one, it’s a mixed bag. Gone are the leisurely conversation scenes, with the X-Men hanging around their apartments. This issue dives headfirst into a street fight with a group of mind-controlled Marauders, led by Chimera. There's really nothing here, plot-wise, until Chimera reveals that the villains were mind-controlled. The light, fun characterization Northstar, Gambit, and Cecilia Reyes received in the previous issue
isn't on display here. Every X-Man, with the exception of Wolverine and
Northstar, is a cipher. Karma appears out of nowhere, and is treated as if she was
there all along, but doesn't contribute much. I will give the fight scene
credit for having a speed and brutal efficiency to it. I was definitely drawn
into it, even if there is no compelling story supporting it. The centerpiece of
the issue is a fight between Northstar and his boyfriend, Kyle, arguing about
the former's superhero life and what role Kyle has in it. Liu wavers here in
the dialogue, between being trite and genuinely effective. Like the issue, the
scene a mixed bag. And it clearly will be taking centre stage, as a wedding is
approaching in this title. I think that will be my only reason for giving the
book another issue - I feel like something big is around the corner, even if
the current story is non-existent. Mike Perkins remains passable on art. For
every strong action panel, there's an overly rendered face or piece of body
language. The colouring and finishes are working double-time to make this book
look 'realistic,' and it's hurting Perkins' style. I've dropped Astonishing in
past arcs for lesser offences than this issue. Those stories usually bored me.
This one isn't, even though it has problems, so I'm sticking it out for now.
I have not been a fan of this relaunched Uncanny. I have never been a fan of Marvel's contrived, all-consuming events. And I hated every single page of this issue. I've spewed enough bile at this title already that I don't even know if I have much to say. It's not that I have critiques of
specific plot
points. I just hated everything this issue was. The shifting narration (from
Namor, to Colossus, to Hope), meant to be insightful and provide variety, fell
completely flat for me and provided nothing of value. Namor's scene had no
purpose beyond giving him more pompous, obnoxious dialogue. Colossus' scenes
could have been a good opportunity to explore his Cyttorak problems (something
that, frankly, should have been addressed already). Instead, they were a
confusing mess of conflicting statements and hollow dialogue. Hope's scenes
were basically a recap of her character and crises. Great. The ending, with
Cyclops' PR person sending out a mass letter, was really an abomination. In
parts, the letter seems like a trite attempt to get sympathy. Then it becomes a
threat to the world. It was just so mind-numbingly stupid, I had trouble
finishing it (not unlike this comic). Whoever gave the order, years back, to
turn Cyclops' character into a completely irrational fascist asshole needs some
warm milk before bed. All of this garbage is drawn by Greg Land, who hasn't
drawn a good issue of this title since he joined it in 2008 (technically, he
hasn't actually drawn, so much as traced, for almost 10 years now). I have
never not purchased an issue of Uncanny X-Men, but I don't know if I can
handle all these AvX crossover issues. X-Men: Legacy#265 - Christos Gage/Rafa Sandoval
More fun with the Mimic and Michael Pointer... In all seriousness, this is a decent comic, I just could not care less about those two guest stars, and they take a lead role in the issue. This is
another issue of Rogue and friends
trying to solve Michael's energy absorption problem while the Mimic mopes in
the background about losing his best friend. I'm not engaged by these characters, I don't find their story interesting, and I had a hard time getting
through parts of this issue. And yet, the rest of it was perfectly good. I've
complained that Gage lays it on thick with the character interactions (in stark
contrast to Mike Carey's approach), but those scenes worked here. Rogue and
Toad discuss their dependency on Magneto, and Rogue and Mimic discuss living a
life defined by taking from others. And both conversation scenes worked very
well. There were smaller character moments that succeeded as well - the growing
mystery of Husk's condition, Rachel's hesitancy in using her powers, and Rogue
inviting Mimic to stay at the school. The art was also very strong. I like
Sandoval's style - the lines are rounded and lush, but the characters still
have a unique look to them. And the splash pages are usually powerful images.
So yes, the lead plot itself isn't wholly engaging (unless you love the two
guest stars), and boy is it dialogue heavy. But, around the edges, Gage seems
to be getting a handle on the cast and pacing. A good issue.Astonishing X-Men#49 - Marjorie Liu/Mike Perkins
This is Marjorie Liu's second issue, like her first one, it’s a mixed bag. Gone are the leisurely conversation scenes, with the X-Men hanging around their apartments. This issue dives headfirst into a street fight with a group of mind-controlled Marauders, led by Chimera. There's really nothing here, plot-wise, until Chimera reveals that the villains were mind-controlled. The light, fun characterization Northstar, Gambit, and Cecilia Reyes received in the previous issue
isn't on display here. Every X-Man, with the exception of Wolverine and
Northstar, is a cipher. Karma appears out of nowhere, and is treated as if she was
there all along, but doesn't contribute much. I will give the fight scene
credit for having a speed and brutal efficiency to it. I was definitely drawn
into it, even if there is no compelling story supporting it. The centerpiece of
the issue is a fight between Northstar and his boyfriend, Kyle, arguing about
the former's superhero life and what role Kyle has in it. Liu wavers here in
the dialogue, between being trite and genuinely effective. Like the issue, the
scene a mixed bag. And it clearly will be taking centre stage, as a wedding is
approaching in this title. I think that will be my only reason for giving the
book another issue - I feel like something big is around the corner, even if
the current story is non-existent. Mike Perkins remains passable on art. For
every strong action panel, there's an overly rendered face or piece of body
language. The colouring and finishes are working double-time to make this book
look 'realistic,' and it's hurting Perkins' style. I've dropped Astonishing in
past arcs for lesser offences than this issue. Those stories usually bored me.
This one isn't, even though it has problems, so I'm sticking it out for now.The New Deadwardians#2 (of 8) - Dan Abnett/I.N.J. Culbard
This
mini-series remains a complete delight in its second issue. Everything
is controlled and perfectly-paced - the tone, the plot movements, the
characterization - mirroring the society the story takes place it. And
yet the story still feels fun and vibrant within that constrained
structure and environment. The opening autopsy scene is claustrophobic.
The details of the crime and 
victim are grim, and presented to the
reader in a very confined setting. The plot moves swiftly through a
series of police procedural and investigative scenes that do much to
reveal character, the history of this world, and the nature of this new
British society. In fact, every scene makes an effort to naturally let
us know more about how British society has adapted to a zombie outbreak,
and it makes the world-building feel vital and interesting. There is
brief exposition regarding the zombie outbreak, but it feels like
natural reflections on the part of our lead character, not an exposition
dump, and works very well. Almost every scene touches on issues of
social class as well, and the role it has played in shaping British
society. Abnett is creating a very strong world for his story to play
out in, and has put a lot of effort into controlling the pace and tone
of the story. There is actually a fair amount of plot movement here, as a
number of details about the murdered vampire are discovered by our
Chief Inspector. The interrogation scene at the end is a tense, engaging
series of revelations, and the story takes a strong turn. Culbard
remains a strong partner for Abnett in fleshing out this world. The
panel structures are typically fairly simple, and the images within are
as well. But there is immense skill on display here - he matches Anett's
controlled pace and structure perfectly. With simple, clean lines, he
conveys the rigidity and restraint of this society, and how it is on the
verge of falling apart.There's a tension and unease in every scene,
hinting at how these people are struggling to keep the facade together,
and the art captures that very well. A really ingenious book, that is
very well executed.
victim are grim, and presented to the
reader in a very confined setting. The plot moves swiftly through a
series of police procedural and investigative scenes that do much to
reveal character, the history of this world, and the nature of this new
British society. In fact, every scene makes an effort to naturally let
us know more about how British society has adapted to a zombie outbreak,
and it makes the world-building feel vital and interesting. There is
brief exposition regarding the zombie outbreak, but it feels like
natural reflections on the part of our lead character, not an exposition
dump, and works very well. Almost every scene touches on issues of
social class as well, and the role it has played in shaping British
society. Abnett is creating a very strong world for his story to play
out in, and has put a lot of effort into controlling the pace and tone
of the story. There is actually a fair amount of plot movement here, as a
number of details about the murdered vampire are discovered by our
Chief Inspector. The interrogation scene at the end is a tense, engaging
series of revelations, and the story takes a strong turn. Culbard
remains a strong partner for Abnett in fleshing out this world. The
panel structures are typically fairly simple, and the images within are
as well. But there is immense skill on display here - he matches Anett's
controlled pace and structure perfectly. With simple, clean lines, he
conveys the rigidity and restraint of this society, and how it is on the
verge of falling apart.There's a tension and unease in every scene,
hinting at how these people are struggling to keep the facade together,
and the art captures that very well. A really ingenious book, that is
very well executed.
Glory#23 - Joe Keatinge/Ross Campbell
with confidence. The execution is wonderful - there's
variety to the different lead characters, their voices, and the tone and
feel of their scenes and environments. I had read reviews commenting on
how much exposition was here and I didn't see any problem with it. A
few simple scenes are used to provide the background on Glory, but
otherwise, the pages glide along through a variety of settings and
perspective characters, building an interesting world and a fascinating
mystery behind Glory. Ross Campbell's art kills it - the superhero
characters have a very deliberate childlike look to them, with unique
features and body language. The lines are clean and powerful, but turn
to violence and to brutal detail with ease. The book is really different
looking, but, like the script, Campbell presents his style and
redesigns with confidence. This book was a breath of fresh air - an
enthralling mystery, an interesting set of characters, a great visual
look. I will definitely continue with it, most likely digitally. Reading
this and the New Deadwardians, in contrast to three mediocre-to-bad X-books, and I'm beginning to question my comic spending habits.
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