Weekly Comics - 04/25/2012

Flash#8 - Francis Manapul, Brian Buccellato/Francis Manapul

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.

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.

Glory#23 - Joe Keatinge/Ross Campbell

I decided to try something different this week, and was lucky to find a copy of this, the first issue of the relaunched Glory series. I have no knowledge of the character, but I have heard nothing but good things about this. Wow, was it great. The ideas are fresh, interesting, and presented 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.

Weekly Comics - 03/28/2012

Flash#7 - Francis Manapul, Brian Buccelato/Francis Manapul

This issue wraps up the Flash’s fight with Captain Cold, while swiftly moving into the hero’s next conflict, all of which is tied to his growing problems with the Speed Force. The story flows into its next movement quite naturally, making the fact that the Cold battle wraps up in the middle of the issue less noticeable. The battle scenes are sold on their visuals and sheer energy. Manapul and Buccelato have an endless array of visual and storytelling innovations – Flash rushing to save Patty as the debris forms the “DC Producly Presents” logo, the breakdown of Flash’s actions by the second, the opening splash of Patty falling. The action is frenetic and fun. I also love the colouring – the book has embraced brown and yellow hues, but Buccelato throws in a crisp blue sky to contrast with the red costume and columns of snow, and it looks radiant. The story swiftly moves into Flash trying to get into the Speed Force, as his misdeeds with it caused Iris to disappear during the fight. I like the stakes here – Barry’s making mistakes that innocents pay for. His troubles with the Speed Force aren’t surmountable. In fact, trying to fix them only gets him into more trouble in this issue. Flash’s trip into the Speed Force is a dazzling visual segment, with a series of circular flashbacks and softer colours. This sequence starts off more reflective and takes a turn with a dangerous cliffhanger, and I loved the contrast. I was caught off guard and thought the final page really worked. The only element I’m less convinced of is Patty’s turn against superheroes, after the Flash saved her. I’m willing to see where it goes, but it seems a little fast here. Regardless of that, this is another great issue. Full of energy and exciting on every page.

Justice League Dark#7 - Peter Milligan/Admira Wijaya, Daniel Sampere

I planned on buying I, Vampire#7, the next part of a crossover that starts in this issue, but it was sold out at my store. I’m kind of happy that happened, because I think I’m going to just sit this story out until Jeff Lemire joins with #9. This isn’t a slight on Peter Milligan at all. He has built an interesting world for these characters in the first six issues. This issue just doesn’t fit that vibe though – the team is acting too much like a team and the mission they go on for the purposes of the crossover does feel forced. I think the problem is that I don’t see this group as one that charges off on to missions. The other issues of this title have felt methodical in their pacing, and this one is an action issue with less of that nuance. Guest appearances from Batgirl and Batman in the midst of the action don't really help that feeling. And I can't help but feel that something is lost in the team dynamic this issue. That doesn't mean there aren't strong points - this may be the best issue for John Constantine, who defies the magic used by the other characters, and just goes at the vampires with an axe. This is particularly funny when Zatanna is concerned her magic isn't working, and Constantine just throws an axe at a flying vampire from off-panel. But overall, I just didn't find this issue as compelling as the rest. The vampire conflict wasn't interesting - an army of vampires are attacking Gotham. It just doesn't have the softer quality of the book's other issues. I will say the events of I,Vampire were easy to follow here, even if I'm not as interesting in them. Two artists pitch in for Mikel Janin here, both attempting to ape his style, but not really reaching the heights he does. The book looks good overall, but it lacks the sharpness of Janin’s visuals. There are many times when the figures look good, but they also appear a bit static on the page. I do feel bad laying in to this issue. I have generally really liked this title. But I think I'll wait for this crossover to end before returning to the book.

FF#16 - Jonathan Hickman/Nick Dragotta, Steve Epting

And so this marks the end of my time with Jonathan Hickman’s Fantastic Four. I know he has a handful of issues left, but, for all intents and purposes, the big story he came on to tell is over. It looks like the coming issues will deal with loose ends and some fun side plots. I’m sure they will be enjoyable, but I’m reading enough these days and I do feel like the story I invested in has ended. This issue acts as an epilogue to the concluding chapter, and it’s perfectly good stuff. It dwells on the end of the conflict and lightly teases at the loose ends that remain. It's divided into two chapters, with the bulk of the issue focusing on clean up from the battle, told from Valeria's perspective. It's fitting Hickman focus in on her, as she has been at the centre of many of his stories. Her portrayal here is fun - completely disaffected and cynical about everything going on around her. She hates the future Val, she hates that her room has been destroyed again (and all of her possessions lost), and she is generally bored and annoyed when the family tries to talk to her about all of the trouble she caused. Hickman brings some fun concepts in here, most notably the human toll that having your home destroyed so many times would take. For all that, this opening section is fluff through and through - the team get new uniforms and space hq, and a couple minor subplots are touched on (future Franklin and his Galactus, Johnny and Spider-Man move in together). It feels like things are winding down, and I'm ok leaving here. There is an epilogue showing what happened to Doom, drawn by Steve Epting, that is a bit out of place. I have a feeling it was intended for the previous issue's extra-sized conclusion. Nick Dragotta handles most of the art here, and remains a strong fit for the book. He captures the youthful energy and wonder of the main cast. He really draws on Kirby and Buscema's influences, to great effect. Epting’s pages are up to his usual strengths, full of darkness and grime, even if the tonal disconnect with Dragotta’s pages is high. It's a fun issue. I feel a bit sad to be leaving, but I didn't see a huge hook here to keep going. I feel like Hickman's big story is over. I enjoyed it while it lasted, and this feels like the right time to stop.

X-Men: Legacy#264 - Christos Gage/Rafa Sandoval

If the current story in Uncanny X-Men feels like blatant filler to help lead in to AvX (Avengers and X-Men team up), this story appears to just be plain old filler before that crossover. Mimic crashlands in Westchester with Michael Pointer, who is overloaded with energy and on the verge of death. Rogue’s team proceeds to help. I can’t say I have much interest in this issue’s guest stars, and the repeated references to the dreadful Dark X-Men story doesn’t bring back good memories of them. On the whole, this is a decent issue, and Gage seems to be working out the tonal problems, but it doesn’t exactly excite. Subdued character moments were what Mike Carey brought to this book. Gage is still struggling with that. The opening scene with Cannonball and Rogue has its heart in the right place, but I can't help but prefer a discussion that is a bit more subtle. Gage throws everything on the table. Still, it's better than a later scene where Rogue reaches out to Gambit at the first sign of crisis. The strongest character-based scene is an amusing one of Chamber teaching a class. The rest of the issue is filled with the team dealing with Pointer's crisis, wrapped around a few fight scenes as his powers go out of control. The ideas introduced here are interesting, but I had trouble getting invested in the story. I don't care for Pointer or Mimic and a whole issue devoted to the X-Men struggling to help them wasn't hugely engaging for me. It feels like a two-part filler story before a crossover, because these guest stars come out of nowhere. Still, this is a better issue than Gage's last few. There are no egregious character moments. It's just that the plot needed to be stronger. On the art side, I actually really like Sandoval’s work. There are moments of unevenness, but, on the strongest pages, the figures are crisp and powerful. He is expressive and dynamic on most scenes, and, overall, the book looks sharp. It's a decent issue. I'm still looking for Gage to take this title to the next level, though.

Astonishing X-Men#48 - Marjorie Liu/Mike Perkins

As usual with Astonishing, I give each new creative team at least one issue before deciding if I'm sticking around for their tenure. So far, everyone since Warren Ellis (who didn't exactly do such a great job, but I was more loyal then) has flunked that test. But I saw some promise in this new creative team. Liu has always had good buzz around her, and the cast selected seemed interesting. I still see absolutely no purpose for this book to still exist, particularly at the $3.99 price point, and don’t think so many “core” X-books are needed, but I enjoyed this issue. It didn’t blow me away, and certainly had its problems, but it was also kind of fun. The drawback here is that nothing happens. There are a few fun scenes of very natural character interaction, then a hasty battle scene begins. No big story gets underway (we don't even get a hint as to why the villains are attacking) and it contributes to this title still feeling like an unimportant side project. But Liu gets points for what she tries to do with the characters. She tries to completely remove Northstar, his boyfriend Kyle, Gambit, and Cecilia Reyes from the X-Men world and have them speak about their lives and relationships naturally. The scenes work well, even if they have their annoyances (Gambit and Cecilia, good friends? Cecilia's never-ending griping about the X-Men). The gathering of characters is good - Gambit has been sorely underused lately, Northstar and Kyle's relationship is treated realistically, and Cecilia is a fan-favourite. However fun their scenes are, they do contribute to the book feeling thin, as no story gets started until the very end. Wolverine, Iceman, and Warbird enter into these domestic situations and disrupt them with a battle against helicopters and Chimera. I have no idea what the potential of this story is because nothing resembling a real story gets underway here. Mike Perkins is the artist for this issue, and I'm not really sold on his art. There’s a photorealistic element to the people that he never quite pulls off. As a result, the faces and body language don’t click. In a conversation-heavy issue, the acting doesn't really work. I can't help but think what a simpler style could have accomplished with those scenes. The issue, on the whole, is too dark, as well. To Perkins' credit, he is much better on the action scenes, depicting the destruction and helicopter fights quite well. The big problem with the issue is the number of times Northstar (Jean-Paul Beaubier) is referred to as Jean-Claude. He goes by both names in the issue and it's a big editorial flop. Still, I can overlook that. Liu put enough here to get me to try out the next issue. Don't know if I'm in for the long haul, but I enjoyed her approach to this issue.

The New Deadwardians#1 (of 8) - Dan Abnett/I.N.J. Culbard

I decided to pick up this new Vertigo mini series on a lark, having read a recent interview where the premise sounded quite fun. I’m happy I did. This one moves at its own pace – leisurely, thoughtful, with bits of humour sprinkled through the dialogue. The premise has a great hook to it as well. It's certainly a fresh take on vampires and zombies. Both concepts are squarely set in this world of England in 1910, with rules, societal conventions, and issues of social class tied to their use here. It's a premise that has the potential for depth, but Abnett knows how to play it a bit lighter in this issue. The class issues are touched on here in an intelligent way, never thrown out too blatantly for the reader, making me excited to see how Abnett continues to explore them. There's an array of characters introduced here, from co-workers to domestic servants of our lead character, Detective Suttle. Even in their brief appearances, Abnett sketches each of them out quite well and adds humour to their appearances. Suttle himself is an engaging character, one who is fairly dour in his approach to attacking zombies and solving murders. And I like the hook of the murder case he is investigating - in a world of undead zombies and vampires, how has a conventional murder been committed? On the art side, I.N.J. Culbard is a name I’m completely unfamiliar with, but his sparse, strong style is a great fit for this story’s tone. He has elements of Dave Lapham and even Paul Smith to his minimal lines, but also brings the appropriate grit and supernatural elements to the story. This is a comic depicting a very restrictive culture, one that has become more and more restrained in an effort to protect itself from the looming threat. Culbard creates a very strict, restrictive society for the lead character to navigate through, but brings in more grisly moments and visuals as appropriate. The art reflects the pace and story beats of this world very well. This was a great start for a new mini series - funny, smart, and engaging, while developing a tone and a pace all its own. I'm in.

Weekly Comics - 02/22/2012

Flash#6 - Francis Manapul, Brian Buccelato, Franic Manapul

The creative team begins a new story with this issue, where the ramifications of the Flash's actions in the first story lead to an attack from Captain Cold. The conflict is essentially pretty simple, but the issue works well as a way to continue building the Flash's world while launching him into another visually interesting fight sequence. I like how the writers are building off of what has come before. Barry has been learning about the time travel effects of tapping into the Speed Force. Not only does he work with a solution to that problem here, but, in causing the EMP burst in the previous story, he's caused Captain Cold's attack. Instead of just presenting new angles on Barry's powers, the writing team are building this angle into their ongoing story progression. This issue plays around with time, as the narrative jumps around from Cold's climatic attack to the events leading up to it. I like the approach - the non-costumed scenes of Barry, Patty, and Iris become much more interesting when juxtaposed with the later action. The first story lost track of Barry's civilian life, so it's nice to see his relationship with Patty, his job, and the love triangle with Iris delved into here. Captain Cold gets some page time as well, as we learn his motivations in going after the Flash, tied to his terminally ill sister and the EMP blast. I'm not completely sold on him as a villain - I like his motivation and the destruction he causes is a sight to behold, but his personality is a bit one-note at this point. However, there's still time for that to change. The battle scenes are a marvel to behold. Buccelato brightens up the book's traditional colour scheme, letting the Flash's red outfit contrast with the crisp blue sky and the white of snow and ice. The book feels vibrant and lively. Manapul once again does wonderful things here, playing with panel arrangement and visual sound effects to tell the story. The image of the boats, raised by columns of ice, is fantastic, and Manapul does interesting things with it. The page layouts are generally very fun and the action looks great. In the non-costumed scenes, the characters have a strong, expressive look to them, as Manapul uses his cartoony style with confidence. It's another strong issue - a fantastic looking comic with a fun, upbeat story that also has some depth to it.

Justice League Dark#6 - Peter Milligan/Mikel Janin

The team's first antagonist is defeated, they angrily went their separate ways. So where does the book go from here? Milligan has the core cast drawn back to Madame Zanadu to find an explanation for their distressing nightmares, and it's surprisingly effective stuff. I'll give Milligan credit - he drew me right in, with engaging characters and disturbing dream sequences. As usual with an issue of this nature, when the plot actually has to get going in the final pages, and a real narrative has to begin, things become less graceful and engaging, but Milligan has a sure hand with the cast and tone of this book. I'm no fan of lengthy dreams in comics, but the four presented here are directly tied to the personal problems and neuroses of Deadman, Zatanna, Constantine, and Shade, even looking back to the fight with the Enchantress in the opening arc. That's what drew me in. It helps that they were also genuinely creepy sequences, presented in a very deliberate, haunting manner, with stunning art. Zatanna's fears of half-dead creatures stuffing fingers down her mouth, Shade's horrific efforts to ressurect Kathy, Deadman facing the result of his impulsive behaviour towards June Moon - these dreams resonated with me because they drew on events from the opening arc, while reaching to the core of each character. Once the group reunites at Xanadu's house, their dynamic is right on point. Constantine and Deadman's disdain for each other, Shade's slightly unbalanced reaction to everything, Zatanna's desperation for answers. Milligan gets his cast very well. Not a panel is wasted and the scene comes together very well. It's the very very end that is less engaging than all of this - Xanadu decrees that the dreams are portents of bad things to come if the group separates. Is it the strongest hook for the series? No. Would I prefer this group of misfits to continue to randomly cross paths? Absolutely. But something must exist to propel this book forward as an ongoing series, and this simple premise should work just fine. The issue ends with a very abrupt transition into the upcoming crossover with I, Vampire. It's meant to feel abrupt, so we'll see how well that title integrates with this one. Janin's art remains beautiful. Even when his figures look a little too posed, they are so attractive, and the settings they are thrown into so vividly created and detailed. It's a great looking book. This book is still finding its feet, narrative wise. But in terms of tone, pace, and characters, it is A-list.

Fantastic Four#603 - Jonathan Hickman/Barry Kitson

Hickman's Fantastic Four mega story continues to move towards its conclusion, as more pieces and players' roles in the big plan are revealed. On the one hand, it's exhilirating to see some of this coming together. On the other hand, in spots it does feel like a collection of moments; a checklist of plot elements that need to be re-introduced and resolved. There's still a lot of good here - the team dynamic is always strong, and there are nice moments when the kids are reunited with Uncle Johnny. Galactus' space battle with the Celestials is incredible stuff, drawn with real scale and energy by Kitson. And the action and intrigue build with real tension and excitement towards a final page that brings back two players from very early in Hickman's run for their big moment. I love the scope of the planning Hickman has put into this title and I really do like how all of this mega story fits together. There is that slight 'checklist of events' feel to the proceedings, but when it's all so meticuolously plotted out, it can't help but work. However, there is one massive clunker in all of this - the Inhumans/Kree war. I always felt this story came out of nowhere and didn't fit in at all with the Council of Reed-Nathaniel-Doom-time travel plotlines that Hickman had been building since his earliest issues. I guess I was right. I one hideously clunky page, Hickman dismisses the whole plot. The Kree fly off, the Inhumans follow them, and suddenly our heroes no longer have to worry about them. Talk about deflating. It makes me feel that the whole story may have been an editorial remit to stretch out Hickman's mega story. Because they sure don't have anything to do with that mega story. Kitson remains an asset to the book, with clear, clean faces and expressions, and strong settings and action shots that sell the big moments. His style is exacting, but there's a softness to his people and their faces. Makes for a very nice reading experience. So this one has one major hiccup, but it's still another strong chapter in the race to the finish.

Wolverine and the X-Men#6 - Jason Aaron/Nick Bradshaw

This title continues to be a ton of fun, although I would say this issue was the least engaging so far. Aaron presents two different stories, running in parallel - Wolverine and Quentin trying to win money for the school at an intergalatic casion and the X-Men and students fighting off a Brood invasion (both in Kitty's body and on the school grounds). The former is more in keeping with the playful, creative vein of this title. Aaron has developed a great dynamic between Wolverine and Quentin. There's an understanding tone to Wolverine's voice with him, not just an authoritative one. Many alien jokes are thrown in and it's great fun to watch them navigate through alien blackjack tables. The mansion stuff ran hot and cold for me. I like that Aaron is injecting a more serious tone in these scenes. The Brood invasion has moments of tension, particularly for Kitty and Broo, but they are always balanced with Aaron's typical barbs and jokes. The rest of the team, shrunk down in Kitty's stomach, get some fun moments as well. But I kind of lost sight of the conflict - who are these additional Brood, arriving from space, and what are their goals? Their attack on the mansion causes a lot to be happening here, and unlike the book's earliest issues, it doesn't feel like organized chaos. It just feels too busy. It doesn't help that Nick Bradshaw is clearly having trouble keeping up with everything going on. The art gets slightly rushed in some panels and it's clear there is just too much happening. Bradshaw's designs for the Brood also lack any visual punch, particularly the generic main antagonist. The art is still fun, with a lot of energy and humour to the characters, but Bradshaw does struggle in spots. So it's a fun comic, but not this title's best yet.

X-Men: Legacy#262 - Christos Gage/David Baldeon

Don't be fooled by the excellent, gritty cover - this issue, while competently done, has as much bite as a kitty cat. It's an issue-long fight scene, as the Rogue's team chases Exodus cross-country, in hopes of preventing him from attacking Cyclops for splitting up the X-Men. On that level, it works quite well. The action is where the issue succeeds. It's fast-paced, each character gets at least one moment to shine, and there's a real effort to mix characterization into the fight scenes. Gage wisely trades on Frenzy and Exodus' lengthy past together as they fight, and there's a good team dynamic at play during the fight. Baldeon is at his strongest here, with some great splash pages and expansive panels of action that transcend some of the weaknesses of his style. I also like that Gage is playing with Jason Aaron's experimentations with Iceman's powers, having him enter the fight as a giant, lumbering ice creature. The issue has its problems, though. Exodus has no teeth has a villain. He's just become a ranting madman. The intelligent Mike Carey story upon which his anger here is derived from doesn't shine through anymore. There's also some character problems, namely Wolverine lashing out at Rogue multiple times. It's all very out of character, an effort to create group tension where none exists. There was an element in the previous run of Cyclops disliking Rogue's tactics as a leader, and this is a lame attempt to repeat that. Wolverine's anger towards is so over the top and unfounded. The tension between them doesn't work at all and feels very forced. And the promised reunion of X-teams doesn't happen here - it's a cross-country fight issue, not a team reunion on Utopia. And, when Utopia characters do intervene, it's Hope's team of young mutants. I did think it was too early to reunite the X-Men, but this option is just deflating. Baldeon's art is quite good on the action, but he is still struggling with cartoony and less sophisticated faces. This book is still struggling to define itself post-Carey. It's almost deliberately less understated and intelligent than his work, but hasn't filled the void with anything other than a standard team book. An ok issue, but I'm ready for more.

Weekly Comics - 01/25/12

Justice League Dark#5 - Peter Milligan/Mikel Janin

Milligan notionally wraps up this title's first arc, as June Moon and the Enchantress are defeated and these disparate individuals have a discussion about teaming up. Granted, it doesn't go very well, as they angrily go their separate ways, but these characters have faced their first conflict as a group. This is the kind of story that I'd love to go back and re read in light of this issue's events - namely, that Madame Xanadu had more to do with causing the problem than solving it and that the Enchantress and June weren't nearly as sinister as Xanadu herself (despite her apparent best intentions). This issue is bigger on plot movement than most, as the group struggle amongst themselves to unite June and the Enchantress. It's laced with character conflict, as the pain and bitterness each character experienced individually in the first four issues is preventing them from coming together as a unit. Deadman, in particular, cannot bear to be around the others or help them against June. However Milligan plans to keep this group together, there is a great dynamic here, rooted in this anger and pain. It's to his credit that scenes of fantastical magical opponents are always grounded by these characters trying to reach out to each other. Zatanna kissing Shade to remind him what is real is particularly effective. Most the issue takes places in a mindscape, where the characters jump between scenes, appearing to help and antagonize each other, and it's a disorienting and effective set up. The final scene is also great, with the assembled characters confronting Xanadu about what she's done and leaving. There's a softness and vulnerability to her character, the supposed evil mastermind, and I can't wait to see where she goes from here. Janin continues to surprise on the art. His figures are soft and believable in their facial expressions and body language, but they are thrown into any number of horrific settings against different creatures. It's a very pretty book. Even the various creatures and mindscapes are meticulously rendered. At the end of this first story, I still don't necessarily know what the premise of this title is going to be. That said, Milligan has created a deep, interesting world, and a cast of fully realized characters, so I'm happy to keep following it.

Flash#5 - Francis Manapul, Brian Buccelato/Francis Manapul

Manapul and Buccelato continue to great work on this book. In one sense, they wrap up their first story, leaving dangling threads for future stories. And, in another, they use this story to continue to expand on the Flash's power set in innovative ways. The Manuel Lago story wraps up with this creative team's typical flair for high octane superheroics and startling artwork. The set piece here is an experiment run by Dr. Elias to correct the genetic imbalance in Manuel's clones, and Manapul uses it as an opportunity for some stunning visuals. Sound effects invade the very pacing and structure of the page, bringing an innovative look to the action. The climactic splash pages, where the Flash stops the experiment, are a beauty to behold, bathed in a pale green and mixing the right amount of pathos into these cartoony faces. The writers leave Manuel's story open ended - the threat has ended in tragedy, but the door is re-opened at the end for the returnof Mob Rule. I like how personally connected Barry has been to this fight. Last issue's flashbacks are built on, so that the friendship between Barry and Manuel is at the core of the heroic, but impulsive, choices Barry makes here. Events from this story directly lead to the bombshells of the final scene, where Barry learns how his powers are causing time travel incidents - the EMP blast that abruptly descended on the city in the first issue is traced to his actions here, among other incidents. There is a nice serendipity to this twist, explaining some random elements from previous issues with grace. At the same time, this wrinkle in Barry's powers is presented as a grave danger, surely a threat to be explored further. It's a paradigm shift for the book, and I was really grabbed by this twist. There's a lot more going on here - Iris' rescue from Iron Heights (a wonderful action scene as drawn by Manapul), Barry flirting with Patty and Iris in his two different guises, and the set up for a future opponent in Captain Cold. I do still think the writing team have some kinks to work out, albeit minor ones, but the final product is always great - fantastic, inventive artwork wrapped around energetic, fun stories.

Fantastic Four#602 - Jonathan Hickman/Barry Kitson

Wow. Hickman really ramps things up here. The previous issue of FF started to show how everything connected, and this one continues in that vein. But, at its core, this is a strong action issue with a lot of fun character work. I tend to find Hickman's action issues to be quick reads, but he peppers a lot of team interaction through this one. His run has been so focused on high concepts, that the characters can sometimes get a bit lost, particularly the fun team dynamic. Hickman rectifies that here, with a playfully scheming Reed and Sue planning a big move while their two team mates struggle to keep up with them. It's fun, while contributing to the bigger story. The action also moves along at a great pace, jumping between the different parties involved and keeping a wider story going in the background. But the big moment here is the final sequence with Galactus. I've previously said the Kree/Inhumans/Galactus elements felt out of place with the time travel/alternate Reeds/Nathaniel story Hickman had been building since his first issue. Here, Hickman shows how they are all connected, and, read in conjunction with FF#14, a wonderful tapestry is emerging. Galactus, particularly, seemed like a late-game addition to the big story, but his purpose is revealed here, and it's a great twist that makes perfect sense. Barry Kitson guest pencils the issue, and is typically excellent. His figures and faces are crisp and expressive, his action scenes are clear and powerful, and his style is a great match for the book. Things are coming together at a controlled pace here. At the same time, the action is big and fun. A really great issue.

FF#14 - Jonathan Hickman/Juan Bobillo

Hickman's also revealing more pieces of his grand plan in this issue. Namely, the role of the Celestials, more background on the alternate Reeds, just what Valeria and Nathaniel have been plotting, and what role Doom will play in everything. We're beginning to see how a number of Hickman's plot elements, going back almost three years, fit together into one sequence of events, all leading to this point. If this is what the payoff to a sometimes plodding long, long-term story feels like, it's worth it. The lengthy flashbacks to Nathaniel, Valeria, and Doom are great scenes, teasing at the big reveals without outright spelling everything out. It's enough for the reader to piece things together. As for the present day scenes, they retain the fun group dynamic of previous issues, while adding the gravity of the fight with the Celestials. There is weight to the proceedings here that makes the events feel as important as the war with the Kree in Fantastic Four. I also love Doom's role - I tend to like when he joins with the Fantastic Four as an ally, and his willpower and sense of sacrifice here adds an interesting layer to the story. Bobillo also continues to impress, with a great depiction of the children and an offbeat look for all of the deranged adults populating the book. The space battle looks great, and he continues to play with panel arrangement and blank space in effective ways. I don't think this one was quite as urgent as this week's Fantastic Four, but it was still a strong read that continues putting the pieces of a major story together.

X-Men: Legacy#261 - Christos Gage/David Baldeon

Christos Gage properly gets his run underway after the Point 1 issue, picking up on some of Mike Carey's threads. And I can safely say it is coming off a lot more obvious than Carey would have handled it. I hate to be comparing Gage's tenure to Carey's but when he is drawing on Carey's stories and character arcs so strongly, it's hard not to. It starts with the characterization. From the opening scenes where Rachel and Rogue discuss the latter's relationship with Magneto and Frenzy and Gambit discuss their kiss, it is all just laid on the table. Carey was always a bit more opaque and subtle with his character work, and here it is all out there. It's fine stuff, it just lacks the layers and depth a more stripped back presentation would give it. Exodus' arrival draws on one of Carey's best issues, #225, where Xavier convinced Exodus and his followers that the dwindling number of mutants need to unite, not fight amongst themselves. It was a brilliant examination of the X-titles and a strong direction for their future. Here, Exodus arrives, angry at the schism in the X-Men, and Carey's earlier idea loses a lot of its subtlety and sharpness. Again, the conversations are laid right on the table, and the topic of mutant unity just becomes the backdrop for an enjoyable, but generic, fight scene. By the end of the issue, it seems the conflict is over, then Gage tacks on plot where Exodus will attack Cyclops for causing the schism. It's all nicely executed, and the fight scene is energetic, with artwork much improved by Baldeon, but it feels pedestrian compared to the depth Carey could bring to the book, even in a wordless scene. I hate to dump on this book in Gage's second issue. This is a good issue, but subtle it ain't, and the comic is weaker for that.

Weekly Comics - 12/28/11

Justice League Dark#4 - Peter Milligan/Mikel Janin

Milligan is really moving forward with the story of the Enchantress here - we finally understand the connection between she and June Moon and what she is doing to find June. To get such a clear picture of the villain's motives lends a lot to the various cryptic scenes here and adds stakes to the conflict. I like what the Enchantress is after - she has been separated from June, who is her other half, and is struggling to stay alive without her. Her semi-coherent ramblings feel desperate and the fact that we now understand the chaos she is unleashing adds a lot of substance to this title. I love the brigade of June-creatures she sends out to look for the original, as well as how disposable they are (she blasts one of their heads off without a second thought). Milligan touches in on every member of the cast in their struggle to keep up with the Enchantress. Deadman and June remain the focus, and the trust building in their relationship is fun to watch. John Constantine, Zatanna, and Shade all get moments to shine here, as well. Madame Zanadu gets a stronger focus than she has yet, and the personal troubles she faces seem to be as strong a threat to the heroes as the Enchantress. Even Dove gets a return, arguing with John about Deadman. The book feels layered and deliberate in its build-up. The characters are all handled lovingly and the plotting is meticulous. At the same time, it's unsettling and unusual in its presentation of the villain's plots and the damaged protagonists. There still isn't a central premise to this as an ongoing series, but the progression of this individual story is enough to overlook that. Mikel Janin's artwork strengthens with each issue. His posed figures and faces are getting a little gruffer as the story progresses. In some instances, like the attack on Zatanna, seeing such a beautiful figure in the midst of such violence is effective. The soft colours bring a nice layer of realism to the characters, as well. Janin's also pulling off some great images, such as Deadman learning the Enchantress really is empty inside without June. This book requires patience, but it is coming together very well.

Flash#4 - Francis Manapul, Brian Buccelato/Francis Manapul

Manapul and Buccelato do a lot of interesting things with this one, including omitting our protagonist from the story altogether until the final three pages (apart from a couple of flashbacks). Instead, they focus on the story they have been building, and the supporting cast that populates the book. It made me realize what a strong world they are building for the Flash in Keystone City, along with a layered mystery at the heart of the Manuel Lago story. The story ably weaves itself through flashbacks, checking in on various supporting characters, and finally winding up at the fate of the Flash after last issue's gunshot. There's a lot of exposition here - we basically get the entire background behind the Manuel mystery - but it never feels cumbersome or overdone. Instead, the issue has an almost dreamlike quality to it, with one character literally falling into one of the flashbacks and each of them so expertly designed that they feel like compelling slices of history, not exposition dumps. I guess I was surprised how well this issue held up without the Flash. It jumps through the various plot threads the writers have set up so far without even needing the main character. Manuel, Patty, Iris, and even Manuel's clones all acquit themselves as strong characters on their own. In her first appearance in a brief flashback, even Manuel's mother feels well-rounded. The story is also quite interesting, ostensibly tied to terrorism without feeling heavy-handed and with an unsettling element of body horror to Manuel's condition. His clones, initially set up as the villains, are surprisingly sympathetic. After all, they just want to live. The art remains fantastic. The flashbacks are wonderfully designed, the fights are perfectly choreographed, Flash's reignition at the end looks great, and the characters have a fun, vibrant look to them. I remain impressed with the colours, which go for muted oranges, browns, and purples to give Manapul's work a more ethereal quality. As usual, Manapul integrates art and story in innovative ways. In addition to the flashbacks, the cover itself actually gets into the storytelling. It catches us up on the various plot lines, even showing how Patty and Manuel got from the end of last issue to where they first appear in this one. Great stuff, once again.

X-Men: Legacy#260 - Mike Carey/Khoi Pham

Mike Carey wraps up his lengthy run on this title here, where Rogue and co. rescue Ariel from her interspacial captivity and Rogue decides whose side she sits on in the Schism. The central plot is enjoyable, if a little slight. I can imagine a lot of people don't care about Ariel or understand why so much page time is devoted to her. I think it's kind of cute to have Mike Carey's obsession with minor continuity points continue into his final storyline. This issue really is about the characters, though, as Carey's stories tend to be. Through all the intrigue of Ariel's return and tying up loose ends (Korvus will escort the Shi'ar pirates home, Rogue confronts Julian), Carey traces Rogue's decision to stay with Cyclops on Utopia or go to Wolverine in New York. I particularly like her interaction with Rachel. It feels natural and familiar. The two are old friends, so they should have a comfortable dynamic with each other. I hope Christos Gage continues their friendship when he takes over as writer. In the final scene, Rogue tells Cyclops she is leaving, and it's a nice coda to Carey's time on the book. Rogue's relationship with Cyclops has been tenuous throughout this run, and it's nice to see them find common ground and value in each other. Her words about not making mistakes shows that Carey gets Cyclops better than the recent portrayals of his crazy militant side have been able to. It's a touching scene, and one that shows the sure hand Carey displayed with Rogue, who has grown under his pen into a teacher and leader. The future of this book will depend on the strength of her portrayal. The commitment seems to be there to continue focusing on her and the characters Carey did strong work on (Gambit, Rachel, Frenzy, Iceman), so I'm hopeful for Gage's tenure.

FF#13 - Jonathan Hickman/Juan Bobillo

I remain pleasantly surprised with this title, to the point where it is turning me back on to Hickman's Fantastic Four mega-story, something I had been slightly losing interest in. The highlight of this issue for me was learning even more about how everything Hickman has been doing on these two titles fits together. We're finally seeing key conversations between Valeria and Nathaniel that explain how some of the elements Hickman has more recently started (Black Bolt's return, the Kree attack, Galactus' arrival), which I have been less interested in, fit into the bigger picture of the Four Cities and the alternate Reeds. We don't have all the details, but we have some key information, and I'm impressed with the level of planning Hickman has put in. It helps that Val and Nathaniel have an endearing relationship, a grandfather and granddaughter able to communicate on a level only the other person understands. In the present day, the action remains fun. I love the execution and visuals when this rag tag group of kids and aliens venture into battle together. The story here is a little thin, but it's certainly moving things along and setting some of the players up for a finale. I still think this title has the better plot elements than Fanatastic Four proper does right now, so I find the book more compelling. And I really like Bobillo's art. His kids look like the quirky, off-centre groups of youths that they are. And I like his take on iconic Marvel characters (Doom, the Celestials, Galactus, the Supreme Intelligence). They lose some of their regal qualities when he puts his unique style onto them, and I like it. And he continues to play with blank space very well, particularly in the outer space scenes.

Uncanny X-Men#3 - Kieron Gillen/Rodney Buchemi, Paco Diaz, Carlos Pacheco

The relaunch of Uncanny marches on. This issue is significantly less depressing, if only because it's so dull and pointless. The X-Men's confrontation with Sinister ends (for now) with a whimper - after an issue of the villain speechifying around his hideout, he departs with a number of cryptic warnings for the future. The X-Men staredown the Celestials, proving how tough they are, and the issue ends. And all along, I get the feeling I'm supposed to be impressed by how "brutal" and "real" this all is, because poor Emma is walking around without an arm. Instead, it just comes off as a weird attention-grabbing stunt to me. This new iteration of the X-Men is so desperate to be the Authority it's getting annoying. But what the best Authority incarnations had in verve and energy, this makes up for with lethargy and boring characters. Where the Authority proved themselves a superhero militia through their actions, this team only proves it by telling us they are in Cyclops' big speeches. Some of Sinister's dialogue is amusing, if only because he has a sense of humour about these mutants and they don't whatsoever. But it goes on far too long with no point. The X-Men are lifeless here - at 9 members, most of them don't say or do anything of value, and those that do are wooden and boring. I'll keep harping on this until I see any evidence of it - there is no team dynamic or interesting relationships in this group of characters. The Celestial stuff is weak to me. I actually like the X-Men's staredown with them here for its simplicity, but I hate them as a plot device. Since the X-Men moved to San Fransisco in #500, the Dreaming Celestial has sat there as some undefined opponent, threatening to become a story whenever the writers remembered him. I still don't know what he is and why he is standing on a lawn in San Fran. The art is another hodgepodge - Pacheco ably draws the final scene, and Buchemi and Diaz ape his new, smoothed out style for the rest of the issue. It looks fine, but not particularly exciting, mainly because Pacheco's new style is intent on removing all the unique or powerful elements of his previous style. I believe Gillen is way better than what he has done on this relaunched book. He was significantly better before the relaunch. This has been a dull affair since it started.

DC and More - Month 3

Flash#3 - Francis Manapul, Brian Buccellato/Francis Manapul

Manapul and Buccellato continue their experiments with the Flash's powers, as well as their wildly inventive artwork and layouts, in this strong third issue. In another expansion of Barry Allen's power set, he vibrates molecules on an atomic level to get onto a plane falling in the wake of last issue's electromagnetic pulse. We also see the effects of last issue's "thinking fast" powers, as Barry is crippled by indecision in the arresting cliffhanger. The story remains full of life and energy, even as the plot starts to veer into darker territory. It's fast-moving, exciting, and covering a lot of ground, plot-wise. The ramifications of the power outage are a lot more than I expected, but it works quite well. Flash's rescue scenes are a lot of fun, which a nice montage double-page spread depicting them. I also love the shot of Barry and Patty riding off on horses. They begin to piece together the mystery of Manuel, one that includes stem cell research and experiments with pigs, and it leads to a strong ending. There is a short scene in the middle that is a bit confusing. I assume it ties into this story, but there are references to Captain Atom and the whole thing is a bit misplaced. However, there are hints of larger stories that I quite like - we are promised to learn more about the history of Central and Keystone Cities in future issues and Iris' encounter with Captain Cold hints at exciting villains' in Barry's future. On the art front, the book is a beauty. Once more, the artists use page layouts and power effects to tell their narrative, in completely creative ways. But there are stunning images, like the opening splash of the falling plane, starkly presented against a white background and the splash of Barry "thinking fast," faced with countless decisions in front of him. The characters have such a unique, cartoony look to them and look quirky and fun on the page. And the book is unafraid to not always be bright and vibrant in its colours - most of this issue is bathed in beautiful darkness, and the rest is in muted browns and yellows, but if lends a strong atmosphere to the art that works much better than day-glo superhero colouring would have. This remains a very strong book - the story is ramping up on several fronts and the art is fighting with Batwoman to be the best of DC's new books.

Justice League Dark#3 - Peter Milligan/Mikel Janin

I've read complaints that this book is moving too slow. I hear that, but I'm really enjoying the journey. Milligan seems to be telling the story of a bunch of disparate characters who are slowly coming together to combat the Enchantress. I don't think this needs to be treated as a team book, as the portrayal of the individual characters is so strong. Milligan explores the past romantic encounters of John Constantine and Zatanna as they come together to find the Enchantress. The dialogue is fun here, with John playfully teasing her. The Deadman segments remain strong as well. His relationship with June is developing nicely. It seems that having a new person in his life is an opportunity for him to reflect on his powers and being dead and how he feels about these things. June is also an interesting character; she is so frightened of anything magical, that she freaks out when Shade tries to contact Deadman, thinking it is the Enchantress. So just as Shade tries to contact Deadman, Milligan subverts the "gathering of the team" trope and continues to have his cast act in isolation from each other. Shade is possibly the weak link here, which is odd considering Milligan's history with the character. Dare I say he seems a little too grounded and ordinary for this story? The situations he is in are great, though - trying to reach out to gather this group (and failing) and warding off the romantic advances of the a decaying vision of his lover Kathy. Janin continues his strong work, despite the odd facial expression that is a little too posed. The figures are generally well-composed and the settings and colours convey the danger lurking around the corner. Overall, though, I'm liking Milligan's format for this series, shifting the focus to different characters as the threat of the Enchantress develops. The character portrayals are layered and deliberate, and it feels like a tapestry is building. There is an unsettling vibe around each scene that has been allowed to develop naturally. I can't imagine this operating as a typical team book, so I'm in no rush to have the whole group assembled.

This week also saw the release of Fantastic Four#600 (Jonathan Hickman/Steve Epting, Carmine Di Giandomenico, Ming Doyle, Leinil Francis Yu, Farel Darymple), which of course has been running as FF since March. Both titles will continue under Jonathan Hickman after this. Building off the death of the Human Torch almost a year ago, there is, naturally, a big event here relating to that. Don't thing I need to say more.

But, beyond that event, I wouldn't look to this to be a big show-stopper that takes Hickman's story into high gear. It's business as usual for him on this title - more plot threads are weaved in, the kids are up to no good, cosmic threats are amassing in the background, and vague hints and clues continue to be dropped. Is it blasphemy to say I'm getting a bit bored? Let me step back - I was enthralled with the first year and a half of Hickman's run and I was happy to have so many cryptic story threads growing, as they were seemingly being developed in a methodical way. But ever since the title change to FF, things have slightly faltered. After a strong start, it has lost some steam. Hickman has been writing this book since August 2009 (if you don't count the five-issue FF:Dark Reign mini series before that, which lays the foundation for many ideas) and #600 should have been the show-stopper (if not the big conclusion). But it's not over. And so much has been added, that I have lost sight of what the threat really is. The story was so nicely contained for awhile to this book, then Hickman started bringing in characters embroiled in Marvel stories outside of this title - the Inhumans, Ronan, Crystal, and now Galactus and his current story in Thor. When it was contained to the War of the Four Cities, Nathaniel Richards, multiple Reeds, and cryptic future warnings, this was taut and effective. By bringing in Marvel's current cosmic landscape, I'm losing sight of what the central conflict is. (Namely, outside of the Inhumans' connection to the Four Cities, how do all these new characters connect to the bigger mysteries Hickman had been developing?). The new and old players haven't come together for me. I'm also a bit confused most of the time.

ALL THAT SAID, this is still a strong comic. It's divided into five chapters, with different pencillers. Steve Epting returns for the opening, in which the FF and assembled Marvel heroes battle Ronan's Kree invasion. The action is nicely rendered by Epting and there are some great seeds being laid here (Doom, Kristoff, and the alternate Reed in Latveria, the kids protecting themselves from the fight). We also get some real answers as to why the Kree are going after the Inhumans. The lead up to the big reveal is as perfectly paced and energetic as the Human Torch's death scene from #587. As as much as the reveal was completely expected, the character in question looks so unusual that it's a nice twist on the typical heroic return shot. The second story, with delightfully expressive and twisted art by Di Giandomenico, is the core of the book. It explains what has been happening since we last saw our missing hero. The art so perfectly depicts the alien, war-torn landscapes of the Negative Zone that we feel as displaced and in danger as the protagonist. From the desolate prison, to the worms that burst from his body to regenerate wounds, this is the story of a man struggling to escape a dangerous and alien world. The conflict is a bit more straightforward here, with the roles of the Inhumans and Negative Zone denzeins clearly sketched (even if I don't really understand the Anti-Priest of Annihilus aspect of things), and it helps. At the end, we're left with a set up vaguely similar to Planet Hulk. I'm hoping the protagonist is sufficiently changed by what he has experienced and I look forward to seeing how it has affected him.

Three shorter stories round out the issue. Ming Doyle provides lovely artwork on a story exploring Medusa and Black Bolt's relationship and leadership roles within the Inhumans, along with his new wives. Perfectly enjoyable, but not exactly earth-shattering. Reed and Sue visit with Galactus on the moon before the events of the main story, as illustrated by Leinil Yu. I'm used to seeing him draw Wolverine, so this restrained take on cosmic material is actually very nice, with a strong, composed look to it. The story relates to the recent story in The Mighty Thor, where the Asgardians planted a new Galactus seed within Earth. I'm not enthused to see a direct tie to another title, and I don't necessarily think another giant cosmic force needs to be added to this sprawling conflict thirty issues in. But it's a fine story and it's nice to see old enemies interacting as partners. The final story is wonderfully drawn by Farel Dalrymple and explores Franklin playing his newly created pocket universe with Leech. It's very fun, but also carries some weight with it. It's also nice to see Franklin regain the spotlight after losing it in recent years to his sister Valeria.

It's a great package overall - 96 pages, no filler or reprints, for a reasonable price (ok, I almost collapsed when I first saw the price, but it is worth it). I just NEED this story to really move from here on in. I read an interview where Hickman stated the next arcs in both this title and FF are the end of this big story (after which, he will continue on to other stories). Please be true. The journey has been fun, but it's been going on for a long time.


Also, we have Astonishing X-Men#44 (Greg Pak/Mike McKone). In the past, the thought of not buying a core X-title would have horrified me, but this title has been treated as an afterthought since Joss Whedon left in 2008. I bought all of Warren Ellis' issues, but my unofficial policy since then has been to give each new creative team an issue or two to impress me then decide if I'm sticking around. Suffice it to say, I didn't make it more than one issue into writers Daniel Way and Christos Gage's runs. But I was certainly going to give a creative team of this quality a try.

And this was a disappointment. This title went from being the premier X-book to the place where lame filler stories go to die. I expected a lot more of a writer like Pak. The story is passable, but completely underwhelming and forgettable. An alternate reality (spoiler-alert ... if anyone is still reading this book) Storm lures Cyclops away from his Schism-induced depression (I feel ya, Scott) on Utopia to help fight some Sentinels. The dialogue is heavily flirtatious and out of character throughout. The much-hyped kiss on the cover occurs. Then Cyclops awakens to find he is captive on an alternate Earth, where he and other mutants use their abilities to power the planet. There is just nothing to this. The alternate reality plot is the type of filler that gave annuals a bad name, but it's going to be stretched out for four issues. And, outside of that bland ending reveal, I felt like nothing happened here. There was some opportunity in the opening scenes to explore Scott's mindset post-Schism, but Pak instead chooses to have him mope and brood around Utopia. There's no depth or insight whatsoever. The forced flirtatious banter with this fake Storm is painful to read in spots. The saving grace is Mike McKone's art, which I've always loved. His splash pages of Storm and Cyclops fighting with each other and the Sentinels are lovely, with his unique, crisp figures really standing out. It can't save the story, but his art would be the only reason to stick with this.

Alas, I won't be. I gave it my one issue to impress me and it flunked. Even Daniel Way's opening issue had more to it than this cookie-cutter alternate reality story. At $4 a pop for 20 pages, it's not worth it.


Finally, Wolverine and the X-Men#2 (Jason Aaron/Chris Bachalo) came out, and I remain amazed at how much effort is being made to make this book the fun, eclectic title, while Uncanny becomes dour and depressing. This is a fight issue against the Hellfire kids, and the Krakoa creature beneath the mansion grounds, but Aaron packs so many character moments into the proceedings - Iceman finally stepping up to the plate, Idie forming a bond with the Brood alien, Rachel kicking butt, a surprising kiss, Kitty trying to protect the school's human visitors. It feels jam-packed, in a good way. It really reminds me of Bachalo's days on Generation X, where quirky humour and small, cute character moments sat alongside the plot and action. Bachalo's art really helps create that tone, and Aaron seems inspired by him to throw in more fun little moments. This book is a great success so far.