As the ongoing story has ventured from World War II to battle monstrous Nazis, to the American Old West to stop a supernatural threat within the IndiaAs the ongoing story has ventured from World War II to battle monstrous Nazis, to the American Old West to stop a supernatural threat within the Indian Wars, Ask for Mercy returns to the present day. Mercy and Ratmir find themselves in 2023, where the streets of Leeds are deserted, but populated by monsters, including giant space whales hovering above the skies from all over the world. Meanwhile, other allies like Alizarine and everyone’s favorite Budgie are lost through time and dimensions as they all try to finish off the Kroach once and for all.
When three indoor cats, Elsie, Lord Fluffy Britches, and Patch, are taken away from the homes, a car accident leads them to get lost in the wildernessWhen three indoor cats, Elsie, Lord Fluffy Britches, and Patch, are taken away from the homes, a car accident leads them to get lost in the wilderness. In a desperate attempt to get back home with the help of fellow stray felines, the cats find themselves in a nightmarish rabies outbreak as they are prey to a bunch of rabid beasts.
In 2000, Brian Michael Bendis and Mark Bagley created Ultimate Spider-Man, which modernised the life of Peter Parker, who tried to balance high schoolIn 2000, Brian Michael Bendis and Mark Bagley created Ultimate Spider-Man, which modernised the life of Peter Parker, who tried to balance high school, work duties at the Daily Bugle and be a superhero with spider-like powers. Published alongside Marvel’s mainstream continuity of The Amazing Spider-Man that has been in publication since 1963, not only did the comic reignited readers’ interest in the web-slinger, but launched an alternate universe that put new spins to long-running Marvel characters, as well as introducing whole new creations like Miles Morales. Although the Ultimate Universe would go on for fifteen years, Marvel revives the imprint with a new paint job.
Beginning last year with the four-issue limited series Ultimate Invasion by Jonathan Hickman and Bryan Hitch, this year spawned the Ultimate Universe with a number of ongoing titles including Ultimate Spider-Man, written by Hickman and art by Marco Checchetto. But instead of focusing on a teenage Peter Parker getting bitten by a radioactive spider and how he learns to become a hero, this series centres an older Peter who becomes Spider-Man for the first time later in life, already a father of two children and married to Mary Jane Watson.
When Stan Lee and Steve Ditko created the creator in 1962, the latter always felt that the essence of Peter Parker was that he was a high school character, and no doubt many have symbolised the spider-like powers as a form of puberty. Fans loved Spider-Man because they can identify with the everyday problems that young Peter Parker is going through. However, by presenting the superhero origin story as a way of going through a midlife crisis adds a new and clever perspective to Peter, who is happily married and has two loving children, but he feels that something is missing in his life. And unlike the mainline continuity where great power is thrust upon Peter, when he is given the choice to get bitten by a radioactive spider, and along with the helpful advice from his loved one, he takes it.
While this first volume functions as its own narrative, it does reference the events of Ultimate Invasion as twenty years ago, The Maker secretly manipulated this universe to make it one without any superheroes and thus he and his council can control the way things are within shadows. Known for his grand sci-fi worldbuilding as seen in his Fantastic Four run and the Krakoan Age which relaunched the X-Men in 2019, Hickman does some worldbuilding here, though this is perhaps his most down-to-Earth Marvel title in a long time.
Considering that Marvel has always tried to present its fictional main universe as our own with the addition of superheroes, the original Ultimate Universe took it a step-forward with The Ultimates by Mark Millar and Bryan Hitch deliberately taking place during George Bush’s administration. In the first issue of Ultimate Spider-Man, the events of Ultimate Invasion are referred to when characters attend a place that resembles the New York 9/11 memorial, which is where we find out that May Parker and Norman Osborn are victims of the tragedy from two decades ago. This story is about a New York that is still recovering from a tragedy where villains like Wilson Fisk has a higher power, whilst others are trying to retaliate this greater evil by various means.
Whilst you have plenty of Easter eggs that showcase how different this universe is from the main continuity, this is first and foremost a Spider-Man story, albeit one that takes interesting liberties. Not only do you have Peter being a family man, but his uncle Ben still alive and has a great dynamic with J. Jonah Jameson, both of whom serve as a mentor to Peter, as well as having their own subplot about their crusade against Wilson Fisk. With Marco Checchetto drawing the book – though David Messina draws issues #4 and #5 – the action is there and spectacular, but this is a slow-burner that really showcases how Peter works his way of being a hero, often to hilarious effect, as well as how certain members of his family feel about his new persona. A section of long-time Spidey fans has always embraced the relationship between Peter and MJ, which is evident here, but you also the benefit of two adorable children, each with their own quirks and hopefully they will get more to do in subsequent issues.
In recent years, Amazing Spider-Man has not been great with numerous creators like Nick Spencer and Zeb Wells just not knowing what to do with Peter Parker. But upon reading the first six issues of Ultimate Spider-Man, Hickman and Checchetto are doing the fresh things with the Spidey mythos without losing the essence of what makes that character special. As much as I’m curious about what new spins of iconic Marvel characters will be, it’ll be interesting to see where Hickman goes with this ongoing narrative that could go anywhere, which is the best thing to do when you’re somewhat rebooting a well-known comic book property....more
Having read the first three volumes of Batman/Superman: World's Finest, writer Mark Waid and artist Dan Mora are quite the dream team as during their Having read the first three volumes of Batman/Superman: World's Finest, writer Mark Waid and artist Dan Mora are quite the dream team as during their time on that title, as they bring back the Silver Age sensibilities that made the adventures featuring the two Superfriends light and colourful. Considering that Waid has applied this World's Finest-ish approach to the Teen Titans, he does it once again to Fawcett Comics's most iconic creation and reuniting with Mora is a major bonus.
Ever since the New 52, the superhero once known as Captain Marvel since his creation in 1939 has not been called that for quite some time. However, whilst Billy Batson is still his youthful self, Waid has rebranded Billy's persona with the familiar title of “The Captain”, which turns a fun nod into a new direction for Shazam!. As Billy continues to use the powers of the ancient gods — Solomon, Hercules, Atlas, Zeus, Achilles and Mercury — for good as Fawcett City's local superhero, those same gods feel that the boy does not deserve said powers and have decided to turn Billy's alter ego into their puppet to damage his heroism.
When it comes to Shazam, I am more associated with the Geoff Johns books which may not negate the magical side of the character's adventures, but certainly can lean towards darker aspects, especially when it comes to the villains. Waid, being a Silver Age enthusiast, revels in the whimsical nature of Billy's adventures, which is very apparent in the first few pages where the Captain rides a T-Rex, who just happens to be part of a dinosaur family from space.
Considering you have Billy interacting with his adorable orphan family, especially with his brother/best friend Freddy Freeman, Waid isn't interested in domesticising their lives in some real-world context, especially when Tawky Tawny the tiger cooks and cleans around the household. Meanwhile, there's a hilarious subplot featuring Mr. Dinosaur who is bugging Billy to fill out some paperwork for illegally saving the spaceship of the dinosaur family in the first issue.
As for the main storyline, it is not one where world-threatening stakes, despite a major set-piece taking place on the moon. Serving as the main antagonists of the story, the gods themselves, driven by a petty motivation, are about ridiculing the Captain, which does take an emotional toll on Billy, but also take to more fantastical worlds that the DC universe offers. Although this book is more in line with the current DC continuity as it ties-in with recent crossover titles such as Lazarus Planet and Knight Terrors, similar to World's Finest, Shazam! works bests when it uses the DC universe as its own personal sandbox, taking advantage of locations like Gorilla City and obscure villains like Psycho Pirate.
That sense of playing in a sandbox is also how I would describe the incredible work by Dan Mora. It has been reported that Mora can produce two single issues in a month, which I'm sure takes a physical toll on the artist, who still maintains that high level of quality. Considering that Shazam has similar powers to Superman, but with more emphasis on magic, Waid and Mora never limit the vast adventuring that their heroes are going through, with Billy and his alter ego are plunged into situations from light comedy of family matters, to action spectacle that goes cosmic and magical. Along with Alejandro Sánchez's colouring, Mora's artwork is expressive, epic and intimate.
Although Waid and Mora's time on Shazam! is short-lived — though their partnership continues with the current Batman/Superman run and the upcoming Justice League Unlimited — this volume is continuous proof on why their collaboration works to wondrous effect....more
At the start of Joshua Williamson and Jamal Campbell's Superman run, the Man of Steel suddenly finds himself not only in an uneasy alliance with his aAt the start of Joshua Williamson and Jamal Campbell's Superman run, the Man of Steel suddenly finds himself not only in an uneasy alliance with his arch-nemesis Lex Luthor, but now he is now the head of a corporation known as Supercorp, formerly Lexcorp. What sounds like an interesting set-up as Superman being the reluctant corporate figure, Williamson is still more interested with a back-to-basics approach by treating him as a simple hero-in-blue of Metropolis.
At the end of the previous volume, the jailed Luthor gets knifed and is left for dead. Whilst Lex remains in critical condition, Superman goes out to investigate a file about "Project Chained" that Lex was directly involved. Learning that Lex kept a prisoner beneath Stryker's Island for decades, Superman decides to free him, only to unleash the Chained himself who not only plans to revenge on Luthor, but Metropolis itself.
With a greater focus on the evil scientific brothers Graft and Pharm than before and along with the arrival of the Chained, this volume does a much better job of showcasing the new villains, serving as both a physical threat towards and a reminder of the reckless mistakes from Lex's past. Along with the Lex Luthor Revenge Squad, things take an even more personal turn with Lex's mother and daughter, the latter of which has an interesting dynamic with Supes and her estranged father, whilst immediately setting up the return of another classic Superman villain: Brainiac.
Williamson is juggling a lot of elements, some of which aren't as well-developed, such as Daily Planet's former editor-in-chief Perry White running for mayor, which he pretty much gives up halfway through the volume. Certainly, the wildest moment here is when Superman is suddenly transported to the American Old West. Although the Western setting doesn't last as long as I would've liked, it was awesome seeing Supes rocking the cowboy outfit despite not needing a gun, whilst partnering with this run's breakout character Marilyn Moonlight, whose backstory is finally explored.
Whereas Jamal Campbell drew the first five issues, he draws only three pages in issue #8, which is disappointing. This is not to discredit to the seven other artists who have contributed over the course of these seven issues, such as Gleb Melnikov who draws some destructive action, whilst iconic artist Dan Jurgens drawing a couple of conversations, the transition from one artist to another can get jarring. Though none of these artists come close to the high quality of Campbell's artwork, Nightwing artist Bruno Redondo should do more Superman comics as his work on the two issues where Supes goes west are visually spectacular, but a master of facial expressions that gets across the emotion.
The first year of Joshua William's time of the main Superman title ends on a high note, showcasing this new dynamic between Superman and Lex Luthor, who seem able to put aside their differences and build a better future for Metropolis....more
When it comes to superhero comics, if a crossover event is coming up, maybe they shouldn't put "war" in the title as it reminds you of Marvel's 2006 sWhen it comes to superhero comics, if a crossover event is coming up, maybe they shouldn't put "war" in the title as it reminds you of Marvel's 2006 storyline, Civil War, which was basically a slugfest between multiple superheroes. Sure, that comic may have inspired a pretty awesome movie in 2016, but it did pave the way for other superhero titles that are driven by some fans' weird interest in seeing their favourite heroes fight each other. This brings us nicely onto The Gotham War.
Serving as a crossover event that connects Chip Zdarsky's Batman run and Tini Howard's Catwoman run, Bruce Wayne has been incapacitated for eight weeks, leaving Gotham City in a new state. During his absence, Selina Kyle has planned a coordinated effort that has led to a reduction in violent crime in the city. Whilst crime is not entirely wiped away, as Selina Kyle's new initiative leads to murder, Batman wasn't going to be on board with this new ideology, but does create conflict with the rest of the Bat-Family.
Although both Batman and Catwoman have recently appeared in one another's solo titles, their relationship hasn't been much of a centrepiece since Tom King's long-running run on the Batman title. As Zdarsky and Howard co-write the Battle Lines issue (with art by Mike Hawthorne) that opens the event, the central conflict itself is overly familiar territory if you well-versed in Batman comics, such as the idea of how does one manage the crime in Gotham, which was explored in storylines like Under the Red Hood.
With this book's approach to crossover with multiple titles, I like it best when it serves as a continuation of what Zdarsky is doing with his Batman run. Having battled Failsafe and have travelled through the Multiverse to stop Red Mask, Batman has already been through a lot and taking a toll on him, particularly on a psychological level. Whilst you have Zdarsky flexing his muscles when he writes Batman's inner monologue, it nicely contrasted with the inner voice of Batman of Zur-En-Arrh, an ongoing presence from the start of Zdarsky's run and will continue to be.
Another reason why the Batman issues are the best is the art by Jorge Jiménez, who has not only done wonders with the Dark Knight over the years, but other DC titles. If you're going to have members of the Bat-Family fighting each other, get Jiménez to draw some kinetic action sequences that show off that Batman is a force of nature as he effortlessly takes his closest allies one at a time.
Although there are some interesting ideas going on, such as former henchmen who worked for Batman's rogues gallery becoming part of Catwoman's new initiative, the rest of the event is a mixed bag. Whilst the Catwoman issues by Howard and artist Nico Leon are decent, showcasing the dynamic between Selina and the women who helping with her operation, the Gotham War: Red Hood issues stick comparison as despite the interesting art-style by Nikola Čižmešija, Matthew Rosenberg's writing and the characterisation of Jason Todd are lacklustre.
Halfway through the event, the central conflict between the Bat and the Cat is thrown out the window with the sudden presence of Vandal Savage who has dastardly plans for Gotham. Although I can appreciate the writers for using a villain that rarely appears in Batman comics, it does make the very premise of this event rather pointless as all the conflicting heroes put aside their differences to fight a greater evil.
There is some good stuff here, especially when it ties in with Chip Zdarsky's Batman run, but overall The Gotham War feels more like a pointless detour....more
When it comes to The Flash, the super-fast superhero who has had a couple of TV shows under his belt as well as his own movie, the default version of When it comes to The Flash, the super-fast superhero who has had a couple of TV shows under his belt as well as his own movie, the default version of the hero that most would refer to is Barry Allen, introduced as the Flash of the Silver Age. Obviously, through the Flash's comics history, there have been multiple characters that have donned the persona from Jay Garrick to Wally West, the latter of which was my personal favourite, since he was the Flash from the 2000s Justice League cartoon.
Despite the presence of numerous speedsters, Simon Spurrier and Mike Deddato Jr.'s The Flash run centres on Wally West, who has to balance his duties as a hero, working for his new boss Mr Terrific and to be a family man including fathering his two children, each with their own superpowers. Something whispers from the dark vibrations beyond the Speed Force, and as Wally experiments with creative new approaches to his powers he encounters new realms, mysterious allies and mind-shattering terrors.
Considering the light-hearted nature of the Flash, whose super-speed reflects a sense of freedom in a similar vein to Spider-Man web-slinging through city buildings, numerous creators have explored the vast potential of his simple power. From time-travelling to dimensional hopping, the Flash is a character that can play within strong sci-fi concepts, something that writer Simon Spurrier revels in here.
Tonally, this is a very different Flash story altogether compared to others, feeling more like an old Vertigo comic from the nineties. Whilst Wally is your main hero that has to juggle a lot with both his professional and personal lives, the book itself is also juggling with a lot of other things, such as exploring some internal conflict that each of Wally's family members is going through, including his wife Linda. All six issues are quite the dense read, especially when it comes to the central conflict which juggles Gorilla Grodd and the crazy new beings that Wally comes across. However, amidst the density, when the book literally slows down and focuses on characters are just talking, often out of an emotional situation, the book has enough of a heart to keep you engaged.
The one thing that will leave the biggest impression on readers is the incredible artwork by Mike Deddato Jr.. Considering the density of Spurrier's scripts, Deddato contributes in the most visual way. Nearly every page, the panelling is wild, ranging from the large panels that showcase the spectacle to the small panels that are placed on the edge of a page. What could've been claustrophobic if problematic if how to visualise the Flash's abilities, and yet you still get the sense of movement, largely through the lightning out of the character's super-speed. That said, I'm not personally a fan of the Flash having white slits for eyes.
Although you have Titans: Beast World Tour: Central City #1, which has the numerous speedsters reacting to some crossover event that is happening elsewhere, it serves somewhat as a distraction to the main narrative. If anything, this new approach towards The Flash is less about superheroism and more about surreal horror that is not far off from Lovecraft. But because this first volume is juggling a lot of elements, which might benefit more from re-reading, you just wish that the story would slow down. That said, I'm curious where Simon Spurrier will take Wally West in this new era, especially with a new artist taking over....more
Throughout Al Ewing's run of X-Men Red, it was going through its own narrative, almost entirely outside of the main Krakoan narrative as explored in GThroughout Al Ewing's run of X-Men Red, it was going through its own narrative, almost entirely outside of the main Krakoan narrative as explored in Gerry Duggan's X-Men and Kieron Gillen's Immortal X-Men. The story that Ewing was telling is about a group of mutants led by Storm trying to make a better world out of Arrako, formerly known as Mars, a planet that was never their's to begin with. Numerous obstacles threaten the peace that Storm and the Brotherhood have been trying to achieve, and with this final volume, is peace finally achieved or the continuous nature of war?
While there is some acknowledgement of the cataclysmic events of the 2023 Hellfire Gala, this volume is to resolve the conflict of Genesis who, along with her children that is the original Four Horseman, attempting to remake the Red Planet in her own image. Essentially a civil war over the course of five issues, there are a lot of moving parts from the amount of characters Ewing is playing and whilst there is the sense of scale through the battles (more on that later), there is a great deal of exposition, including the all-text pages that have often plagued the whole Krakoan Era.
However, Ewing has always been good with intimate character moments, Craig Marshall, the NASA scientist that Storm went on a date during the previous volume, appears in one scene and doesn't really have much of a presence. When it's about Storm and/or Apocalypse, the book shines as the former is the passionate leader who is not willing to compromise her morals to achieve victory, while the latter is more compelling as oddly the former villain trying to turn over a new leaf, even if that means confronting his own family.
Drawing all five issues is Yildiray Çinar, who really delivers on the epic, when it comes to civil war battles featuring a plethora of mutants and aliens clashing with one another. From the multi-layered use of dynamic panelling, the action never feels one-note whilst certain characters display some iconic posing; basically anytime Storm shows why she is the most powerful mutant in display, the imagery is glorious.
As previously stated, a lot happens through this final volume, and whilst there is a climax that does get resolved, there are still some loose ends, which no doubt will be paid off in Fall of the House of X/Rise of the Powers of X. That being said, Al Ewing's X-Men Red was a standout title during the Krakoan Era, certainly a great spotlight for Storm as a central character....more
Following the events of the 2023 Hellfire Gala, in which writer Gerry Duggan makes a night of celebration into a nightmarish bloodbath for the mutantsFollowing the events of the 2023 Hellfire Gala, in which writer Gerry Duggan makes a night of celebration into a nightmarish bloodbath for the mutants, they have been scattered away from their island of paradise. As this event has had an effect on all the X-titles, how does Duggan carry on with his own X-Men run, in which most of the new roster he established in his Hellfire Gala one-shot was wiped out.
Beginning this volume is an issue that puts a spotlight on the best X-Man of them all, Kate Pryde, which is not me being biased, it's just a fact. Stripped out of her title as the Red Queen, though she remains a target by Orchis due to her position in the Quiet Council, Kate returns to Xavier's old mansion to pick up some weapons to retaliate.
Whilst you get check-ups from the villains that have gained so much power including the gleeful Dr. Stasis, to the X-Men themselves becoming more of a resistance group led by Talon and Synch, the issue really centres on how alone and broken Kate has become. Showing how far she has gone, artist Stefano Caselli draws a fantastic fight sequence featuring Kate creatively using her abilities to kill a bunch of Orchis agents.
Now under the alias of Shadowkat and under a ninja guise, Kate hunts for blood, beginning with Firestar, the supposed mutant traitor working for Orchis. It is worth reading Duggan's Hellfire Gala one-shot as these issues function as a direct continuation as we see Firestar being planted as a double agent to infiltrate Orchis thanks to the psychic help of Jean Grey. Meanwhile, Kamala Khan, now a mutant, would rather fight alongside the X-Men instead of relaxing in the comfort of her family, much to the reluctance from Kate and Emma Frost, the two of which together are always a delight.
Throughout this volume, the story does get pulled in numerous directions with a number of characters off on separate missions, including Emma Frost suddenly being engaged to Tony Stark, which will pay off in an issue of Duggan's Invincible Iron Man run, which sadly doesn't feature here. The story even goes into Fantastic Four territory when some of the X-Men visit Marvel's First Family, whilst Kate, Kamala and Wolverine visit Latveria where they confront Doctor Doom's own team of X-Men. With numerous artists involved including the aforementioned Caselli, Jim Towe, Javier Pina, Phil Noto and Joshua Cassara, the art can be all over the place, but still high quality as we see the X-Men in different scenarios.
The biggest takeaway from this volume is the already great Kate Pryde is even greater as a ninja, but the rest of the book manages to hold its own in seeing the X-Men as a resistance group going through this dark period that is heading to a close with Duggan writing Fall of the House of X....more
While I wouldn’t declare himself a foodie, there have been media pieces that have shown what a fascinating subject food can be, specifically when it cWhile I wouldn’t declare himself a foodie, there have been media pieces that have shown what a fascinating subject food can be, specifically when it comes to making food. From the many celebrity chefs out there, to dramatized works like 2023’s The Taste of Things, the process of making food is just as creative as filmmaking or creating comic books. In fact, the new comic from that the creators of The Many Deaths of Laila Starr is all about food and filmmaking, leading to the very heart of creativity.
Following the 2023 Hellfire Gala, which was supposed to be a night of high fashion and celebration but ended up being a nightmare for the mutants. As Following the 2023 Hellfire Gala, which was supposed to be a night of high fashion and celebration but ended up being a nightmare for the mutants. As Orchis has made their move that led to a bloody spectacle, causing the mutants to leave Krakoa, leaving Charles Xavier alone with a dream that was coming to fruition and now he is left with nothing. As the Krakoan Era is going through the Fall of X relaunch, let's start with Immortal X-Men as this volume picks up immediately after the Gala concluded.
With no Quiet Council to help protect their people, Immortal is now in this dark stage where many of the characters are split off in various directions. Starting with a broken, bearded Xavier alone on Krakoa, which is quite the tragic image as he is now living with this grave mistake, but realises there is still a Sinister presence that lurks within the island, so he goes to investigate. Meanwhile, Sebastian Shaw and Selene seek to profit from this terrible tragedy, showing what a complete dick of a businessman he is and has never identified himself as a mutant, at least not one that is willing to benefit his own race.
With many mutants being separated, writer Kieron Gillen particularly focuses on one mass group, which is led by Exodus and Hope in search of a new promised land within their unknown desert location, whilst Destiny who is among them still grieving over the loss of her partner Mystique. As much as these mutants search around to find whatever is left of their race, numerous obstacles occur along the way, including the Sinister clone herself Mother Righteous, who has plans with Jean Grey who seems to be going through a mental state that involves the Phoenix.
There is a lot that happens here, some of which are most likely be wrapped in Gillen's later X-titles such as X-Men: Forever and Rise of the Powers of X, and yet Gillen's character work has been one of the highlights from this series. Seeing our heroes going through all the emotions, with some believing all hope is lost, whilst others are clinging onto whatever hope there is left to ensure the survival of their race. I personally don't want to see Destiny upset herself as she deserves to be reunited with Mystique, even if everyone else around her don't trust her. Considering that Mister Sinister has been an ongoing presence from the start of this series and has already headlined his crossover series Sins of Sinister, it does seem like Gillen can't seem to let go of that character, or indeed the multiple clones that are roaming around.
Across these five issues, three artists are involved, including series regular Lucas Werneck who brings such expression to his characters in his two issues, while Paco Medina carries over similar aesthetics with his only issue. A new addition to the art team is Juan José Ryp, who has provided art for all the major American comic publishers for over two decades. Known for his intricately detailed pencil work, you can see that level of craftsmanship in the last two issues of this volume, and although Ryp puts too much line-work towards some of the characters, looking like they have too many wrinkles, it is still impressive work.
Although this is technically the final volume of Immortal X-Men, this is obviously not Gillen's final work within the Krakoan Era, but still remains one of the best titles that from that era....more
As is the case with the Hellfire Gala trades, there is the one-shot issue on the Gala itself, which not only allows for the Krakoan mutants looking abAs is the case with the Hellfire Gala trades, there is the one-shot issue on the Gala itself, which not only allows for the Krakoan mutants looking absolutely fabulous, but initiates the next seismic shirt for the era itself. However, there is also a bunch of issues from other Marvel titles that has some connection to the Gala, and they are usually a mixed bag.
Before we get to the Gala itself, the trade opens with Free Comic Book Day 2023: Avengers/X-Men, in which Cyclops fails to stop an infiltrator who destroys the X-Men's treehouse and steals the Captain Krakoa suit, which will be used for something dastardly at Washington. Oh, and the Avengers pop us for a few pages as they are about to fight some Orchis agents. Honestly, it didn't really want to read any more from Uncanny Avengers, where apparently Rogue is among the roster.
And then we get into the Hellfire Gala issue written by Gerry Duggan, which is a perfect starting point for the immediate Fall of X event. A lot of revelations happen along the way, starting with Kamala Khan/Ms. Marvel being resurrected, discovering she is actually a mutant, as well as maintaining her Inhuman genes. Although I'm still unhappy about how Kamala got to this position – especially with the crimes that Zeb Wells has committed during his Amazing Spider-Man run – this issue lays enough groundwork that it'll be interesting to see where the character goes from here, who has got her own solo miniseries that ties in with the Krakoan Era.
It is also in this issue where we are introduced to the roster that will headline the next issues of Duggan's X-Men run, with Cyclops and Jean Grey taking a step-back from leading the team. From one splash page that features the new team – Synch, Talon, Prodigy, Cannonball, Frenzy, Dazzler and the Juggernaut (yes, really) – to the next splash page where Nimrod literally drops in and causes chaos. What starts as a night of celebration for mutants with the hope of a co-existence with everyone else, becomes an event of destruction as Orchis make their move on the mutant nation, where blood is spilt and whatever mutants there are left, they have to leave Krakoa itself.
With many artists involved, including Adam Kubert, Luciano Vecchio, Matteo Lolli, Russell Dauterman, Javier Pina, R.B. Silva, Joshua Cassara, Kris Anka, and Pepe Larraz, the transition from one style to another could have been jarring. And yet, despite each artist doing a few pages here and there, it all balances out in telling a story that features high fashion, bloody spectacle and wonderful character moments.
Sadly, the praise does not carry forward with the remaining issues in this trade, which includes X-Men Unlimited Infinity Comic #100-105, serving as a prelude to the Gala, in which we see the future X-Men getting ready for it. Considering the upsetting events of the Gala itself, it does make you wonder if Duggan is actually going to stick with this new roster. And speaking of Duggan, this trade with an issue of his Iron Man run, in which Tony Stark tries to fend off a bunch of Stark Sentinels to protect Emma Frost and several other mutants.
What gives this trade a pass is for the Hellfire Gala issue alone, which is such a game-changer in showing how this mutant utopia is coming to an end, paving the way for the upcoming Fall of the House of X....more
Without the presence of Magneto, who was one of the main protagonists in Al Ewing's X-Men Red, it is up to the other protagonist Storm to carry the boWithout the presence of Magneto, who was one of the main protagonists in Al Ewing's X-Men Red, it is up to the other protagonist Storm to carry the book on her shoulders, which is fine as Ewing has proven to one of the best writers on that character. Despite the weird opening where she goes on a date with a human celebrity astronaut, which may pay off later on, the first issue of this volume is about Storm's own relationship with Charles Xavier.
Considering that the third volume of Kieron Gillen's Immortal X-Men alluded to the conflicting nature between Storm and Xavier's relationship, Ewing addresses it head-on here, specifically in light of the events of Sins of Sinister, as well as the tragic death of Magneto. As much as Storm has looked up to the Professor as a mentor and was willing to follow him to achieve his dream of a mutant utopia, recent events show the cracks that have taken a personal toll on him and is willing compromise of which Storm does not approve.
As for the main plot, Ewing evokes the crossover event X of Swords, with the upcoming return of Apocalypse, whose family have battled for survival in the harsh land of Amenth. As Jon Ironfire uses the Purity sword to cleave his way from the Amenth to Arakko, to warn the Great Ring of Arakko of the arrival of Apocalypse's wife Genesis, the rest of the volume is about Storm and the rest preparing for this impending threat.
Despite the impressive art by Jacopo Camagni, who drew the three main issues, whilst the one-shot X-Men: Before the Fall - Heralds of Apocalypse #1 is drawn by Luca Pizzari, Stefano Landini and Rafael Pimentel, there isn't much action and really more set-up for what is to come. That said, ever since Jonathan Hickman somewhat reinvented Apocalypse who is no longer seen as the big baddie, it seems like Ewing is continuing that theme with Apocalypse being at odds with his own family, particularly with his wife Genesis, who rejects the whole notion of peace. The one-shot is all about this complicated history of this family, as well as the Arakki who were made for war, which can be dense, but helps inform where the main story is going.
With the final issue featuring Storm and the Great Ring of Arakko being confronted by Genesis, who has allied herself with the magic-user Marianna Stern of Coven Akkaba that is part of Orchis, it ends up being a tease for hopefully a climatic battle in the fourth and final volume of X-Men Red....more
Following the crossover event Sins of Sinister, in which Mister Sinister succeed at creating a dark future in his own image, the timeline has been resFollowing the crossover event Sins of Sinister, in which Mister Sinister succeed at creating a dark future in his own image, the timeline has been reset to the main continuity of the First Krakoa Era. With the help of Mother Righteous, one of the four clones created by the original Nathaniel Essex, the Quiet Council is now aware of the sins they have all contributed in the alternate timeline and so the first issue of this volume is about how they all recover from this.
As tradition with Immortal X-Men with each issue being narrated by a member of the Quiet Council, Storm narrates issue #11 where she tries to maintain order whilst serving duties in her role at Arakko as explored in X-Men Red. As for the council which is falling apart following the fallout of Sins of Sinister, there is the Sinister-infected Charles Xavier, Emma Frost, Hope Summers, and Exodus being banished to the Pit; whilst the relationship between Hope and Exodus is somewhat fractured, which leads to one of the few action sequences in this volume.
By this point, despite artist Lucas Werneck drawing the odd fight featuring mutant powers, you are going into Immortal X-Men as a book that is politics, where the ideology from each member of the council are being challenged. For as much politicking that Kieron Gillen throws at, he never negates the personal stakes, such as the romance between Mystique and Destiny, both of which are usually at odds with the council.
This volume, in particular, seems to be about relationships, romantic or otherwise, as seen in issue #12 where a possessed Colossus has wormed his way into the Quiet Council, and his careful manoeuvring has scored him two proxy votes. Now, with Shaw on his side, he manages a perfect play that appears to have earned Selene a seat on the Council, much to the bafflement of everyone else, including Kate Pryde who had a long romance with Colossus. No doubt, there is manipulation going on that is affecting the council, leading to Krakoa intending to reveal everything from Sins of Sinister to the world, which of course will have huge ramifications.
Also within this volume the one-shot X-Men: Before the Fall — The Sinister Four #1 by Gillen and artist Paco Medina. Despite the titling, the issue isn't really about all four Sinister clones that are roaming about causing trouble, but a dark love story between two of the clones, which are Mother Righteous and Doctor Stasis, the latter introduced in Gerry Duggan's X-Men run. Although you get some answers that set up the main storyline of Immortal X-Men, this serves more as a slight departure for some fun wordplay that will delight those with a Sinister fetish.
If you think there is a dreary tone throughout this volume, the final issue declares that as through the perspective of Cypher, who has watched the council tear itself apart, and he’s sick of it, as is the sentient island itself that is sick of the mutants' mistakes. Following one conversation between Cypher and Xavier, the latter has a proposal, which is to dismantle the Quiet Council at the upcoming Hellfire Gala. An agreement is set, but causes Krakoa itself draws Cypher into the Pit, reportedly to protect him. No one from the council knows what is happening, but the Fall of X is upon them.
To fully understand the full machinations of Immortal X-Men is to read the other X-titles, which is too much to ask for the casual reader. However, Kieron Gillen and Lucas Werneck are still writing arguably the best of the lot, by centralising on characters whose conflicting nature for the benefit of a mutant utopia is finally coming to a dangerous close....more
During the post-Jonathan Hickman era of the First Krakoa Age, a number of writers have been taken over this new status quo for the Marvel Mutants, froDuring the post-Jonathan Hickman era of the First Krakoa Age, a number of writers have been taken over this new status quo for the Marvel Mutants, from Gerry Duggan writing the flagship X-Men title, Al Ewing writing X-Men Red and Kieron Gillen writing the best of the lot, Immortal X-Men. When you specifically look at Gillen's title, Nathaniel Essex/Mister Sinister has been the standout character as despite being part of the Quiet Council, which has governed the nation for the benefit of mutantdom, he has his own motivations that are, well, sinister.
It's worth reading the first year of Immortal X-Men to have a grasp of what Sinister has been planning, which pays off in Sins of Sinister, a crossover event involving a dark future brought about by Mister Sinister's corrupt machinations and his experiment in creating a batch of Mutants called Chimeras. Considering the numerous times the X-Men have had a dark future storyline, this crossover takes cues from the Age of Apocalypse storyline from the nineties, beginning with a one-shot written by Kieron Gillen and artist Lucas Werneck, and then three limited series that replaced three of the main X-titles.
Considering the complex ideas that Hickman was doing with House of X/Powers of X, from the high sci-fi concepts and massive time-jumps, you can see that approach somewhat replicated here in Sins of Sinister, which has an identity of its own and is arguably even wilder, considering the twisted if humourous nature of Sinister himself. No doubt it can be too much, especially when this storyline from these three writers that is pulling in different directions and jumps through periods of time.
While I wasn't a fan of Nightcrawlers from writer Simon Spurrier, which features Sinister's private army of chimera assassins, the two other limited series were more successful. Gillen's Immoral X-Men feels more of a direct continuation of where the one-shot, in which we see how Sinister's actions influence Xavier's dream of a mutant utopia to a horrific conclusion, leading to world domination. Considering that many of these characters like Emma Frost and Xavier being tainted by Sinister, there is a distinct personality, whilst Sinister himself is realising that his perfect plan that has come to fruition, isn't panning out the way he hoped.
However, Al Ewing writes the best of the three limited series as X-Men Red temporarily turning into Storm and the Brotherhood of Mutants. Presenting Storm, who leads a resistance in response to the cataclysmic events of the destruction of Arakko, Ewing continues to prove that Storm is one of the best characters in all of X-Men, showing how dominant and passionate she is as a leader. Showing how Sinister's actions have affected the cosmic side of the Marvel universe, Ewing goes hard on the Star Wars references, whether it is a resistance group against a galactic empire to even an infiltration of something that looks a bit like the Death Star.
With numerous artists involved, including Lucas Werneck, Paco Medina, Patch Zircher and Alessandro Vitti, as previously stated, this crossover event throws a lot and it can be too much, but one cannot deny the level of the ambition throughout. As much as I'm more excited about returning to the main storylines that these writers are doing during the Krakoa era, Sins of Sinister is a mostly successful detour that tries to do new things with the X-Men....more
Having read enough titles by manga artist Inio Asano, from Goodnight Punpun to A Girl on the Shore, his slice-of-life narratives have an air of depresHaving read enough titles by manga artist Inio Asano, from Goodnight Punpun to A Girl on the Shore, his slice-of-life narratives have an air of depression, centring around youngsters who don't know what to do in life, whilst not understanding what it means to be an adult, considering that many of the adults in his works are just as messed up. Upon reading Solanin, it almost feels like the precursor to what Asano would be known for.
The story centres on the young couple Meiko and Taneda who have graduated from university two years ago, and are now living in Tokyo with no real goals or direction. She is working as an office lady in a job she hates, whilst Taruo is permanently crashing at her apartment because his job as a freelance illustrator doesn't pay enough for rent. With the feeling that she's just not cut out to be a part of the real world, Meiko decides to quit her job, which initiates the both of them on hopefully a new stage in their life.
No doubt this story will speak to people who went through that point of their life during their twenties where you are bridged between getting an education and not pursuing your dreams or aspirations, at least not yet. You see this, not only through Meiko and Taneda, but also their friends, who have whole chapters to explore their perspective as a twenty-something.
In the first half of the manga, Asano isn't breaking new ground when it comes to the slice-of-life genre, as there is a cosiness in just hanging out with these characters. The closest to dramatic tension is since Meiko is pushing Taneda's hobby of playing in a band into an actual career, just as an excuse for her to do something in her directionless life, something that Taneda realises. There is still love between them, and that's what drives them to embrace their unpredictable future together... only an unexpected tragedy occurs.
Without going into spoilers, the second half of the manga takes a darker turn when characters are experiencing grief. Considering the bubbly nature you got from Asano's illustrations of the youthful cast from that initial half, you can sense that change of atmosphere through the book, with panels showcasing the isolation of one character within the highly-detailed background. However, considering that Asano's later work throws his cast into depressing territory, Solanin has a slightly more upbeat climax as the cast learn to move from their grief as the later chapters are about getting the band back together and the resolution is truly triumphant.
It should be noted that this edition covers the run that Asano did from 2005 to 2006, and thus it does not include the epilogue chapter that was published by Shogakukan as part of a new Japanese edition in 2017. It is worth checking out as not only do you see the massive improvement when it comes to Asano's art, but also it serves as a nice coda where these characters have moved on in some ways, while other things stay the same. As for that initial run of Solanin, it may not be saying anything new, but its message is touching and relatable, painting an honest depiction of where you were during your twenties....more
As much as I love the comics medium, the comics industry has always had a complicated history. Whether it is the recurring trouble of creators gettingAs much as I love the comics medium, the comics industry has always had a complicated history. Whether it is the recurring trouble of creators getting screwed over, or the industry being attacked by the likes of Dr. Fredric Wertham – whose book Seduction of the Innocent asserted that comic books caused the youth to become delinquents – the history of this industry has been well-documented through books, articles, etc. However, if you want a great summary of the Golden Age of Comic Books, as well as being a dramatically compelling story, go read The Amazing Adventures of Kavalier & Clay by Michael Chabon.
Beginning in 1939, 19-year-old Josef "Joe" Kavalier arrives as a refugee in New York City, where he comes to live with his 17-year-old cousin, Sammy Klayman, in Brooklyn. Following the recent cultural and financial success of Jerry Siegel and Joe Shuster's Superman, Joe and Sammy attempt to break into the comic-book business and drawing on their own fears and dreams, their own comic book creations like the Escapist lead them to become major figures in the industry.
Having already been a successful author by 2000 with The Mysteries of Pittsburgh and Wonder Boys, Michael Chabon has had an interest in genre fiction, even going as far as co-writing the 2012 film adaptation of John Carter and was a co-creator on Star Trek: Picard. Although Chabon's later books like The Yiddish Policemen's Union lean into science-fiction, Kavalier & Clay feels like a bridge in-between the two eras of his bibliography and despite being historical fiction that touches upon American history and the Second World War, it is also about superheroes, a phenomenon that is going strong today.
Chabon has done his research in showcasing what the comics industry was going through during that period, which serves as a gateway for anyone wanting to know about the history of comics. Real-life subjects pop up, such as in light of Superman's success, many publishers wanted to have their own Man of Steel, but worry that they could get sued over copyright infringement over whether they ripped off Superman, which is what happened with Fawcett Comics and their creation Captain Marvel. Certainly, in the later chapters where the aforementioned Fredric Wertham becomes more of a public figure, leading to the 1954 comic book hearings of the U.S. Senate Subcommittee on Juvenile Delinquency, becoming a personal confrontation for one of the main characters.
Given the historical context of the setting, it is all in the service of this fictional narrative about the two title characters. During the initial chapters, you get the sense that Joe Kavalier is going to be the main protagonist as he studied magic and escapology during his upbringing in Prague, which aided him in his departure from Europe. When Joe and Sammy created the anti-fascist superhero, the Escapist, it was a way for Joe to express his retaliation towards Adolf Hitler, even going as far as him doing a cover of The Escapist punching Hitler in the jaw, much to the worry of their publisher.
However, Clay is just as compelling, serving more as the entrepreneur of the duo as whilst they are being exploited due to them getting a minimal share of their publisher's revenue over their comic book, personal issues occur. One of the most touching notes in the narrative is Sammy working to find his sexual identity, developing a romantic relationship with the radio voice of The Escapist, Tracy Bacon, but leads to an awful confrontation with the authorities.
With the Second World War functioning as the backdrop, though it does become a major setting in a section of the book where Joe enlists in the Navy, hoping to fight the Germans, the book is about family and what that means for both Kavalier and Clay, as well as the pleasant third wheel that is Rosa Saks. As well as having her own artistic aspirations, Rosa has a somewhat complicated relationship with the central duo, but helps ground them when they are tortured by their personal issues.
No doubt The Amazing Adventures of Kavalier & Clay is quite the dense read, partly due to Chabon's complex use of language, but it is a literary masterpiece that touches upon comics history, American politics and World War II, all of which serves as a wonderful story of being creative and finding that sense of family....more
Having written the solo adventures of Batman and Superman, it was only a matter of time till Tom King gets to write Wonder Woman, and thus King has taHaving written the solo adventures of Batman and Superman, it was only a matter of time till Tom King gets to write Wonder Woman, and thus King has tackled DC's holy trinity. Beginning with the 800th issue of DC's flagship Wonder Woman title, which celebrated the character and her legacy with various creators telling their own vignettes, including King and artist Daniel Sampere who introduce Trinity, the daughter of Wonder Woman.
Opening the first volume of King and Sampere's Wonder Woman with their backup from #800 was the right call, as not only the backup itself is a fun piece of character dynamics, seeing how she interacts with Jon Kent/Superman and Damian Wayne/Batman, but it gives context with the main narrative that the two creators are going to be telling. When an Amazon is accused of mass murder, the U.S. government moves to keep all Amazons out of the country, whilst Diana Prince must find her before an elite U.S. strike force does.
Not to get very political with this review, but from her inception, Wonder Woman has always been political as William Moulton Marston and H. G. Peter created her to be a positive role-model and a strong female character for girls and boys, no matter how many right-wing nutjobs would like to discredit her. Considering the real-life United Nations dropped the fictional superhero as an ambassador for empowering girls and women after a brief stint that drew widespread criticism, she has always stood for peace, justice and equality, which King absolutely embraces and it is those beliefs that make her an enemy of the United States.
The first issue sets up the political tone, in which U.S. arrests of Amazons and the intention of removing parents from children, whilst showing how far the media have tainted public minds through a father who may be okay with his daughter loving Wonder Woman, but he spits vitriol that basically speaks to a fear of women and toxic masculinity. This lean towards certain political issues will bother some, especially when it comes to gender relationships (which has been explored in comic book masterpieces like Y: The Last Man), but when Wonder Woman finally shows up, it is triumphant and you know who you are rooting for.
Although King is an Alan Moore fan as evident with works like Mister Miracle and The Vision, where he is all about dark deconstruction, some of his best writing when it is he is being sincere and optimistic towards superheroes, especially when it comes to Superman and Batman. King is arguably at his most sincere here as Diana is an absolute joy to read as she isn't being depicted as a headstrong warrior who lusts for battle, though she will stand her ground, even when an army of U.S. soldiers heads towards her. Issues #4 and #5 are the standouts in showing compassionate Diana is, whether it is taking a kid with cancer out on a special day, or her attempt to protect her “Wonder Girls” by defeating them in friendly contests.
While Daniel Sampere's incredibly detailed art delivers on the superhero spectacle with our hero swinging tanks around or facing off several members from her rogues gallery as seen in the final issue, King writes the series like a political thriller, whilst you have an ongoing narration from an unseen figure who tells Trinity his side of the story. Somewhat an off-kilter spin on the superhero action story, King and Sampere create well-crafted issues that are that built on a single set-piece, whether it is the contrast between Diana's current battle with the U.S. army and her gladiatorial fight with a fellow Amazon, or her infiltration within a skyscraper.
By the time this volume concludes, Tom King is still laying out plenty of mystery for Diana, whether it is the whereabouts of the accused Amazon Emelie, or the new villain known as the Sovereign who have been secretly manipulating the U.S. government. Who knows if King is playing the long game or not with this book, but whatever the outcome, and he and Daniel Sampere are doing some of their best work here, which personifies the best aspects of Wonder Woman....more
2009 saw the release of G.I. Joe: The Rise of Cobra, the first live-action film to be spun off from the Hasbro toy franchise. Although I have a weird 2009 saw the release of G.I. Joe: The Rise of Cobra, the first live-action film to be spun off from the Hasbro toy franchise. Although I have a weird soft spot for that movie, in which director Stephen Sommers treats the whole thing like one big cartoon, I'm sure it wasn't the G.I. Joe film that fans were hoping for. As much as that movie puts its own spin on the origin story of the terrorist organisation, as the subtitle suggests, Skybound is doing their own version of how Cobra came to be, and it's way more interesting.
As part of the Energon Universe, where we've had Daniel Warren Johnson's current Transformers series, having already written the miniseries Duke, which laid the foundations of the G.I. Joe Team, Joshua Williamson's next venture is to write the solo adventures of Cobra Commander. Born as an outsider who was brought into the ancient civilization of Cobra-La, the future Cobra Commander has plans to utilise the mysterious alien substance known as Energon that will send shockwaves across the globe.
Although there is still a mystery into where the titular lead actually comes from, but Williamson does a great job at establishing this character's sinister drive for science and success, even if it means a pile of corpses along the way. Williamson may be repeating a central theme from Duke, which is to showcase one character on a quest that makes him turn on the rest of the world, but Cobra Commander is a darker book, leaning towards horror and bloody violence, which is appropriate for the Darth Vader-like villain.
What has been fun reading these comics as part of the Energon Universe, is that how it combines the lore of both the Transformers and G.I. Joe properties to inform the world-building in this new shared universe, such as Cobra Commander has in his possession a supposedly dead Megatron, which is what sets up the search for Energon. Even outside of the Transformers, Cobra-La is its own world with its organic-based technology, ridding itself of the horrors of anything metallic. There is some frustration as the world-building leads to a number of cliffhangers that will most likely pay off in later storylines.
With a great deal of this book being Cobra Commander versus the Dreadnoks, opens the door for plenty of toy opportunities with not just like the likes of Cobra Commander who frequently changes his look, you also have characters like Buzzer and Ripper, who like to torture their victims with chainsaws and torches. Whilst his art isn't as polished as Tom Reilly's work on Duke, Andrea Milana revels in the bloody spectacle, as well as crafting great action sequences through loose line-work and dynamic panel layouts.
From its compelling villain to the multi-layered world-building, Cobra Commander does a great job of establishing the terrorist organisation Cobra, which no doubt we will see more of in the upcoming Destro miniseries....more
Originally published in two years, Canary is set in 1891, during the final days of the Gold Rush, where one mining company in Colorado pulled up radioOriginally published in two years, Canary is set in 1891, during the final days of the Gold Rush, where one mining company in Colorado pulled up radioactive uranium, causing the mine to collapse in on itself. When a famous federal marshal named Azrael William Holt is called in to investigate a series of random killings, he returns to the Canary mine, which is considered cursed by some of the townspeople.
Sorry, that person's shelf is private.
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