Some highlights from the recent stacks.
Review code format (ranked 1-5, blah to faboo): [writing / art / new reader? / non-comics reader?]
Astonishing X-Men #13 (Marvel) [4/5/1/2] w: Whedon; a: Cassaday
Pretty and fun as always, but this title seems so removed from continuity and a regular schedule, that it feels almost like a boutique comic, a not-quite-Ultimate X-Men. That said, the various machinations going on here — mostly dialog, and not a punch in the pages — are fun to watch, focusing on Emma Frost and how she’s (most likely) betraying the X-Men for her old (and new) cohorts in the Hellfire Club.
Which is kind of a shame, if it turns out to be that case. The whole “can she be a hero and still be herself” has been a nice plot twist for the past few years, and having it turn out to be a ruse just feels overdone. Even though I’m sure Whedon and Cassaday will make it worth our while to see.
Amazing Spider-Man #529 (Marvel) [4/3/3/2] w: Straczynski; a: Garney/Reinhold
A preliminary issue to the upcoming Civil War event, we learn more about Spidey’s new, um, totemic spider powers. And, of course, there’s the … uh … new costume.
Bleah.
Granted that the original is actually pretty ugly. And grant it does indeed look like a costume that Tony Stark would, in fact, bulid for Peter. And, indeed, the focus of the story is not the costume and powers, but some growing political things going on behind the scenes, as Stark begins to pull Peter into his … fold? Side? Faction? Ah, but faction of what?
Costume aside … good stuff.
Batman Annual #25 (DC) [5/4/3/1] w: Winick; a: Davis/Morales
Annuals are too often dribs and drabs, stories out of continuity that get padded out to larger size. Occasionally they rise above that, and this one is one of the best on record, basically explaining the mystery of the return of Jason Todd/the Red Mask. Winick doesn’t disappoint in the least — and manages to actually pull in some other things going on elsewhere in the DCU to actually, quite rationally, make it all work. Some folks will consider it a cheat; I think it’s excellent. One of the best expositional stories I’ve seen in a long time, and one of the best annuals ditto.
Thunderbolts #100 (Marvel) [3/3/1/1] w: Nicieza, a: Grummett/Erskine
This issue kinda wraps up a whole bunch of loose threads, but feels rushed. Nicieza is as rococo a writer as Chris Claremont, and this tale exemplifies it, with a cast of dozens and refernces to events and plots and schemes — perhaps not even yet fully revealed. A fun enough read, especially with the backup features (the original origin story of the Thunderbolts, plus an obscure story published in another title).
The Thunderbolts are, in some ways, a throwback to the 80s, reminiscent of the X-books of that era, for good and ill. It’s difficult to remember (though this volume points it out) that they were born in the aftermath of the Onslaught semi-debacle. I’m glad not every comic is like the T’bolts, but I’m glad this one is.
The Pulse #14 (Marvel) [4/3/1/3] w: Bendis; a: Gaydos
Series finale. Jessica ponders Luke’s unexpected wedding proposal by recalling their first meeting. Typical Bendis talking heads, feet of clay, and really engaging stuff.
Alas, Bendis is leaving the series, and the series is getting cancelled with it. Though the story premise (reports for a Daily Bugle super-hero supplement) never quite gelled, and though the story got yanked in various directions around Bendis’ “Secret Wars” series, it didn’t matter. What was essentially an extension of the Jessica Jones vehicle, Alias, was always entertaining, fully of great dialog and more personalization of individual heroes than in a decade of most series.
Sorry to see it go.
Down #4 (of 4) (Image) [4/3/1/3] w: Ellis; a: Hamner
This is the final issue of this Warren Ellis tale of a cop who goes so far undercover there seems no way to come back up again. Standard Ellis fare, not especially creative for him (which puts it a tick over most fare). Violent and disturbing, of course; that comes with the territory, but this effort feels a bit more sketchy than usual.
Ms. Marvel #1 (Marvel) [3/3/4/1] w: Reed; a: De La Torre/Palmiotti
Okay, I’ve been a fan of Ms. M since she wore the crazy Mar-Vell outfit and spouted feminist jargon that rang as goofy as the “hip” talk appearing elsewhere in the Marvel U. She’s been as much a victim at times as any other Marvel female — powers and memory stripped, subject to one of the odder pregnancies of all time, repowered in a different way, gone through a half-dozen different names, hit the bottle, hit the bottom … and now she’s back, trying to become an A-list hero.
She can do it, too, if she’s written well. Kick-ass strong female super-heroes can work. I just hope they don’t turn her into a victim. Again. This issue isn’t a bad start, as, trying to get her career back in gear (and explain why she didn’t take up an offer to rejoin the Avengers), and ending up facing some pretty nasty big guns. I look forward to more
Wonder Woman #226 (DC) [4/4/4/2] w: Rucka; a: Richards/Snyder
Winick wraps up all the changes that have gone on with WW in both her title and in the rest of the DCU, wrapping things up to the “1 Year Later” jump next issue. The plot device is looking at the Superman/Wonder Woman relationship (illustrated by the taboid “World’s Finest” magazine) over the years, since her first appearance, the Artemis years, Identity Crisis, the Superboy/Wonder Girl days, and the current Crisis. It all works nicely.
It’s the last issue of WW (a new #1 hits this summer — pity about losing the numbering again, and a pity that Rucka, who has managed to balance both myth and humanity in a uniquely interesting fashion — will be moving on to other things.
Fallen Angel #3 (IDW) [4/4/2/4] w: David; a: Woodward
Peter David’s Fallen Angel is back. The series remains dark and disturbing, the art gorgeous, the story …
Well, David’s taken the dangerous but inevitable step of telling us the mystery behind the Fallen Angel — who she is, where she’s from, and how literal her name is. It works, to some degree — what he tells us is dramatic and all that — but like all series built on a particular mystery or tension, it’s risky, and the risk doesn’t entirely pay off. Telling us the answer makes me feel less connected to Lee, in some ways, less interested in relating to her story than in seeing what sort of tragic train wreck will come next in the dark lives of the cast of Bete Noir.
Will that change? Time will tell. And, concerns aside, yeah, I’ll probably be there, still reading.