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Peter Parker: Spider-Man #44 Review

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Sep 162012

by Andrew Hurst, CMRO Contributing Writer

Peter Parker: Spider-Man

Issue #44

Written by Paul Jenkins, Art by Humberto Ramos

Published: July 2002

Spider-Man and Green Goblin are famously arch nemeses, but a list of their greatest feuds can pretty much be counted on one hand. And 2002′s “A Death in the Family” definitely earns a finger on that hand. It’s an examination of the relationship between not just Spider-Man and Green Goblin, but Peter Parker and Norman Osborn. Part one of this story focuses heavily on the family aspect as both Parker and Osborn turn to their closest loved ones for guidance during a troubling time. Aunt May is there for Peter for a shoulder during a rough patch between his marriage with Marry Jane, and Osborn turns to the headstone of his dead son, Harry, to finally workout his feelings toward Harry’s death.

The beautifully drawn lighting and rain tells of the oncoming storm, and in many ways, the final battle in the Parker/Spider-Man/Osborn/Goblin relationship. We get a closer look at how in many ways these two characters and their different personas are all family.

Paul Jenkins writes one of the most intense, dramatic and emotional scripts I’ve ever read in a Spider-Man comic book, and flawlessly fleshes out just a great dialogue between the rivals. It’s an incredibly dark issue which is amplified by 10 by the magnificent art.

Humberto Ramos’s style is very unique. It’s cartoonish, but in the most badass and impactful way. Right down to the inks and colors, every object and piece of clothing has its own texture, but it’s the rain that steals the show. All the raindrops, puddles, water dripping from characters, splashes are all stunning and interesting to look at. My only complaint with his art in this issue is how ridiculously large he drawn Aunt May’s eyes. The varying eye shapes and sizes are a great part of this style, but in some panels May looks like some creepy anime woodland creature.

Between the masterfully crafted dialogue and rich depth in the art, Peter Parker: Spider-Man #44 is an A-plus of an issue, and the begging of a great story arch…and then there’s a backup story where Spider-Man teams up with Jay Leno. That part of the issue you can skip.

Wolverine #311 Review

Posted by Andrew Hurst Issue Review, Marvel Reviews 2 Responses »

Sep 122012

by Andrew Hurst, CMRO Contributing Writer

Wolverine

Issue #311

Written by Jeph Loeb, Art by Simone Bianchi

Published: October 2012

Part two of Jeph Loeb and Simone Bianchi’s sequel to 2007′s Evolution opens with some classic Wolverine snikts, bubs, and blood, and never loses its exciting pace throughout the book; however, though action packed, this issue’s story has less meat on its bones than Logan after a nuclear explosion.

Superman/Batman is a great example of how well Loeb is at entering a character’s mind without it becoming the expositional crutch on which to tell the story, but, unfortunately, all good things eventually come to an end. This issue reads like the second act of a big budget action movie, without all the without any of that annoy story depth, and usually I can over look something like that from a Wolverine comic, but personally, I was expecting more from a writer the quality of Jeph Loeb. I’ll go as far as saying this is not only one of Loeb’s weakest plots so far, but it’s some of his stiffest writing.

This title is quite a page turner, actually, but not so much for its script. Bianchi’s pencils are always beautiful and impactful, though just like Loeb, not the best work we’ve seen from him. Some panels fluctuated from the amazing Bianchi Wolverine we fell in love with five years ago, and some seemed very awkward and uncharacteristic of his style even.

They say sequels are never as good as the original, and so far that remains true with this story. There’s nothing wrong with a good ole popcorn comic every now and then, but with superstar creators like Loeb and Bianchi, a book like this leaves a lot to be desired. The insanely sexy and overtly mysterious female coupled with the tough, wise cracking action hero set up is just a little to B movie for me. That’s not the Jeph Loeb quality of storytelling I fell in love with.

I can’t hate this issue, but I’m obviously underwhelmed by it. It’s a lot less Martin Scorsese, and a lot more Michael Bay than I usually care for, but, hell; nothing wrong with a little Michael Bay every now and then.

Daredevil vs. Punisher: Means and Ends #2 Review

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Aug 242012

by Andrew Hurst, CMRO Contributing Writer

Daredevil vs. Punisher: Means and Ends

Issue #2

Written by David Lapham, Art by David Lapham

Published: September 2005

The rivalry between Daredevil and Punisher finally begins to pick up some speed, but not much. Don’t let the title confuse you; so far this book isn’t the knock-down-drag-out main event fight you may be hoping for, but that doesn’t stop it from being a rather large, if not so interesting, narrative.

There are a lot of stories being covered in this issue, and it works against itself. We’re reading this story from the perspectives of many different characters which could actually be really great, only if the creators had more pages to work with. My biggest problem with this series so far is we don’t see enough of the headlining characters. Aside from Punisher, Daredevil, and the antagonist of this crime thriller, Hammer Head, is an inner city kid dealing with street violence and bullies. The writer is tackling an important issue, which is fine, it just seems out place for this particular series, furthermore, it’s just not that well written.

I really got nervous when I saw former Punisher partner/puppet master, the Jackal, was returning for this series. The last thing I want from such a street level story is exaggerated science fiction elements, but Jackal actually came off interesting and fairly creepy, minus the massive Santa Clause jacket he wears through the whole issue.

Frank Castle continues to be the most fun part of this series with a huge subway gun brawl and the war journal he’s keeping in his head, however, though he has more page time than he did in the first issue, Daredevil’s role still isn’t very large, and just as uninteresting.

Just like the writing, the art is not impressive. The style and colors still have a weak K-Mart quality to them. The background details in most of the panels have improved, but are still flat and dull.

The best part of this book was the closing three pages, which I don’t think are enough to trick me into reading more. It makes me sad and a little angry, because this title’s premise is awesome, but its execution, though not without spirit, falls drastically short.

Thor #3 Review

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Aug 212012

by Andrew Hurst, CMRO Contributing Writer

Thor

Issue #3

Written by J. Michael Straczynski, Art by Oliver Coipel

Published: November 2007

Thor versus Iron Man. Nuff Said, right? Theoretically, two superheroes clobbering the crap out of each other should be a horrifying thought; however, it’s usually awesome. Thor’s quest to rebuild Asguard and find his brothers takes him to Katrina-beaten New Orleans where Tony Stark takes the opportunity to update Thor on America’s superhero status quo since the Civil War that took place during his absence. And Thor is none too happy with Mr. Stark.

Straczynski does a great job creating huge tension between these two. Stark’s character is really riding that line of hubristic sheriff to the superheroes, and is just hateable enough for you to want Thor to put Mjolnir through Stark’s face, but not so much that it makes him look like a jerk just for the sake of being a jerk. Thor is eerily stoic for this conversation until he inevitably loses his Asguardian temper. Their battle lasts only 13 of the 22 story pages, but it’s told as cinematically as you could hope through Oliver Coipel’s beautiful art.

It’s really fun seeing Thor finally kick some ass in this series, but there is little left for us to chew on in the bigger picture of Straczynski’s opening story arch. The B plot of this issue is Thor’s meeting with a New Orleans local who’s become resentful of the politicians, celebrities and reports out to exploit the horrible condition these people’s lives have been left in. You’re given a lot to think about by the end of this issue; things like God’s place among man, man’s tested faith toward God, responsibility. A ton of interesting ideas and themes, but unfortunately, these ideas aren’t properly fleshed out in the 9 pages bookending the fight with Iron Man. And even the fight with Stark isn’t free of the power and God metaphors. It’s not a battle brought on because Stark pissed off Thor, it’s a look at the power struggle between two deities and their usage of that power. Who is more powerful, not only physically, but politically and influentially? And when do you use or choose not to use that power?

Thor #3 is a great issue that, on the surface level, offers an exciting no-holds-barred brawl between two of Marvel’s finest, but deeper, it’s a unique examination of a piece of America at the time, and the state of the Marvel Universe at the time. You’re not left with story reason to comeback for issue #4, but if you’re as impressed with this issue as I was, then you’ll definitely want to.

Daredevil vs. Punisher: Means and Ends #1 Review

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Jul 132012

by Andrew Hurst, CMRO Contributing Writer

Daredevil vs. Punisher: Means and Ends

Issue #1

Written by David Lapham, Art by David Lapham

Published: September 2005

Any comic with the word ‘versus’ in the title has promis to be very exciting, especially when it’s Marvel’s two most hardcore street vigilantees going one-on-one. Frank is back in Hell’s Kitchen with his sites set on the base of Hammerhead’s neck, when Daredevil interupts the Punisher’s brand of justice.

For a book that has two headlining names, this first issue spends a lot of tme with just the Punisher. Daredevil only appears breafly in a scuffle with Mr. Castle at the beginning of the story. The other 14 pages focus on a very familiar kind of Punisher outing filled with the hunt for Hammerhead, all the while breaking up a protection racket on a local family restaurant owner. The entire issues feels more like a Punisher comic with Daredevil making a cameo, and it really makes this title seem very mediocre. If this story were takng place in the pages of The Punisher, then it would be an interesting crossover, but as a special series, it leaves a lot to be desired.

The writing in the issue is very 1980′s, and for any Punisher purists, you know that’s not a bad thng. Frank Castle is a pretty dramatic guy who doesn’t speak much, but keeps a strong mental War Journal, and it’s always fun to listen to his point of view. There were a few emotional story tools used in this issue that were cliché even by this title’s publishing in 2005 that I wish had more finesse, but any first time Punisher readers will appreciate them.

I would say I wasn’t a fan of Lapham’s art, but much like the writing, it was so dated that it fit very well. It’s very generic, offering only slightly more detail than the art of a promotional comic you might find in a cereal box, but at no time did it bother me or pull me out of the story.

There isn’t too much about this issue that really makes me want to come back for #2 other than the possability of the eventual Punisher vs Daredevil throwdown, but I’m wondering if that’s really going to be enough. Issue #2 will really be the make or break of this series.

Thor #2 Review

Posted by Andrew Hurst Issue Review, Marvel Reviews 1 Response »

Jul 122012

by Andrew Hurst, CMRO Contributing Writer

Thor

Issue #2

Written by J. Michael Straczynski, Art by Oliver Coipel

Published: July 2007

Thor #2 is one of those comics where even if the plot is garbage, you have to have it if only for the amazing art work. Thankfully, J. Michael Straczynski is a great writer, and bringing him together with Oliver Coipel, you have a the total package for a great comic book. The disapointing part about this particular issue is as a stand alone story, it may not impress any new comic book fans.

The action you excpect from a Thor comic is pretty non-existant in this issue, but as a second chapter in the larger story, it offers quite a bit. We get to know the small Oklahoma town that Thor and Donald Blake have pillaged to, and we’re reintroduced to the home of the Gods, Asguard. The local public opinion on the arival of Thor and Asguard is the story of this issue, with a quick touch on the lonelyness of the God of Thunder. The story isn’t much, but with visuals as crisp and interesting as Coipel’s, it’s a sin well worth forgiving.

There’s a very exciting, action movie-like quality to Coipel’s panels, with tons of sharp and subtle details, while on a flip side, he continues to cariciturize the quiet mid-western town folk and it’s really a very nice compliment.

Even though the art is beautful, and the story shows it’s going somewhere (if slowly), I was annoyed at how quickly this issue went by. The most exciting part of Thor #2 was the tease of a Thor/Iron Man confrontation in the next issue, but regaurdless, the art alone still makes this issue worth the cover price.

Thor #1 Review

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Jun 142012

by Andrew Hurst, CMRO Contributing Writer

Thor

Issue #1

Written by J. Michael Straczynski, Art by Olivier Coipel

Published: September 2007

I had never been much of a Thor reader in the past, but in 2007, when Thor was to be relaunched with a shiny new first issue with superstar writer, J. Michael Straczynski at the helm, I knew now was the perfect time to dive right into what the God of Thunder was all about.

Apparently at some point in then recent Thor continuity, Thor had died. When we first meet the buff blonde from Asguard, he’s passing time in solitude in a void that’s not very Valhalla like. And disturbing his seemingly self-imposed exile is an old familiar face in the form of Donald Blake. The story is stacked head-to-toe with themes of rebirth and new beginnings, and there’s an interesting exploration of duality in Thor between the hammer swinging God and the vulnerable human being we see through Donald Blake. Blake really comes through as his own character as a metaphorical companion to Thor instead of just the hokey secret identity he was originally created to be.

What I was pleased with most about this issue is how well a first time Thor reader like me is able to understand Thor and his sensibilities in such a short about of pages of dialogue. Suddenly, this character that I’d only been acquainted with became as real and as meaningful to me as the comic book characters I grew up with. It’s a real credit to JMS’s talent in the medium.

One reason I may have never invested into Thor before this issue is because I thought the idea of him just wasn’t very “cool”, but JMS and artist, Oliver Coipel, did a phenomenal job of proving just how awesome Thor can be. What action this story has is somewhat brief, but very impactful. Not only was I excited when Thor’s fist cracks the jaw of an enemy to send him flying, but I was enthralled by how much sympathy I could feel for the big guy. And that all came from Coipel’s great story telling.

In addition to being some of the most crisp, clean and stylized pencil work that I can recall in comics over the last several years, Coipel has the ability to make simple characters come to life as caricatures with such charming qualities, but never being so silly to pull you out of the drama of the story. And bravo to Laura Martin and her wonderfully chosen color palates for each scene.

If you were like me and never really thought to give Thor too much attention, or if you simply missed out on this inaugural issue, you owe it to yourself to pick this one up. It’s a great start to a beautiful addiction.

Gravity #1 Review

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Jun 072012

by Andrew Hurst, CMRO Contributing Writer

Gravity

Issue #1

Written by Sean McKeever, Art by Mike Norton

Published: August 2005

Captain America, Hulk, Spider-Man, and the X-Men. All characters most of us grew up loving. But as we become more sophisticated comic book readers, it’s those new characters being created that I personally look forward to discovering, and I was joyed, and a little bit surprised, when one of those new characters came from Marvel in Gravity #1.

Greg Willis is fresh out of High School, and on his way to his dreams. Freedom from his parents, independence over his own life, and a career fighting supervillians in the superhero capital of the Marvel Universe, New York City. Greg is young, sometimes has very poor judgment, he’s confused, and most of all, he’s relatable. It’s that teenage fantasy of vulnerability meets super powers that the creators heavily play on. Young superhero, ready to take on the city and its crime, teaming up with the superhero A listers. It’s the dream. A dream that could have easily come off a maybe a little too tweeny, but the overall writing is genuinely good and easily enjoyable no matter your own age.

There’s a lot of humor in this issue. Like the writer is using the Marvel Universe as a playground that every comic book fan wants to play in. The characters that Greg finds himself surrounded by like obscure superheroes like Rage and his new dorm mate, Frog, are fun companions in Greg’s quest to discover where he and his new alter ego, Gravity, fit in the superhero social class.
Mike Norton’s pencils are often bland and lacking much personality, but it doesn’t do any harm to the story. It certainly doesn’t do much to help it though, either.

Gravity offers a great way to live out a different kind of superhero adventure vicariously through this new character. Other comic books like Invincible did much better what Gravity tries to accomplish, but Gravity stands on its own as a fun first issue.

Daredevil: Season One Review

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May 122012

by Andrew Hurst, CMRO Contributing Writer

Daredevil: Season One

Issue #1

Written by Antony Johnston, Art by Wellinton Alves

Published: April 2012

I tend to get really annoyed by continuity reboots and story reimaginings, especially when said reboots and reimaginings add nothing new to its franchise’s luster. That was my problem with Fantastic Four Season One, in addition to being just plain boring, and those issues are carried over to Daredevil Season One, again begging the question, why do these Season One series of graphic Novels exist?

Thankfully, Daredevil Season One doesn’t make the reader sit through another generic rendition of Daredevil’s tragic origins, though you will hear all about it over its 100 pages. Young Daredevil, yellow tights and all, is on his revenge quest to bring the man who put the hit out on his father to justice. As if set into unofficial acts, that storyline quickly boils down, and we follow the misadventures of the Man Without Fear as he battles some of his hokiest villains, all while searching for his place in Hell’s Kitchen and among the already established “heroes” such as Spider-Man and the Fantastic Four.

Matt Murdock, still early in his crime fighting career, comes off as very brash and a little immature, sometimes seeming more concerned about his social status with the press and the super social circle rather than focusing on his mission of defending the helpless and prowling the guilty. It’s not a character aspect that fits Murdock at all, and exactly the wrong kind of attitude being projected onto potential new Daredevil readers. Murdock has always been a bit of a whiner and weak willed when it comes to the females and that comes through heavy as his and Karen Page’s relationship grows and starts to roller-coaster, and it’s the most tolerable subplot in the story. What’s intolerable is the meaningless shock value that comes randomly, especially toward the beginning. Certain cameos are thrown in just in hopes that your jaw will drop a little, but end up have little to no impact on the story.

What began as a tale of redemption and justice eventually turns into a simple, mediocre superhero comic, and not even a very interesting one. Wellinton Alves’s art fluctuates from good to boring with each panel. Its definitely not the worst part of this title, but it certainly doesn’t save it.

Daredevil Season One, and the rest of the Season One line, is like the comics nobody asked for and nobody wanted. Not interesting enough for long time fans to care, not relevant enough to matter, and not good enough to be remembered. Daredevil Season One not worth the price tag, let alone your time; even for the hardcore Dardevil fans.

Daredevil: The Man Without Fear #1 Review

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May 052012

by Andrew Hurst, CMRO Contributing Writer

Daredevil: The Man Without Fear

Issue #1

Written by Frank Miller, Art by John Romita Jr.

Published: October 1993

Once upon a time, origin stories were some of the most interesting superhero comics you could read. I say “once upon a time” because the magic of the origin story has been dulled with an oversaturation of too many different origin interpretations of the same handful of characters, few of which adding any sort of interesting or memorable luster. In 2012, superhero origin comics are a dime a dozen. But in 1993, the secret origin of our favorite characters was still a spectacle. Such a spectacle that Marvel brought together two of the industry’s hottest creators to show the birth of one of their most mysterious characters in the five issue mini-series, Daredevil: The Man Without Fear.

Frank Miller was the obvious choice to tell this story for many reasons. Years prior, Miller penned the origin of the Batman in Batman: Year One (Batman #404-407), which saw huge success, but deeper than that was Miller’s run on Daredevil in the early 1980s which saw a much darker and more unique take on the traditional superhero comics. The grit covered film noir style is a Frank Miller signature, and in Man Without Fear’s first issue it’s easy to recognize Miller as the man behind this book. Man Without Fear #1 paints the underbelly of New York city that young Matt Murdock exists in. Usually I’m annoyed by too much omniscient narration in comics, but Miller’s words so expressively imagines the environments and emotions, at times the issue reads like an old crime novel. The story itself is as familiar a Daredevil origin as we’ve ever known, and even in a comic book with no superheroes and where the action is rather slow paced, it’s incredibly engaging.

I’ll be the first to admit that I am no fan of John Romita Jr. I’ve never cared for his style, and I’ve even dropped books from my pull list just because he was starting on a title. The recent Avengers vs. X-Men #1 is a great example of my frustrations and distaste for Romita’s sloppy work. His art in Man Without Fear, however, shows the absolute best Romita Jr. can produce, and it’s damn good. There’s an attention to detail in Daredevil that we rarely see in his work as of late. The visual story telling is rather simple, but, by 1993 standards, has a modernism to it. It’s a shame we can’t see more work from Romita like this in today’s comics.

Matt Murdock’s Shakespearian origin of revenge and redemption is a story that’s been told and retold many different ways by many different creators, but in the span of a single introductory issue, Frank Miller and John Romita Jr. project the definitive attitude and film-grain ambiance Daredevil’s character craves. Much like most of Miller’s work, Daredevil: Man Without Fear #1 is a must read, especially for readers new to Daredevil. And you’ll want a copy of issue #2 close by, because once you start this particular origin story, you won’t want to stop.

Fantastic Four: Season One

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May 012012

by Andrew Hurst, CMRO Contributing Writer

Fantastic Four: Season One

Issue #1

Written by Robert Aguirre-Sacasa, Art by David Marquez

Published: February 2012

What’s most striking about this graphic novel at first glance is the tag “Season One”, like its some sort of Fantastic Four television series DVD box set. The idea of pacing a graphic novel as if it were several episodes throughout a TV series is very intriguing, and that idea comes through in a somewhat episodic vibe throughout the entire book. However, I wish Marvel were willing to take more risks with this new – or should I say latest? – recreation of Marvel’s first family.

When I set this book down, I thought about why this title was published. What’s its purpose? Offering yet another outlet for new readers to experience classic characters? There are plenty of those. Some kind of continuity reboot? I hope not. Again, we’ve seen plenty of those. Marvel’s attempt to match DC’s Year One line of graphic novels? That seems like the most likely reasoning, but, unlike DC’s Year One line, Season One offers absolutely nothing new or fresh to the FF franchise. The story kicks off slowly, the day before the group’s venture into space together, and we get the rounds with Reed, Ben, Johnny and Sue as their personalities are introduced. This version of the group is as base and flat as we’ve ever seen them to the point to where each character seems like a generic dollar store version of the original heroes we know and love.

There’s nothing new offered to long time FF fans in this book. Like the characters, the story doesn’t come more basic and FF 101 as what you’ll find in Season One, right down to the misunderstood Mole Man and psychotic Namor who’s got the hots for Sue. But all the simplicity of the plastic FF model Season One gives us wasn’t even my biggest problem with this book. In writing they say, “show, don’t tell.” It astounds me how in such a visual medium like comics, so much is told to the reader in this book when it should be shown. Scattered through the story is an omniscient narrator who only appears every so often to basically tell us how a character is feeling or we should feel. Last time I checked, a comic book consisted of enough art space for the creators to convey those ideas and emotions through the artistry. It really shows the lack of storytelling talent from the creators.

The art by itself is, just like everything else, nothing to be bragged about. I wouldn’t say there’s anything wrong with it, nor would I say there’s anything particularly great about it. The visual story telling is sufficient at best, never provoking or inspired.

If you’re new to Fantastic Four, and are looking for a comic to introduce you to them, there are far better options than Season One. Mark Millar’s Ultimate Fantastic Four is a far more interesting and engaging FF origin reimagining, and even the original Stan Lee and Jack Kirby run on FF would be a much more interesting way to meet these classic characters. Fantastic Four Season One is easily one of the most forgettable comics I’ll read this year, and one that left me extremely underwhelmed with absolutely no reason to come back for Season Two.

Spider-Man: Blue Review

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Apr 102012

by Andrew Hurst, CMRO Contributing Writer

Spider-Man: Blue

Issue #1

Written by Jeph Loeb, Art by Tim Sale

Published: January 2004

In 2002, Jeph Loeb and Tim Sale reunited for the third installment of their Marvel “color” series, Spider-Man: Blue, following Daredevil: Yellow and Hulk: Grey, and proved once again why they’re one of comic book history’s greatest creative teams.

Loeb and Sale are without a doubt one of my personal favorite comic book duos, but I’ll admit that sometimes I absolutely hate them! Why? Because they make me feel emotions, particularly sad ones, resulting in me crying like a little girl and staining my comic with tear drops. Spider-Man: Blue is a perfect example of this. Peter Parker goes back to remember the life and, once more, mourn the death of his first love, Gwen Stacey. All the while Loeb and Sale go back to the 1970’s to channel one of Spider-Man’s most visually defining eras.

Tim Sale’s uniquely styled designs, sprinkled with a subtle grit, is always striking, but in Blue, Sale’s work has rarely been so outstanding. Combining his own vision with a palpable homage to Johm Ramita (legendary Spider-Man artist, and artist of the original ‘Death of Gwen Stacey’ story), it’s easy to get lost in that “simpler time” aura the book projects while still being stimulated by ever panel. Sale’s massive spread and splash pages are the treat of every chapter, always finding that perfect moment that captures the emotion of the scene.

There’s no denying that “The Death of Gwen Stacey” is among, if not THE, greatest Spider-Man story in the character’s history, and though San Lee and John Ramita’s original work will always be classic, Loeb respectfully and gracefully reimagines their tale through modern storytelling and never skimping on the action. Blue’s most grabbing aspect is the see-sawing love story between Gewn, Peter and Marry Jane. And adding to that is all the snarkyness and supervillian butt kicking you want out of your Spider-Man, with Web-Head taking on all the top names from his rogues gallery, between the lines of the growing tension between Peter, Harry Osborn and his father, Norman Osborn/Green Goblin.

I dare say Spider-Man: Blue is, in addition to being the saddest, the definitive Spider-Man comic book of the last 10 years, and represents every bit of why we fell in love with Spider-Man. Tugging at every emotion through mastery of the comic book medium, Blue is not only a must own for every Spider-Man collection, but it’s a must read for every comic book fan.

Wolverine / Gambit: Victims #1 Review

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Jan 282012

by Andrew Hurst, CMRO Contributing Writer

Wolverine / Gamgit: Victims

Issue #1

Written by Jeph Loeb, Art by Tim Sale

Published: September 1995

In the mid-1990s few comic book characters were more popular than Wolverine and Gambit and even fewer of the industries blossoming creators were as hot as Jeph Loeb and Tim Sale. Though, regardless of the decade, Loeb and Sale offer a timeless gem that has been shadowed by the now legendary duo’s resume.

Set in modern day London, a Jack the Ripper copycat is loose, reprising the ancient murderer’s original modus operandi. When Gambit discovers the latest victim to be an old friend, he wastes little time tracking down a suspect: Wolverine.

The classic murder mystery would go on to be Loeb and Sale’s bread and butter with Loeb’s cleverly crafted tales and Sale’s noir-like stylized art, but Victims isn’t exactly the “who done it” that you might expect after reading the duo’s Batman: The Long Halloween. These three issues are more like a fun action romp across London, complete with sarcastic quips and banter between the two main characters. I actually really appreciated how humorous the script was given the very dark tone over the three issues.

The Jake the Ripper theme kicks off right from the first page, but, thankfully, the story isn’t over saturated by a cheap 19th century metaphor. Loeb never attempts to make Holmes and Watson out of LeBeau and Logan, sticking closely to the great personalities that make these X-Men favorites. And the elevated amount of narration — which I’m personally not a fan of usually — adds a mystery novel taste that is very welcome.

Tim Sale shines as bright as ever with his adrenaline and attitude injected character designs and odd panel structures. The way he invokes a specific emotion with only a blank page and a single panel off in the corner has not gone unstudied by today’s generation of artists.

Though Wolverine & Gambit: Victims is not Loeb and Sale’s most brilliant mystery, it’s certainly a great three issues of X-Men. The book offers plenty of well-placed exposition for readers new to either of these characters, and is a great go-to comic for new or old fans. This is a comic that has a place for any reader’s collection.

Villains for Hire #2 Review

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Jan 242012

by Andrew Hurst, CMRO Contributing Writer

Villains for Hire

Issue #2

Written by Dan Abnett & Andy Lanning, Art by Renato Arlem

Published: February 2012

It’s a very familiar premise. An old villain is after the thrown of the city’s top crime lord, and hires some of the territory’s nastiest and most obscure Spidey and Daredevil jobbers to help him do it. Though it’s not the industry’s most unique set up, it’s still just as entertaining as any great anti-hero team up.

Though I wasn’t quite sold on the first issue, issue #2 was simply — if I may — a hoot. Villains for Hire isn’t exactly the rompous adventure of a crook collection of characters as, say, Oceans 11, but damn if it doesn’t try. The script is filled with attitude and action and exemplifies all the angles we love about a great “popcorn” comic. Dan Abnett and Andy Lanning’s dialogue is witty and saturated with humor without sacrificing the integrity the book allows itself.

The plot, however, didn’t grab me quite like an ideal second issue should, but it was not uninteresting. The villain vs. villain gang warfare is more unoriginal than the premise, but the writing and art still shine through. What I most appreciate about this series so far, and hope to appreciate as long as this title lasts, is how the creators aren’t trying too hard to make this book too ‘cool.’ Some B-level rivals still have their cheesy spandex costumes like Tiger Shark, and that’s a good thing. The dim witted money hungry muscle character that he is works better with a lame costume than in a suit and tie.

Renato Arlem finds the right balance of intensity and grit in his panels, and the bits of action are well choreographed.

I honestly went into this book expecting to not care for it, but it’s turned into an unexpected pleasure that I can see myself enjoying as long as it retains the adventurous, borderline B-movie tone it’s kicked off with. Villains for Hire is definitely worth the time of those with an open mind.

The Punisher #6 Review

Posted by Andrew Hurst Issue Review, Marvel Reviews No Responses »

Jan 012012

by Andrew Hurst, CMRO Contributing Writer

The Punisher

Issue #6

Written by Greg Rucka, Art by Mathew Southworth & Mathew Clark

Published: December 2011

Greg Rucka continues to prove that a great Punisher story doesn’t always require too many words. With Frank Castle what you see is what you get, and what we get is a lot of blood and broken bodies. The action is smart and inspired as Frank clears through hired henchmen in a heavy blizzard. Frank doesn’t carry a single line of dialogue throughout all 22 pages, and entire moves with brilliantly crafted panels pushing the narrative forward, and those panels express a deeper emotion than any language could attempted.

Issue #6 is another great chapter in Rucka and Southworth and Clark’s run, but new readers will likely be completely lost on the greater scope of what’s taking place. Even as a reader of this series from the very beginning, while I can follow what’s happening and why, I’m finding myself starting to grow impatient for answers and resolution. The last few issues have flown by, and have been entertaining, but I’m itching for more plot development.

But the action alone is enough to still make this issue an enjoyable read. Southworth and Clark show Frank hunting his prey in a tundra setting through a wall of storming snow with frank appearing like the killer in a horror movie, and it’s easy to feel the stress of the oncoming slaughter.

Though moving at a snail’s pace, Punisher is proving to be one of Marvel’s consistent top reads each month. I dare say this is the best Punisher we’ve ever seen.

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