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Jun 192013
 

by Dylan Duarte, CMRO Contributing Writer

Guardians of the Galaxy

Issue #3

Written by Dan Abnett, Art by Paul Pelletier

Published: September 2013

The battle between father and son continues as the Guardians of the Galaxy are held as prisoners of war under the command of the King of Spartax. Tony Stark is in there too, a long way from home. The fact that Stark has been taken prisoner for doing nothing more than defending his home planet from aliens really shows the true colors of the King of Spartax, but if there’s anything we’ve learned in the first few issues of Guardians, the King of Spartax is kind of a jerk.

And yet he’s the best kind of jerk. Guardians of the Galaxy is a fun, lighthearted series and it’s the kind of series that needs a villain that’s fun to hate, and that’s exactly what the King of Spartax is. Although there are bigger elements at play, the King of Spartax is, at times, just an uptight dad and half the fun is watching his son rebel against him. Brian Michael Bendis has somehow found this hidden nook of fun that’s somewhere between a serious comic book and a funny Sunday morning comic strip. It’s when the two ideas combine that Guardians is the most enjoyable. In this issue, that moment came when Groot staged an exciting rescue of the team, destroying Spartax equipment and tossing guards about, all while yelling his own name.

With issue number 3, Bendis continues to solidify the book’s place as one of Marvel’s best new titles. The ongoing feud between Peter and his father, as well as the Guardians and the universe as a whole, is one of the most engaging stories in comics right now and it doesn’t seem to be slowing down at all, as issue 3 ends on a promise of more exciting action.

Jun 182013
 

by Etienne Paul, CMRO Contributing Writer

Uncanny X-Force

Issue #6

Written by Sam Humphries, Art by Adrian Alphona

Published: August 2013

Marvel is clearly running out of titles for its X-books because this is the second X-Force ongoing title currently in print. While I understand the links to X-Force in both books, it must be extremely confusing for casual readers because there is absolutely no links between the books. This is not a title for new readers, as the entire storyline revolves around understanding Betsy’s convoluted and contorted back-story. I have to hold my hands up and admit I was reaching for Google at some points because, despite reading a lot of X-stories in the last decade, clearly I haven’t read enough of them. Without going into the detail, because I simply don’t have a day, suffice to say that Psylocke and Spiral really don’t get along and she has interesting tastes in ex-boyfriends.

While I am on the subject of Betsy’s ex-partners, it cannot just be me, but does anyone else find the fact that a male and female clone of each other are that intimate with, for want of a better phrase, themself, just a tiny bit off putting? It has been bad enough in the past when there were some pretty ambiguous goings on between Magneto’s children, but this is downright creepy. For those that aren’t quite up to speed with 20+ X-Comics each month, I’m referring to Fantomex and Cluster, formally 2 of the three minds inside the original Fantomex, who decided that after you have been with Psylocke, the only way to top that, is with yourself.

This series has made the interesting choice of having two sets of artists and colourists for some issues and it’s left me feeling a bit like Fantomex, in two minds about it. It is really important for there to be a clear divide between the times in the real world, and the times Psylocke dives into other peoples’ minds. Seeing as the last two comics have been split in half in this respect, it makes sense for a separate art team to handle the psychic scenes so you know what’s real and what’s not. The problem is, I really don’t like the art of the dream sequences; it is not badly drawn, it’s just inconsistent from panel to panel, and the colouring is washed out. This is most likely entirely intentional to differentiate the two sequences, but it feels unnecessary. You could have kept the same artist, but changed the colour palette, or vice versa, but having both makes it feel like you are reading two comics that happened to get bound together accidentally.

This story cuts between Psylocke’s psychic communication with Logan and the retelling of what happened between Psylocke and Spiral, so it isn’t quite a continuation from the ending of issue five, it’s more of a filler issue. To be honest the entire series so far seems to be filler. Ignoring the convoluted history, the current story is extremely simple. Psylocke annoys Headmaster Logan; gets sent off to pick up Spiral who has been drugging people; picks up Puck and Storm along the way; beats up on Spiral; rescues young mutant, Ginny; get beaten up by twisted Bishop; Ginny disappears; and a side story of Fantomex on Fantomex love. If this was a 60’s comic all of this would have happened in the first ten pages of a single issue. While I appreciate the modern comic style of showing you the story, rather than explaining it with text boxes, this series is starting to make the first arc of ultimate Spider-man look rushed. With the amount of build up they are showing in these issues, I really hope that the following six issues do the climax justice.

This comic has a few oddities; EG – Logan repeatedly going on about how he’s only a headmaster and not into the slicin’ anymore, but he’s also in his own title named ‘Savage Wolverine’; it really leaves a big disconnect, even if it turns out the other title is a flashback. However, the art in the main story is extremely good; the interplay between the members of X-Force is great and Puck is about as entertaining as a comic relief character can be without being full on parody. This issue is not the best in the series so far, but it is at least half not filler and the storyline is definitely interesting enough to keep this on my reading list till the end of this arc.

Jun 182013
 

by Dylan Duarte, CMRO Contributing Writer

Age of Ultron

Issue #9

Written by Brian Michael Bendis, Art by Bryan Peterson

Published: August 2013

And to think, I actually thought things were going a bit crazy before.

Age of Ultron 9 takes a big, complex leap. The details are confusing, there’s no way around that, but in Bendis’s defense, when is time travel not confusing? With the help of the alternate future’s Tony Stark, Wolverine discovers a solution to their problems. The concept is easy enough to wrap your head around – alter the past as little as possible – but the details of how it will all work is a mystery even to the characters. We simply have to have faith that Henry Pym can figure it out, which isn’t a lot to ask, because he is Henry Pym, after all.

I was hoping that we’d get some resolution to the battle between the Defenders and Morgana Le Fey, but with the Ultron problem supposedly solved and only one issue of Age of Ultron left, it’s obvious we’re not going back to the world. Thinking about it more, though, I realized that we did get a resolution, just a very bleak one. The first few pages of this issue show a future where New York is completely destroyed, with Le Fey’s armies patrolling the skies and several Defenders lying dead in the rubble. That is the resolution. Le Fey wins and the Defenders lose. Much like the normal present, where Ultron has obliterated most of the world’s heroes. Maybe I’m just dense (which is entirely possible), but it wasn’t until this issue that I got it through my thick skull that there’s no coming back from what’s happened, which is why our heroes had to plunge into the time stream and hope for the best.

I can’t wait to see what the present holds for us in the conclusion to Age of Ultron.

Jun 182013
 

by Dylan Duarte, CMRO Contributing Writer

Wolverine and the X-Men

Issue #29

Written by Jason Aaron, Art by Ramon Perez

Published: July 2013

Eye-boy is and will always be disgusting to look out. Eye-man is not much of an improvement.

I feel like Wolverine and the X-Men 29 is a test from Jason Aaron. He wants to see if his readers will enjoy an issue without one, single exciting moment. He’ll take Wolverine, a character famous for his temper and his razor sharp adamantium claws and have him give a big speech. Then he’ll bury a time capsule. Then we’ll fast-forward twenty-five years to old man Wolverine, who will dig up that time capsule and then he’ll talk some more. Doesn’t this all sound very compelling?

The crazy thing is Aaron’s experiment is more or less a success. He’s a very capable writer and he’s nailed Wolverine’s voice so perfectly, that it actually is fairly compelling watching him spill his guts about what Charles Xavier and the school meant to him. It’s a much more vulnerable Wolverine than we’re used to seeing.

While he’s doing all of this, he’s planting a lot of seeds that are expanding his little universe in a myriad of ways. More and more mutants are joining the Hellfire Club. Last issue saw the defection of Glob, though I don’t think he’s much of a catch. At the end of this issue we see Idie say goodbye to Broo and switch sides, which was a little heartbreaking.

Then there’s Dog, Wolverine’s half-brother, who seems to be a mixed bag. He seems to be pretty ruthless, but what Wolverine finds after opening that box suggests that Dog is like his half-brother: a thick, tough exterior wrapped around a pretty big heart. Then there’s the prospect of Dog joining the Hellfire Club, which he’s clearly not too keen on, but I don’t see Kade Kilgore giving up any time soon.

Jun 172013
 

by Dylan Duarte, CMRO Contributing Writer

Fantastic Four

Issue #8

Written by Matt Fraction, Art by Mark Bagley

Published: July 2013

In issue 8 of Mark Bagley and Matt Fraction’s Fantastic Four, Ben Grimm travels back in time to a pivotal moment in Yancy Street history, when a then-young Yancy Street Gang is trying to strong arm a store owner into paying protection money. This is the one week of the year when Ben Grimm is in human form, and he uses it to blend into a pre-Fantastic Four world and fight against the gang that’s tormented him for his entire life.

This is definitely a one-off issue, unless the Thing’s emergence at the end leads to some butterfly effect-esque time line manipulation. It’s a total character story and Fraction proves his worth as a writer but further fleshing out a character that’s been around for half of a century. It’s painfully melodramatic to point out that the superhero without the hardest exterior also has the softest heart, but it’s true. The Thing’s “thing” has always been to stick up for the little guy and that’s displayed beautifully in this issue. There’s nothing flashy; nothing remotely cosmic about a human Ben Grimm engaging in fisticuffs with some mobsters. It’s a human story with a human cast.

The ending speaks volumes about Grimm’s character as well, when he disobeys Reed’s orders and stays out past the time his transformation and ends up introducing the world to the Thing a bit earlier than usual. Ben Grimm aims to do good, even if that involves a little bit of rule breaking.

Of course Fraction plants seeds for something ongoing in the form of Franklin and Val’s strange dreams involving Ben. That’s something that will no doubt be addressed soon. Issue 8, however, is a nice little Fantastic Four story with a lot less fantastic and only one of the four.
Yancy Street don’t bend.

Jun 172013
 

by Dylan Duarte, CMRO Contributing Writer

X-Men

Issue #1

Written by Brian Wood, Art by Olivier Coipel

Published: July 2013

The newest X-Men book, simply titled X-Men, doesn’t prominently feature any men at all. I’ve heard reports of certain fans having a problem with this. Whether the problem is with semantics or deeper-rooted sexist issues, it’s a silly problem and it’s unfair to saddle such a quality title with such a petty criticism. Over the years, the X-Men have gained a respectful and powerful female roster and this new title puts them all to great use. The rebuilt Xavier School for the Gifted has even taken on Jean Grey’s namesake, which alone makes the feminine side of the X-mythos that much more prominent.

The key players of this new book, judging by its cover (which I’m told we’re not supposed to do), are Storm, Kitty Pryde, Jubilee, Rogue, Psylocke, and Rachel Summers. There are of course other characters rounding out its cast. The title takes place at the Jean Grey School for Higher Learning, so regulars will pop up. Wolverine is mentioned and Beast is featured, as are a handful of student characters. Despite the female cast, this is just an X-Men comic, featuring the same great action and character dynamics.

Write Brian Wood starts if off on a suspenseful high note, which Jubilee trying to shake a mystery tail while taking care of a mystery baby. The question of whether or not they’re connected immediately comes to mind. There’s a fantastic scene on a train that features a clever use of Kitty Pryde’s powers. There’s a tense moment when John Sublime shows up at the school and immediately surrenders, prompting suspicion. And then there’s one hell of an ending, which not only contains a nice little twist of sorts, but also kicks off what should be a pretty exciting story arc.

X-Men is off and running and anyone childish enough to avoid the comic over a lack of male characters is missing out on a fine title.

Jun 172013
 

by Lindsay Young, CMRO Contributing Writer

Amazing Spider-Man

Issue #682

Written by Dan Slott, Art by Stefano Caselli

Published: May 2012

At this point in the Amazing Spider-man timeline, Peter Parker is working for Horizon Labs, and as a result his crimefighting techniques seem to have gotten a budget upgrade. This Spider-man isn’t exactly what I’m used to—he has gadgets upon gadgets, including a flying spider-shaped disc that he zoom around on. It’s interesting to see Spidey trying out some new moves, though I do miss the traditional webslinging and flipping about. Still, I like the gadget-y Spider-man, because even though he’s upped his game, a whole new host of problems swarms in to keep him just as beleaguered and troubled as ever.

It’s a lot of fun to be able to see Peter as an actual working scientist—in this issue, he gets to see many of his inventions and gadgets being put to practical use in the outside world. In many ways, his inventions seem to be doing even more good than his Spider-man gig, albeit on a smaller and less dramatic scale. When Mayor Jonah Jameson threatens to close down the lab—just as Doc Ock and his gaggle of supervillain partners—unveils a truly sinister plot to threaten half the planet. This, coupled with cameos from the avengers and a pretty cool new redesigned suit (even if I’m sure—and I hope—it’s only temporary) make this one a really great issue over.

It doesn’t hurt that the art is fantastic—great musculature and convincing, dynamic poses that never feel overdramatized. Character designs are detailed, but not busy—an important distinction, I think. Overall, Amazing Spider-man #682 is pretty much everything I could ever want out a Spider-man story.

Jun 172013
 

by Lindsay Young, CMRO Contributing Writer

Ultimate Spider-Man Infinite

Issue #1

Written by Yves Bigerel, Art by Ramon Bachs

Published: October 2012

A giant alien monolith touches down in New York while Spidey is running late one morning, and before he can do anything about it, he suddenly finds himself zapped inside! What’s inside the monolith, and what is it doing in New York in the first place? Read on to find out!

This is an issue full of hits or misses. The humour occasionally lags, but there are enough good visual gags and moments of awkward Peter Parker charm that make up for the few that do fall flat. The backgrounds look great before Spidey enters the monolith, after which the panels become gray and empty (perhaps purposefully). The art is very clean with strong poses, but occasionally it adopts a chibiesque style, usually during moments of humour, that feel a bit off at times. On the other hand, the chibijokes are usually funny, so this point may fall under the ‘your mileage may vary’ umbrella.

The story itself is intriguing, but not especially thrilling, and it lacks a truly satisfying payoff. The content of the monolith—namely, various empty components of several Spiderman villains—is pretty cool, and it feels a bit like a level from a videogame. There are so many elements running rampant that the issue moves like a shot, and to that effect the pacing is good. However, while I found the villain cameos a bit too short to be satisfying, the mystery of what lies at the top of the monolith did keep me reading on. The ending is cute, but in the end I felt this one had some neat ideas that could have been spread out and developed a bit more.

Overall, it’s a fun issue that didn’t totally grab me, but was still pretty enjoyable.

Jun 162013
 

by John Moorehouse, CMRO Contributing Writer

Winter Soldier

Issue #19

Written by Jason LaTour, Art by Nic Klein

Published: August 2013

It never fails. Whenever there’s a comic-book movie coming out, the interest in the main characters in said movie increases, both among mainstream people who are new to comics and collectors.

Take Bane, for example. Last year at Comic-Con, every significant issue involving Gotham’s favorite roided-up villain was going for top-dollar prices.

The same is sure to happen for anything Extremis after Iron Man 3, and, to some degree, for Winter Soldier-related content with the Captain America sequel on the way next year.

I don’t think it’s a spoiler at this point to discuss who the Winter Soldier is, right? We don’t have to pretend, do we? Suffice to say, little Bucky Barnes has come a long way. In the comics, he’s killed trying to wrangle control of an out-of-control plane. In the movies, he plummets to his apparent demise.

You say potato, I say potahto. The point is… we know what’s coming.

What’s surprising, given all the hubbub that’s surrounding this character and will surround him, is that the book where he’s the title character has come to a close. Winter Soldier #19 signaled the conclusion of the run for the creative team of Latour and Klein. There’s a lot going on in this issue, and, as someone who hadn’t read any other installment in the series, I was mighty confused for the majority of it. Not because the storytelling or the art was unclear, but because I didn’t have the context necesssry to grasp what was happening. Both the writing and the art, for what it’s worth, were solid. Some of Klein’s panels (he was the artist and the colorist) are very impressive. There’s also a definite element of closure to this issue, and I came away intrigued to what happens next… whatever that may be.

I just don’t get why Marvel cancelled what would have been a real cash cow for the company as the buzz for the new movie increases.

Jun 162013
 

by Charlie Brooks, CMRO Contributing Writer

Skaar: King of the Savage Land

Issue #2

Written by Rob Williams, Art by Brian Ching

Published: June 2011

Even when he’s trying to be heroic, Skaar has a habit of breaking things pretty badly. That’s the case in Skaar: King of the Savage Land #2, where his curiosity has unleashed some strange entity known of the Designer, which has possessed Shanna and, in the space of a single issue, manages to conquer the Savage Land.

The title character so far hadn’t really had much of a chance to do anything in this story. So far, he’s just fought with a robot that was supposed to guard the Designer, resulting in the possible doom of the Savage Land. It’s Ka-Zar who gets most of the page time here, as he tries to figure out what’s going on with his suddenly murderous wife. (Honestly, I don’t know why people in the Marvel Universe don’t clue in when somebody gets mind-controlled – it’s very common.)

By the end of this issue, Skaar has some new allies, including Devil Dinosaur, Moonboy, and Ka-Zar’s own son. It should be interesting to see how Skaar and his new friends interact, but it’s also odd that, with the Savage Land in danger, the Warbound aren’t getting involved here.

On Ka-Zar’s end, my only major criticism is how little the jungle lord does. Obviously he’s not the star of this miniseries, but it seems odd to have him just standing about in a suit while things go down the tubes in his homeland. Hopefully he, Skaar, and the rest will get things rolling in the next issue.

Ultimately, it’s hard to rank this issue as much more than a filler. I get the feeling that readers could skip straight to issue #3 without losing too much here. On the bright side, both the writing and the art is solid if not always spectacular. All told, Skaar: King of the Savage Land #2 is a nice revisit to some obscure Savage Land characters, but I’m not sure it’s going to appeal to those who are reading this book for the son of the Hulk instead.

Jun 152013
 

by Etienne Paul, CMRO Contributing Writer

Thor: God of Thunder

Issue #9

Written by Jason Aaron, Art by Esad Ribic

Published: August 2013

How many times do you pick up a comic because the cover looks fantastic and flick through the book disappointed because the internal art doesn’t even come close? (Try picking up a copy of Dynamite’s Dejah Thoris for one of the worst offenders, but only if you are over 18!). Well, this is the opposite; I don’t care for the cover art at all, but the art inside the comic is simply beautiful. This comic blurs the line between traditional ‘comic art’ with hard dark lines and cell shading, towards a much more ‘fine art’ style with blended colours and softer lines. It took some getting used to in the first issue, but I’m struggling to look at other comics without comparing them to this style now.

The comic centres around the ongoing struggle between the Butcher God, Gorr, and Thor, and Thor, and Thor (from now on referred to as Viking Thor, Avengers Thor and King Thor). Avengers Thor remembers fighting Gorr in the past, but neither he nor King Thor remember fighting Gorr in the future, which is the present for this comic, which they would do if they were actually later incarnations of the Viking Thor and they would know if they won or not, which they would have to have done because otherwise, they wouldn’t exist. Anyone else confused yet? Clearly these three Thors from different time periods are not remotely bothered about time paradoxes. It’s little wonder I hate time travel stories because I spend more time tying myself into hypothetical knots than enjoying the plot.

So, having forcefully removed the time travel element from my reading of the story (for my own sanity), and treating each of the three Thors as their own character, it becomes much more enjoyable; all the more so because the ‘God Butcher’ is actually becoming an identifiable character. In the first few issues he is just a rampaging sick monster, more akin to Hannibal Lecter than a living creature. He seemed to suffer from the same failings that created the ‘Evil Brotherhood of Mutants’; the fact that no one actually thinks of themselves as evil.

So, how do you make a creature that has spent millennia killing and dissecting gods even remotely understandable? Starting in issue 6, and continuing in this issue, we get the back story of Gorr, with the death(?) of his god worshiping wife, his child starving to death(?) and his being cast out by his tribe for besmirching the gods. Most people would simply lay down and die, but most don’t gain possession of a god killing weapon of pure darkness. I admit, it’s a stretch to empathise with the character, but giving the villain this much back story and thought gives the comic so much more depth than simply watching three hammer toting Norsemen beating up on a Twi’lek. And I’ve been thinking about that time paradox again, Gorr must win because if Gorr doesn’t win he can’t possibly have been there at the fall of Asgard in order to keep tormenting King Thor. But that only works if ‘Many Millennia’ is longer than ‘the Far Future’….. This is not a comic to pick up in the middle of the series!

Ignoring the time travel aspect which is a personal bugbear of mine, the comic does have a few flaws, but none of which detract from the fact that this is a fantastic series so far. Like with many ‘God’ characters there is a clear lack of continuity of abilities with all three Thors and Gorr displaying wildly varying quantities of power depending on what is required to progress the story. While the art is beautiful, I really wish that black meant black, especially in a comic where the bad guy is sheathed in shadow most of the time. I realise it’s a style choice, but against the crisply detailed figures the ‘scratchy’ effect looks like the colourist’s black pen was running out of ink.

Even if the rest of the comic wasn’t as good as it is, and the art wasn’t as beautiful as it is, and even with the temporal issues and the fact that no matter who wins, it can’t happen because of a time paradox, the last page would have me picking up this comic next month on its own.

Jun 152013
 

by Charlie Brooks, CMRO Contributing Writer

Skaar: King of the Savage Land

Issue #1

Written by Rob Williams, Art by Brian Ching

Published: June 2011

When we last left Skaar, son of Hulk, he was telling his father to go stuff it back in The Incredible Hulks. In Skaar: King of the Savage Land, he has apparently left the responsibilities he took on, because his extensive supporting cast, such as the Warbound, is nowhere to be found. Instead, we get Skaar interacting with Shanna the She-Devil and Ka-Zar addressing a Savage Lands riff of the United Nations.

Our situation is twofold. First, Ka-Zar wants to open the Savage Lands up to trade with the rest of the world. Second, Skaar is just sort of wandering around mucking things up. Shanna is keeping an eye on him, but this seems to put her in more danger as Skaar accidentally winds up awakening some ancient evil that possesses her. Meanwhile, Skaar has to fight a giant robot. The issue ends with Devil Dinosaur appearing. And if you know who Devil Dinosaur is, a gold star to you.

This issue is a moderately decent setup for a miniseries. At the very least, author Rob Williams knows his stuff and writes a Skaar who is both impulsive and savage. With this being Skaar’s first interaction with the larger Marvel Universe sans his father’s influence, it’s important to show off the kid’s character. Williams points out that Skaar is really only a couple of years old, and he’s prone to foolishness because of it.

Similarly, the art by Brian Ching and Rock Ketcham is impressive. It’s not blow you away kind of art, but it’s solid. The only drawback I can find about the art is that, because the script is a bit disjointed, we don’t really get as good a flow as we might otherwise be able to get. That’s not a fault of the artists, however, but rather of the story itself

The big problem with this story is how disconnected it is from the rest of the Marvel Universe. There’s a definite sense that there’s some backstory to this miniseries, particularly with Ka-Zar’s appeal to the Savage Land council, but unless you’ve been following the Savage Land throughout the years you won’t really know the details. The idea of trying to open up a secluded dinosaur-laden land to trade with the rest of the world is an interesting one, but because there isn’t much detail given to Ka-Zar or the Savage Land’s council, you’re out of luck if you want some sort of recap here.

Overall, Skaar: King of the Savage Land #1 is a decent introductory issue that has good characterization and art but a somewhat disjointed story. It wallows in the obscure end of the Marvel Universe while assuming that you know what’s going on, so it’s best avoided by newbies. Readers familiar with the more obscure bits of the Marvel Universe, such as Devil Dinosaur, might have quite the bit of enjoyment, though.

Jun 142013
 

by Lindsay Young, CMRO Contributing Writer

Captain America

Issue #7

Written by Rick Remender, Art by John Romita Jr.

Published: July 2013


I picked this one up one day when I was in a Captain America frame of mind, so I’m coming into this one pretty blind. I know Captain America and all, but this particular run I haven’t caught up on yet. Still, as a jumping-on point, I think it works pretty well. I certainly seemed to have jumped on board at an exciting chapter!

This issue, Captain America rushes home with his adopted son, Ian, as an alien virus threatens to take over his mind. What follows is a rapid-paced chase to safety, with panels choked with rain and mud and alien monsters dying for a chance it get at Cap’s throat. The art is distinguished by tough, thick lines and muted tones that produce a cold, rainy atmosphere warmed just a touch by the mud-like colours. It gives the issue a really cool look, even if the human characters look a little off at times.

Still, the body language and action in this one is a ton of fun, and it makes the fight scenes feel difficult and weighty. When someone throws a punch, it looks like it hits, and hits hard. It actually feels like it hurts. That it manages to make me wince without resorting to excessive blood and gore is, I think, testament to the issue’s artistic talents.

There are some elements of goofiness, but overall I like this one. It looks unique, moves quick, and I can engage with Cap’s relationship to Ian even without having read the previous issues. I might just have to go back and siphon up what I’ve missed thus far.

Jun 142013
 

by Charlie Brooks, CMRO Contributing Writer

Incredible Hulks

Issue #629

Written by Greg Pak, Art by Tom Grummett

Published: July 2011

For a story arc that began as something fun and frivolous, the conclusion of The Spy Who Smashed Me in The Incredible Hulks #629 is surprisingly poignant. It reaffirms a lot of the things that form the core of both the Hulk and other Marvel superheroes: the price of heroism, the strain it puts on the hero’s relationships, and the fact that those with power need to be responsible, no matter the source of that power.

Empowered by the magic stolen from the Knights of Rome, Tyrannus swats the Hulk away from him. Betty heads out after the Hulk, and this leads to a reunion between Betty in her human form and Bruce Banner. Just as the Hulk and red She-Hulk reunited in the last issue, this time it’s Bruce and Betty getting their moment together. We also learn why Betty has become increasingly reliant on her red She-Hulk form: it’s a defense mechanism. She can only take Bruce running off and risking his life so often. Indeed, over the history of the character, she’s had multiple nervous breakdowns because of this.

Despite Betty’s pleas to let the puny humans take care of themselves for a change, the Hulk takes on Tyrannus in a battle for the fate of Rome. At the climax of the issue, Tyrannus finally opens Pandora’s Box, releasing a being of pure hope that has been corrupted by years of imprisonment. Because that hope has now become rage, it’s speaking the Hulk’s language. The Hulk, in a move that nearly kills him, absorbs the entire being.

With Bruce badly injured, Betty rushes to his side calling his name. However, the Hulk quickly reminds her that he isn’t Bruce, which is all that Betty needs to go over the edge again and transform into the red She-Hulk, locking herself into that form. Ultimately, Betty leaves with the now-defeated Tyrannus, leaving the Hulk as the hero but without the girl.

It’s been no secret that I absolutely love The Spy Who Smashed Me, and this issue is a worthy conclusion to such an entertaining story arc. Once again, the characters are spot on, especially the interaction between Bruce and Betty. Pak is using decades of character development in a way that feels natural and organic while also keeping things easy to understand for newcomers.

The Incredible Hulks #629 wraps up a tale of adventure, intrigue, and the difficulties of true love. It’s a wonderful piece of art that should not be missed.

Jun 122013
 

by Etienne Paul, CMRO Contributing Writer

Daredevil: Dark Knights

Issue #1

Written by Lee Weeks, Art by Lee Weeks

Published: August 2013

I’ve read a fair amount of ‘classic’ Daredevil comics, and by ‘classic’ I don’t mean good; I mean the really early stuff. He always felt unimportant and weak when compared to other comic characters of the same time period and I’ve always wondered if written differently, could those stories have been great?

You’d have Ironman flying across the world to fight tyrants in Russia, Captain America breaking Red Skulls in Germany to win The War and the Fantastic Four battling to save the entire planet. Then you would have Daredevil fighting some two bit crooks who could be taken down by any decent SWAT team. The problem is, Stan dressed it up and presented it with as much drama as when the Silver Surfer fought Galactus and it just doesn’t work, it falls flat. This comic shows us how those smaller, less grand stories should have been told.

So, fifty years on, what’s changed? Why do I suddenly care what the blind lawyer from Hells Kitchen is doing this week? Did he suddenly develop extra powers; maybe his sonar sense has become a weapon or his sensitive fingers can suddenly climb walls like a spider? Is he now fighting those cosmic villains with the fate of the Earth in his hands? Well, actually no. In fact, he’s being mugged in the snow and for good measure, falling off the roof into more snow.

Not sounding like a good start for this book, but it’s one of the strongest stories I’ve read in a comic in a long time and it’s also one of the best looking. It snows a lot in this comic. In fact, fifty percent of the panels in this book are half hidden by snow. I’ve sat through films with multi-million dollar special effects and you don’t ‘feel’ the snow because every time there is an intimate moment, suddenly, here’s nothing front of the characters pristine face; here, they put in a bit more snow and just in case you missed it, they bury him in it a few times.

I mentioned classic Daredevil earlier for a reason; thought bubbles; well, in this case ‘thought-yellow-boxes.’ I haven’t read a modern comic with though bubbles for years, and a bit like the snow, they are everywhere. In fact, there are almost no speech bubbles at all, and when there are, its only incidental conversations. The entire story is provided through Matt Murdock thought bubbles, and it’s pleasantly refreshing.

I still haven’t explained why this seeming mess is actually worth reading. It’s not Spider-man, it doesn’t have any one-liners; it’s not Wolverine, no one gets diced; it’s certainly not Captain America because there’s absolutely no glory in it. It’s a story you can only tell with a character like Daredevil. He is fallible, he does screw up and he doesn’t even get to save himself, he gets saved by a homeless guy; but, that is the point. Other comic heroes start out fighting for a cause, but most of the time, they are simply fighting to save themselves. In this book, Daredevil doesn’t have to be involved, but he puts himself into that position of danger to save a little girl he’s never even met, at a time when his powers are weakest.

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