I recently reviewed Punisher MAX vol. 5 and, in the process, wrote the following sentences: "The fifth oversized hardcover volume of Punisher MAX collects 'Long Cold Dark' and 'Valley Forge, Valley Forge,' concluding Garth Ennis’ phenomenal five-year run on the book that has defined the character of Frank Castle unlike any other writer’s work on the character. By the final page of this volume, it’s easy to see why some say they have no need for further Punisher stories, that everything to say and do with the character has been said and done, that Garth Ennis has, by taking the character to new heights of quality, ruined the character forever. It’s that damn good."
[A special holiday edition of the Splash Page that has nothing to do with the holidays. Read the first part over at Tim's blog and then come back here for the second half...]
I recently reviewed Star Trek: Deep Space 9: Fool's Gold (gotta love colons!) #1 for CBR and, in the process, wrote the following sentences: "When Sisko dismisses her concerns as a sign that people aren’t afraid to come to the station, she visits Odo who is having problems with all of the visitors as they seem determined to tear the station apart in an effort to find something -— and are bypassing his security measures to do so. While the Tiptons don’t quite have the rhythm and voices of most of the characters down yet, the way they write Odo’s dialogue is so good that you can practically hear René Auberjonois’s voice when reading the issue as they alter the spelling of words to match his delivery. Hopefully, future issues focus on the security chief because of this strength."
I recently reviewed Guardians of the Galaxy #21 for CBR and, in the process, wrote the following sentences: "You would think that after the previous story arc where half of the team was killed, Abnett and Lanning would take a few issues to slow things down and relax, but you would be wrong. Guardians of the Galaxy continues to be that rare mainstream superhero book that is not afraid to change the status quo and put characters in real danger to suit the needs of the story. You literally do not know what to expect when you turn a page and that’s refreshing."
I recently reviewed Uncanny X-Men #519 for CBR and, in the process, wrote the following sentences: "Things have not been going well for the X-Men since moving to Utopia (the former sunken Asteroid M), which is their island home off the coast of San Francisco, with an attack by the mutant-eating Predator Xs, a sliver of the Void making its home in Emma Frost’s mind, and the recent discovery that Utopia is sinking. Guess Cyclops didn’t think things through entirely, eh?"
I recently reviewed The Last Days of American Crime #1 for CBR and, in the process, wrote the following sentences: "At some point in the future, the United States of America is switching from paper money to exclusively electronic currency, a move that will effectively kill crime since, now, every transaction will be recorded, monitored. How can you pay for drugs or prostitutes or any other illegal service when the police can access financial records showing where the money went? Two weeks before the switchover, Graham has a plan to make himself and some associates quite wealthy by stealing one of the machines designed to credit people’s accounts under this new system."
I recently reviewed Powers #2 for CBR and, in the process, wrote the following sentences: "The second issue of the third volume of Powers is an entertaining comic, but is a step down from the stronger first issue, as Bendis and Oeming devote much of this issue to a fight during World War II between the Daring Eagles and a giant Nazi robot instead of the mystery at hand: who killed Z, the former Daring Eagle and friend of Detective Walker? Instead of a simple flashback, the battle seems like padding. Entertaining padding, but still padding."
I recently reviewed What If? Spider-Man: House of M #1 for CBR and, in the process, wrote the following sentences: "One of the best and most heartbreaking parts of House of M was the ‘wish come true’ life that Peter Parker got to live and, then, that he would always retain knowledge of that perfect life where Uncle Ben never died, he and Gwen Stacey wed and had a son, and he was beloved and famous for being Spider-Man. The idea of exploring what would happen if the House of M Gwen managed to live past the end of House of M is interesting because of the conflict and emotional turmoil that seems to come with it, something that should work quite well. Sadly, neither story presented here manages to capture that or even tell an entertaining story."
[We have returned and are trying to become better critics/dudes who talk about comic books. We may not succeed, but it should be fun to watch...
I recently reviewed What If? Daredevil vs. Elektra #1 for CBR and, in the process, wrote the following sentences: "One of the more radical reimaginings of the Marvel Universe in a while, What If? Daredevil vs. Elektra #1 offers an engaging story where a young Matt Murdock sacrifices his life to save Elektra Natchios and her father where, in the regular MU, it was Elektra’s father that died. The resulting story is a twisting of various elements of Frank Miller’s run on Daredevil with numerous allusions and in-jokes, but is still easily accessed by those who haven’t read Miller’s seminal work on the title."
I recently reviewed Power Girl #7 and, in the process, wrote the following sentences: "While the situation lacks originality, there are plenty of funny moments thrown in like the forecasting of the Blue Snowman’s death early in the issue or the revelation of the Snowman’s true identity. Kara also gets in a few zingers, while also trying to maturely deal with this creepy jerk. Gray and Palmiotti write her well as she tries to stop his advances without actually getting sucked into the game he’s playing. She keeps Vartox at arm’s length, treating him as the sort-of-crazy person he is."
I recently reviewed Hulk #18 for CBR and, in the process, wrote the following sentences: "Ah, the self-contained retrospective story where self-knowledge is gained and we gain a greater appreciation of a character. These types of issues are always good to win over critics and fans alike as a writer really sinks his or her teeth into the inner workings of a character and deliver an equal measure of entertainment and insight. Oh, if only that were the case here, as Jeph Loeb and Whilce Portacio delve deep into the mind of Samson (no longer Doc) to reveal... daddy issues and a self-loathing related to his intelligence? Hulk comics are often lacking characters with those particular hang-ups, of course."
I recently reviewed The Authority: The Lost Year #4 for CBR and, in the process, wrote the following sentences: "The basic idea of this issue isn’t bad, but the execution is dull and haphazard as Giffen and Robertson cycle through a variety of scenes showing what’s happening in the world and how the Authority is reacting, but lacking any emotional impact. It’s all just going through the motions toward that end point where the setting can change and new adventures are to be had. Even the moral implications of the Authority’s actions are dealt with in a manner where the minimum amount of discussion is given before moving on. But, as I said, the end of this issue is done so well that it’s hard to blame them for wanting to just get there."
I recently reviewed Gødland #30 for CBR and, in the process, wrote the following sentences: "There isn’t much to complain about in Gødland #30, except, perhaps, that the scene depicted on the cover doesn’t happen inside. All this book needed was a plot where Adam Archer, the cosmically-powered former astronaut, finds himself oddly drawn to a planet that curiously resembles a naked breast. Dirtiest cover ever? Possibly. Then again, maybe it’s just me. Does anyone else see it?"
I recently reviewed Dark X-Men #2 and, in the process, wrote the following sentences: "The biggest problem in this comic, though, is the pacing. The slow, plodding pace means this issue ends on a plot point where, ideally, the first issue should have ended on (since the spoiler of Nate Grey returning was out of the bag). Two issues of build-up and Grey barely appears. Normally, that sort of build-up makes a character look impressive, but, here, it doesn’t; it makes the comic read worse."
I recently reviewed The Unwritten #8 for CBR and, in the process, wrote the following sentences: "If there’s a weakness in this idea being debated in this comic it’s that we know that the Tommy Taylor stories aren’t simply fiction. The series has been teasing about the nature of fact and fiction, and how the line isn’t so clearly drawn in this world, but that knowledge undercuts the focus of this issue. We know that Cosi’s devotion to Tommy Taylor isn’t entirely misplaced, but no one else really does, making her more sympathetic than her actions perhaps warrant."
I recently reviewed X-Men Forever #13 for CBR and, in the process, wrote the following sentences: "I came into X-Men Forever #13 expecting the worst. Amid reviews where even the most fervent of Chris Claremont supporters felt torn on the merits of the series, what hope did I have? It’s actually not that bad, though. It’s not great either, but, in this issue, Claremont delivers an issue packed with action, drama, and a few subplots. While it doesn’t feel like a comic from 2009, it’s still a solid read that engages the reader."
I recently reviewed Magog #4 for CBR and, in the process, wrote the following sentences: "There’s almost certainly a point of some kind to this comic book, but damned if I could find it. The plot seems unimportant as very little happens. The same happens with character development. There is a focus on scenes as nice little pieces of entertainment unto themselves. And the art is ugly and unable or unwilling to move from one image to the next with any sense of flow or logic. Magog #4 looks to be a perfect example of a comic published, because that’s what DC does: it publishes comics."
I recently reviewed Pilot Season: Murderer #1 for CBR and, in the process, wrote the following sentences: "Another problem is in communicating the thoughts of others. Kirkman and artist Nelson Blake II make good attempts at showing the mix of words and images that make up thoughts, but it’s not entirely effective. Often, what Jason hears/sees is confusing, perhaps purposefully so, but, if that’s the case, then that confusion should be more explicit. As it stands, the thoughts Jason hears/sees are not presented clearly, particularly the thoughts of a woman that motivate much of the action in this issue."
I gave Dark Avengers annual #1 four stars in my CBR review. And I genuinely believe that, when read from an objective (or as objective as one can get) and within the proper context, it deserves that rating. Had I delivered my subjective review of the comic, it wouldn't have gone so smoothly, obtaining probably something in the 2-2.5 range. I'll admit that it didn't raise my ire as much as previous Bendis depictions of Noh-Varr, but it did irk me. It shouldn't have since it's been so obviously apparent that the Noh-Varr of Marvel Boy was long gone since Zeb Wells brought him back during "Civil War" to fight the Runaways and Young Avengers. Instead of the young, radical alien from a culture that legitimately is more advanced than ours, he was simply an angry young Kree that was sometimes from another dimension, sometimes not. There was no advancement of his cause to recreate Hala on Earth. No moral quandries. No sex and disgust for humanity. No sign of him being anything other than a misguided youth in need of a stern lecture from Representatives of the Status Quo. And they called him Marvel Boy.
I recently reviewed Existence 3.0 #1 for CBR and, in the process, wrote the following sentences: "The opening of the issue is very strong as it juxtaposes Jenny’s waking up as Marina then, and an attack on the people responsible for her kidnapping and father’s death now. The coloring sets the two time periods apart, and Salas’s art is exquisite as moving between them, playing off each time period to further both. You can see for yourself in the preview pages that he does an excellent job of building up the action in each and delivering the pay-off in each together. It’s an incredibly strong opening and is executed almost flawlessly by all involved."
I recently reviewed glamourpuss #10 for CBR and, in the process, wrote the following sentences: "The latest issue of glamourpuss is something of a disappointment, as the normal focus on photorealistic art, techniques, and the relationships between artists is replaced by a long meditation on Stan Drake’s second marriage to a much younger woman and the various elements of scandal that came with it. It is, perhaps, the weakest issue of the series yet."
I recently reviewed The Boys #37 and, in the process, wrote the following sentences: "The telling of the story is where the humor lies. The Frenchman tells it with such earnest sincerity and sentiment, but what we see are absurd and, dare I say, stupid events. Jousting on bicycles with baguettes while wearing cloves of garlic? He returns to town with his friend behind him playing a concertina. The images Robertson draws for his remembrances to his summer of love with Marie and his childhood feud with Black Pierre are so graphic that they subvert the expectation of innocence that’s in the Frenchman’s words."
I recently reviewed Dark Avengers annual #1 for CBR and, in the process, wrote the following sentences: "It’s been six months since Noh-Varr disappeared from the pages of Dark Avengers after discovering the criminal nature of his teammates. Aside from an appearance in the Wolverine List issue, he hasn’t shown his face since. Finally, answers about his whereabouts and activities since fleeing Avengers Towers are given in this week’s Dark Avengers Annual #1 as Norman Osborn turns his attention to finding his little runaway Kree soldier."
I recently reviewed Siege: The Cabal #1 for CBR and, in the process, wrote the following sentences: "On the first Wednesday of December 2008, Secret Invasion #8 shipped, concluding that event and beginning Dark Reign, so it’s fitting that, one year later on the first Wednesday of December, the book that begins the story that will conclude Dark Reign comes out. Siege: The Cabal kicks things off well, setting up a clear point of conflict not just between Norman Osborn and the heroes, but also between Osborn and other members of his Cabal, most notably Dr. Doom."
I recently reviewed What If? Secret Invasion #1 for CBR and, in the process, wrote the following sentences: "When Secret Invasion ended, many argued that the resolution of Norman Osborn being put in charge of S.H.I.E.L.D. (only for it to become H.A.M.M.E.R.) was out of step with the mood of the audience, so why should the “What If?” issue devoted to the event be any different? Where the original felt too dark and cynical after Barack Obama’s election for many, this What If? issue feels out of place for an audience that is clearly tired of Norman Osborn being at the center of every comic they read. The past year has had Osborn in the majority of Marvel titles, making everyone rather sick of him and, yet, despite his relatively minor role in Secret Invasion prior to the final issue, the character is, again, front and center in both of the stories that make up this issue, only one of which actually makes for a somewhat decent read."
I recently reviewed Criminal: The Sinners #2 for CBR and, in the process, wrote the following sentences: "The combination of Phillips and Staples makes this book a visual treat. Every panel is considered and planned and is methodical in its choices. It is both realistic and unbound by realism, willing to forego it if the mood of a scene demands it or if, honestly, it’s simply better. The visuals reflect an understanding that the sort of stories Criminal tells is about mood and feeling as much as they’re about accuracy or reality. Emotions are heightened through the visuals, ‘naturalistic acting’ used only when it works, and, as a result, it is a gorgeous comic that is also one of the best from a technical perspective."
