Juggernaut #1 Review

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Cain Marko, Fabian Nicieza, Juggernaut, Juggernaut #1, Juggernaut #1 review, Juggernaut mini-series, Marvel, Marvel Comics, NCBD, Ron Garney, X-Men

Juggernaut #1

Review by Paul Bowler.

Cain Marko returns in Juggernaut #1, Marvel’s brand new five part mini-series from well renowned X-Men scribe Fabian Nicieza (X-Force, Deadpool) and acclaimed artist Ron Garney (Captain America, Daredevil).

Done with letting other people pick up the pieces Cain Marko is getting his life back on track by working for Damage Control and putting his destructive talents as the Juggernaut to  good use. With the assured hand of writer Fabian Nicieza at the helm Juggernaut #1 quickly sets the stage for the tone of this series right rom the outset. Nicieza presents a far more sympathetic take on the character of Cain Marko, which is immediately refreshing as Juggernaut has often been portrayed somewhat one dimensionally in the past (having suffered years of abuse by his father, been rendered powerless, or hurt, familiar tropes usually see him written as just a raging, unstoppable powerhouse), and the end result is as solid character piece that elevates Juggernaut   to a whole new level.

The story itself is straightforward enough. While on a demolition job in a run down neighbourhood Juggernaut encounters a group of homeless teens, but when one of them exhibits super-powers and gets injured he decided to help out and become something of a mentor to her while she recovers in hospital. Fabian Nicieza cleverly weaves the core narrative of this series through the conversations between Juggernaut and D-Cell in the hospital, with pacy, wry dialogue highlighting just how lost both of them are in the difficult junctures of their lives, and it is here that Juggernaut finds the sense of purpose he’s been looking for to become a more positive force in the world.

Juggernaut #1 features some great artwork by Ron Garney that perfectly captures the soul-searching mood of the issue. Garney balances the raw, overwhelming power of Juggernaut with the moving sincerity of Marko’s wish to help D-Cell, and the bold, heavier, shades and tones employed by color artist Matt Milla works in perfect conjunction with Garney’s expressive, yet understated artwork. Highlights include Juggernaut cutting loose on the demolition site, the flashback to his torturous journey across Limbo and his ultimate sacrifice at The Crossroads, but it is the heartwarming scenes with Marko at D-Cell’s hospital bedside that really make this issue a compelling read.

Nothing can stop the Juggernaut, except himself of course, and the first issue of this new mini-series brings that fact home with all the crystal clarity of a mystic gem. For that is exactly what Juggernaut #1 — with its thought-provoking story by Fabian Nicieza and terrific art by Ron Garney – is, an unexpected little gem in the veritable sea of comic book events dominating the landscape at the moment, and with a startling cliffhanger that isn’t kidding around in the slightest I’ve high expectations for the rest of this mini-series!

Publisher: Marvel Comics

Writer: Fabian Nicieza /Artist Ron Garney / Color Artist: Matt Milla

Letterer VC’s Joe Sabino / Cover: Geoff Shaw

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About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

 

Iron Man #1 Review

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Alex Ross, Cafu, Christopher Cantwell, Frank D’Armata, Hellcat, Iron Man, Iron Man #1, Iron Man #1 Review, Marvel, Marvel Comics, Patsy Walker, Tony Stark

Iron Man #1

Review by Paul Bowler.

Tony Stark decides to get back to basics in Iron Man #1 as Marvel Comics launches a brand new ongoing series from the all-new-creative team of writer Christopher Cantwell, artist Cafu and color artist Frank D’Armata.

Right from the outset its clear writer Christopher Cantwell is aiming for a more refined and contemporary take on the character. While the opening slugfest with Terrax provides us with the necessary prerequisite of Iron Man action, the real nuts and bolts of the issue follows Tony Stark’s attempt to get his life back on track. Reinvesting his billion dollar exit package from Stark Unlimited, along with all the high-tech toys and equally high-profile image is the easy part, recalibrating his life with a 1978 Dodge Aspen, a new pad, and street racing while every CEO, financier and entrepreneur worth their salt has something to pitch to him proves to be a more challenging balancing act for him. Fortunately Patsy Walker, aka Hellcat, arrives to keep Tony grounded. 

Cantwell ensures the pace of the issue flows smoothly while significant refinements to Tony’s life unfold along the way, one could almost say it reads a bit like superhero mid-life-crisis, and the parallel narrative of social media posts peppered throughout brings the scrutiny on Stark’s world into sharper context than ever before. Patsy Walker is another unexpected surprise, one that that totally blindsides Tony during his most soul-searching moments, and she proves t a perfect foil for Stark’s ego as well. Throw in a D-list villain and a threat with biblical connotations and Christopher Cantwell sets up this new Iron Man series in fine style indeed.

The art by Cafu is a real treat as well, rich with detail, expression, and dynamic viewpoints   it makes this issue a veritable feast on the senses. Full framed, overlapping panel layouts allow scenes to shift seamlessly from one to the next, with media interviews, street racing, encounters with old friends and old enemies are all rendered in Cafu’s distinctly lavish visuals and beautifully complemented by color artist Frank D’Armata’s exquisite use of muted pallets, rich tones, and deep shadows. The new Iron Man armor design by Alex Ross is a glorious reinvention of the characters classic look, it even gets showcased with a good old-fashioned suit-up scene, and the overall aesthetic is pleasingly nostalgic yet sufficiently updated enough to make this relaunch feel all the more special as a result.

Much like Tony Stark, this new series suits-up with an upgraded sense of reflection and confidence, quickly finds it feet, and embarks on a bold new era filled with potential. With its excellent and witty storyline by Christopher Cantwell, great art by Cafu, and superb cover by Alex Ross, Iron Man #1 feels like a much needed breath of fresh air for the character, and I’m really excited to see what this new creative team have in store for old Shell-Head in the months to come.

Publisher: Marvel

Writer: Christopher Cantwell / Artist: Cafu

Color Artist: Frank D’Armata / Letterer: VC’s Joe Caramagna 

Cover: Alex Ross

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About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

 

X-Men #11 Review

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Age of X, Cotati, Empyre, Jonathan Hickman, Krakoa, Kree, Magneto, Marvel, Marvel Comcis, Power of X, Skrull, X-Men #11, X-Men #11 Review, X-Men Empyre

X-Men #11

Review by Paul Bowler.

When it comes to intricate, multifaceted levels of storytelling, writer Jonathan Hickman’s X-Men #11 goes all out with crafting another facet to his grand ongoing Mutant opus. Deftly weaving the overarching narrative of the X-Men’s new mutant island nation of Krakoa with Marvel’s current line-wide Empyre comic book event, where the Kree and Skrull Empires have united with Emperor Hulkling to fight the combined might of the Celestial  Messiah, Quoi and his plant-like Cotati, Hickman manages to juggle a trio of distinctly different plot threads with consummate ease to ensure this issue of X-Men is far more than just your average tie-in to Empyre.

Last issues Empyre tie-in saw some interesting developments for Vulcan, AKA: Gabriel Summers, whose link to the celestial energies still clearly means he has the potential to be something of a ticking time bomb for the X-Men. Now as the X-Men begin to fight back against the Cotati on the Moon, the Cotati aggressors have set their sights on a far bigger target… Earth and the X-Men’s island home on Krakoa.

X-Men #11 pivots around a trio of fascinating narratives set before, during and after the events on Krakoa during this issue. The opening scenes with Rockslide, Loa and Anole  seeking out the mysterious Summoner and partaking in a game which balances defence and attack, initially seems frivolous, but quickly hints towards ominous consequences as the game begins. From here we jump to the following day where Exodus is sitting around a campfire with some of the islands mutant children and telling them the story of what happened during the attack on Krakoa. Finally, we get to actually witness what transpired during the Cotati invasion and how Magneto, Magik, Magma and Iceman led a coordinated counterattack against the Cotati onslaught. Jonathan Hickman’s taut scripting on this issue ensures the pace doesn’t t let up for a moment, and the level of characterisation across the board — especially Magneto – is absolutely sublime.

Leinil Francis Yu’s artwork is a joy to behold. Every scene is rich with detail and beautifully framed in simple, free-flowing page layouts that effortlessly relays the action with exquisite character beats. Yu’s impressive work, along with color artist Sunny Gho’s understated use of intricate tones and shade, makes the setting for the Summoner’s game with the unpronounceable name feel charmingly beautiful and haunting all at the same time, Exodus’ campfire story is equally striking, Magneto’s choice to suit-up in the crimson and purple attire more associated with his villainous past instead of his current all-white costume is another highlight as the mutants rally to defend Krakoa, and the X-Men’s action-packed battle against the Cotati is veritable showcase of their abilities and resourcefulness in the face of seemingly overwhelming odds.

Following the tremendous relaunch of the X-Men with Power of X and House of X, Jonathan Hickman’s X-Men continues to go from strength to strength. X-Men #11 illustrates just how compelling Hickman’s current run on X-Men is becoming, especially now its on the path to X of Swords, and if you’re enjoying everything that’s going on with Marvel’s Empyre event then X-Men #11 is going to be right up your street as well.

Publisher: Marvel Comics

Writer: Jonathan Hickman / Artist Leinil Francis Yu

Color Artist: Sunny Gho / Letterer VC’s Clayton Cowles

Cover Leinil Francis Yu and Artist: Sunny Gho 

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About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

 

X-Men #8 Review

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Cyclops, Dawm of X, House of X, Imperial Guard, Jonathan Hickman, Krakoa, Marvel Comics, Mutants, Power of X, Shi'ar, Starjammers, The Brood, The New Mutants, X-Men, X-Men #8, X-Men #8 review

X-Men #8

Review by Paul Bowler

A deadly threat crashes to Earth in X-Men #8, brining peril to the Mutant nation of Krakoa from the farthest reaches of Shi’ar space. The New Mutants have returned from their intergalactic adventures, unwittingly brining trouble home with them, sparking conflict involving the Brood, the Shi’ar Empire, the Starjammers, and the Imperial Guard!

From the dawn of a new day on the island of Krakoa, to the chilling scenes on the fringe of Shi’ar space, and Cyclops and Havoc finding their brother Vulcan has been partying a little too hard at their lunar homestead writer Jonathan Hickman implements a slight gear shift in the overall narrative of this new X-Men series to propel the New Mutants and the X-Men into a cosmic spanning saga. With the defence of Krakoa at stake as the Brood attack, searching for the King Egg the New Mutants brought back to Earth, the Summers brothers hatch a plan to use the said egg to lead the oncoming Brood horde away into space via a Shi’ar stargate.

The action is frenetic and well rendered by Mahmud Asrar, especially the opening moments where the parasitic Brood are depicted swarming in space, initial scenes with Cyclops and Magik coordinating the defence of Krakoa are also excitingly dynamic, and colorist Leinil Francis employs a rich palette of tones and hues that nicely accentuates the action.

Considering how dramatically the Dawn of X relaunch of the X-Men range has evolved in recent issues, with the new Mutant nation of Krakoa developing its own rituals and customs, resurrection protocols, the brutality of the Crucible, and the X-Men’s plan to prevent the creation of the super Mutant killing robot, Nimrod, on the Orchis space station orbiting the sun, along with Professor X’s rather unsettling demeanour (especially the coercive manipulation of Mystique in their attempt to achieve this goal), X-Men #8 feels like a distraction – albeit an exciting one – from the core narrative Jonathan Hickman has built since the game changing events of House of X and Power of X.

For me Jonathan Hickman’s flagship X-Men book remains the pinnacle in terms of quality and good storytelling. Hickman may be acting as a kind of show runner for the entire range of X-Men comics now, but few of the other X-titles that Marvel has been churning out have really grabbed me, save for X-Force and Wolverine by Benjamin Percy. So, if you only have time for one X-Book, I’d make it Hickman’s X-Men, it was bit of a slow burn at first, but has proved well worth sticking with. The X-Men don’t necessarily feel like heroes anymore either, they are now one united Mutant nation on the living island of Krakoa, and the X-Men are certainly making the rest of the world sit up and take notice in a way that’s never happened before in the history of the X-Men. Sure, I miss the days where the X-Men felt more like a crazy mutant soap opera, but I really like how Hickman is doing something so fresh, different and innovative with X-Men right now.

In closing, X-Men #8 juggles a number of plot lines, with the Cyclops, Havok and Vulcan jetting off into space, the Starjamers runing into trouble with a Kree Accuser, and Gladiator and the Imperial Guard finding a new target to hunt. Jonathan Hickman continues to deliver engaging storylines and strong characterisation on every level, the Broods return and epic scale of the issue is impressively realised by Mahmud Asrar’s artwork, and the overall tone of the issue energetically paced. X-Men #8 might leave us chomping at the bit as wider issues are put to one side momentarily, but this unexpected jaunt into space makes for an action-packed diversion nevertheless, and the return of the Brood always provides a challenging threat for the X-Men to contend with.

Publisher: Marvel Comics

Writer: Jonathan Hickman / Artist Mahmud Asrar

Colorist: Leinil Francis Yu / Letterer: VC’s Clayton Cowles

Cover Artists: Leinil Francis Yu and Sunny Gho

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About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

 

Astonishing X-Men #13 Review

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Alex Summers, Asonishing X-Men #13, Astinishing X-Men, Astonishing X-Men #13 review, Beast, Colossus, Dazzler, Greg Land, Hacok, Matthew Rosenberg, The Reavers, Warpath, X-Men

Astonishing X-Men #13

Review by Paul Bowler.

A whole new era and X-team begins in Astonishing X-Men #13 as Alex Summer, the plasma blasting mutant known as Havok, returns to the fold. The Reavers are also back with a vengeance, and it’s up to Havok to form a new team of X-Men to stop them. However, following Alex’s recent villainous actions (because of the Red Skull’s mind-altering attack), will any of the X-Men be prepared or willing to trust Alex again?

The new creative team of writer Matthew Rosenberg (Multiple Man) and artist Greg Land (The Incredible Hulk) for Astonishing X-Men usher in this next chapter in X-history featuring Havok, Beast, Dazzler, Warpath, and Colossus. Right from the outset it quickly becomes clear that Alex’s return to the X-Men isn’t going to be all plain sailing. If anything, Alex Summers finds he’s neither use nor ornament as he inadvertently treads on the Avengers toes and gets treated like a joke by students at the Xavier Institute for Mutant Education and Research in New York.

Alex Summers character effectively carries the entire issue, writer Matthew Rosenberg’s witty and insightful script is packed with fast-paced action, snappy dialogue, and strong characterization throughout as we follow Alex’s attempts to get his life back on track. His viewpoint on Xavier’s dream and the X-Men’s recent interpretation of that legacy almost cause a ruckus in the classroom and inevitably leads to run in with Kitty Pryde as a result Yet, wry humour aside, Matthew Rosenberg writes Alex’s character in a way that feels far truer, flawed, and more real than ever before. There’s also the sense that Cyclops’s younger brother might finally be about to ditch that almighty chip off his shoulder and step out of his older siblings shadow at last.

Astonishing X-Men #13 also boasts great artwork from Greg Land. The Reavers and Donald Pearce are the first major villains Havoc and his team mates will have to contend with. Greg Land’s pencils and Jay Leisten’s inks complement each other extremely well, dynamic page layouts energize the fast-paced action, characters expressions convey every nuance of emotion, and color artist Frank D’Aamata subtle use of color and tone – especially during Havok’s nightmare sequence – further refine this series distinctive new look and style.

The reunion between Alex and Hank at Harvard which rounds off Until Our Hearts Stop Part 1 is without doubt the standout character moment of this issue. Not only does it establish the great dynamic between them, it also leads into an action-packed cliff-hanger ending, and there’s even a big surprise waiting just before the end too!

While this issue doesn’t bring the new team together in its entirety just yet, it’s still great to see Alex Summers return to front an X-Team – even one that’s still very much in its formative stages. The Reavers also provide a very palpable threat; Miss Sinister is another interesting addition, and the fact a third-party is pushing everyone’s buttons also adds an equally menacing quandary into the mix. I really enjoyed Astonishing X-Men #13, there‘s lots of potential here, and this new creative team together with the entirely new direction have certainly helped to reinvigorate the title and I’m looking forward to seeing how things develop from here.

Publisher: Marvel Comics

Writer: Matthew Rosenberg / Pencils: Greg Land / Inks: Jay Leisten

Color Artist: Frank D’Armata / Letterer: VC’s Clayton Cowles

Cover: Greg Land & Frank D’Armata

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The Immortal Hulk #1 Review

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Al Ewing, Alex Ross, Bruce Banner, Horror, Hulk, Joe Bennett, Marvel Comics, NCBD, Paul Mounts, Ruy Jose, The Hulk, The Immortal Hulk, The Immortal Hulk #1, The Immortal Hulk #1 review, The Incredible Hulk

The Immortal Hulk #1

Review by Paul Bowler.

Bruce Banner is back in The Immortal Hulk #1 and this time his raging alter ego won’t just smash everything in sight, he’ll scare the God dammed bejeezers out of you as well! Following the green goliath’s initial return in Avengers: No Surrender, Marvel’s new horror themed ongoing series The Immortal Hulk from writer Al Ewing and artist Joe Bennett will send Banner’s life spiralling into darkness like never before!

With the quote from Carl Gustav Jung ominously setting the tone from the outset, writer Al Ewing immediately sets the scene and premise of the series with a gas station robbery that goes tragically wrong. However, not all the gunman’s victims are as dead as they seem, and once the sun goes down a monstrous retribution soon comes calling!

Banner’s return to the Marvel universe – for the most part – was already explained in Avengers: No Surrender, giving Al Ewing unparalleled freedom to hit the ground running with The Immortal Hulk whilst clearly embracing the early issues crafted by Stan Lee, Jack Kirby, and Steve Ditko that made the original six issue of The Incredible Hulk so compelling back in 1962. However, the horror themes in The Immortal Hulk are far darker. It quickly becomes apparent that Banner still can die yet bizarrely when the Hulk rises come sundown its almost as if he has become Banner’s instrument of vengeance. There are some distinct nods to The Incredible Hulk TV series that ran from 1978-1982 as well, especially with one of the new characters names and profession in this issue, and Bruce Banner is very much portrayed by Ewing as a man the world believes to be dead while he desperately struggles to control the raging monster that dwells within him.

Simple, uncluttered page layouts deftly convey the powerful beats of Ewing’s script. The art is gloriously rich in detail and atmosphere, with the pencils by Joe Bennett and inks by Ruy Jose complementing each other perfectly. The bright, everyday scenes that kick off the issue almost lull us into a false sense of security, but it’s not long before the Hulk’s wrath is unleashed, and Bennett clearly relishes every moment as the horror tropes build with unnerving intensity with every page. There are big double -spread pages that will make your jaw drop as much as they make your spine tingle. Color artist Paul Mounts also deftly balances vivid and sombre tones to bring a startling clarity to every scene – at times it almost feels like the Hulk is glaring out from the pages right at you!

Detective Mayes investigation into the fate of the hapless robber, along with some particular chilling revelations for Banner, all serve to round off this first issue of The Immortal Hulk with a grim blend of mystery and psychological horror. Is he man or monster or… is he both? Yes that wonderfully ambiguous caption from the cover of 1962’s 1^st issue of The Incredible Hulk is indeed still very much the underlying question that beats at the heart of this new series. The Immortal Hulk #1 is a comic that presents a dark reflection of itself, Al Ewing and Joe Bennett have done a fantastic job establishing this new series and taking the character of Bruce Banner in an entirely new direction (something that’s clearly evident from its hauntingly impressive cover by Alex Ross alone), and I look forward to seeing how their brilliantly macabre take on the Hulk evolves in the issues to come.

Publisher: Marvel

Writer: Al Ewing / Pencils: Joe Bennett

Inker: Ruy Jose / Color Artist: Paul Mounts

Letterer: VC’s Cory Petit / Main Cover: Alex Ross

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Daredevil #600 Review

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Blindspot, Charles Soule, Daredevil, Daredevil #600, Daredevil #600 review, Foggy Nelson, Hells Kitchen, Marte Gracia, Marvel, Marvel Comics, Matt Murdock, NCBD, Ron Garney, The Kingpin, The Man Without Fear, Wilson Fisk

Daredevil #600

Review by Paul Bowler

Mayor Fisk continues to wreak havoc in Murdock’s life in Daredevil #600 as the Man Without Fear rallies the heroes of New York City against the mayor’s schemes. Ever since Wilson Fisk, the Kingpin of crime, was elected as mayor of NYC he’s made superheroes illegal and appointed Matt as deputy mayor to ensure Murdock was too busy to interfere with his criminal dealings. But now Muse – the Inhuman serial killer – has escaped from jail to create more murderous works of art and to stalk his former victim and one-time protégé of Daredevil, Sam Chung (AKA Blindspot). Daredevil must now do whatever it takes to stop Fisk’s plans, no matter the cost, but will he be in time to prevent all of the dark machinations unfolding around him?

Daredevil’s war against Wilson Fisk reaches a thrilling, action-packed conclusion in Daredevil #600, a special oversized anniversary issue guest staring the heroes and villains of NYC, as writer Charles Soule skilfully brings together numerous interweaving plot strands for Daredevil’s epic showdown with Wilson Fisk.

Daredevil #600’s impressive and eye-catching cover by Dan Mora and Romulo Fajardo JR (there’s also a wealth of excellent variant covers by David Aja, Alex Ross, Frank Miller & Dean White, and Daniel Acuna to choose from as well) offers a hint of the action that awaits you in this issue. The battle lines are quickly drawn as the heroes and villains on all sides get caught up in Daredevil’s showdown with mayor Fisk. Daredevil’s plan to take down the Kingpin is even more audacious than it initially seems, with DD enrolling Spider-Man, Luke Cage, Iron Fist, Misty Knight, Jessica Jones, Moon Knight, and Echo to gate-crash a shindig between the Bronx’s super villain crime bosses – the Black Cat, Hammerhead, Diamondback, and the Owl.

As the heroes and villains clash amidst a barrage of wry asides and bullets, Charles Soule also deftly punctuates the narrative with Blindspot’s battle with Muse, while Daredevil’s heads towards his inevitable showdown with Fisk. The pace of this issue doesn’t let up for a moment. However, it is these two branches of the plot that are perhaps the most compelling of all. The fight between Blindspot and Muse is especially powerful because of its underlying sense of horror, while the face-off between Daredevil and Fisk broods with unrestrained menace, and the resolution of both encounters amid a schism of fateful decisions holds unforeseen consequences for all concerned…

It goes without saying that the artwork by Ron Garney is as impressive as ever, with crisply refined page layouts effortlessly relaying every nuance of Soule’s script, and rich characterization adorning every page. Featuring such an extensive roll call of heroes and villains Daredevil #600 is almost bursting at the seams with characters and subplots. Ron Garney does a terrific job giving this issues plethora of characters a chance to shine, imbuing the raw power and emotion of virtually every scene with gritty intensity, striking action sequences, and with color artist Matt Milla’s subtle use of tone and shade heightening the drama to maximum effect this landmark issue of Daredevil looks absolutely stunning.

Daredevil #600 certainly delivers a knockout punch as it rounds off the Mayor Fisk storyline, but even darker forces are on hand waiting in the wings, and it all builds to a shock ending that will rock Hell’s Kitchen to its core! Charles Soule, Ron Garney, and Matt Milla have crafted another superb issue of their run here, add to that the nostalgic backup story looking back at Foggy and Matt’s friendship over the years written by Christos Gage, with art by Mike Perkins and colors by Andy Troy, and Daredevil #600 becomes a milestone issue and game-changing chapter in Matt Murdock’s life that no Daredevil fan will want to miss!

Publisher: Marvel Comics

Writer: Charles Soule / Artist: Ron Garney / Color Artist: Matt Milla

Letterer VC’S Clayton Cowles / Cover: Dan Mora

“They Also Serve” Writer Christos Gage / Art Mike Perkins / Color Artist Andy Troy /

Letterer VC’S Clayton Cowles

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Amazing Spider-Man #797 Review

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Alex Ross, Amazing Spider-Man, Amazing Spider-Man #797, Amazing Spider-Man #797 review, Carage, Daily Bugle, Dan Slott, Green Goblin, JJJ, Marte Gracia, Mary Jane, Norman Osborn, Peter Parker, Red Golin, Spider-Man, Stuart Immonen, Wade Von Grawbadger

Amazing Spicer-Man #797

Review by Paul Bowler

The Green Goblin is back in Marvel Comics Amazing-Spiderman #797, and this time he’s more frightening than ever! It seems Dan Slott has arguably saved one of his most powerful storylines till last as Go Down Swinging Part 1, together with Stuart Immonen’s fantastic artwork, ensnares Spidey’s life in the chilling first chapter of an Amazing-Spider-Man story that’s been ten years in the making. Norman Osbourn is back, crazier than ever, and his latest malevolent plan will soon spell big trouble for Peter Parker and everyone close to him!

Peter’s new job at the Daily Bugle as Science Editor – after the collapse of Parker Industries left him penniless – led to Spider-Man’s recent run-in with the Goblin King, but with the help of Anti-Venom (Flash Thompson) Spidey was able to fend off Goblin King’s attack. This led to Peter reconnecting with former lover and Stark CEO, Mary Jane Watson, but that old Parker luck strikes again in Amazing Spider-Man #797 and their reconciliation doesn’t exactly turn out the way either of them expect.

Along with the ramifications of the Goblin King’s latest actions being keenly felt at the Daily Bugle, Slott deftly punctuates the narrative throughout the rest of the issue with some friendly neighbourhood Spidey action, Peter getting another hilariously ranting phone call from JJJ (now a trail-blazing blogger extraordinaire), there’s further insight into events going in Liz’s and Harry’s lives, and the Goblin King gets more than he bargains for in a particularly brutal showdown, but the main focal point of this issue is Norman Osborn – or more specifically the identity of the person he has kidnapped to learn more about Spider-Man.

It is here that Dan Slott’s writing really excels as we witness just how extreme Osborn has become now that he’s got his crazy back, and it leads to some genuinely unnerving scenes that illustrate just how frightening Norman Osborn can be. You see, ever since Spidey robbed Osborn of his abilities, he’s done everything in his power to become the Green Goblin again. In a last ditch attempt to reclaim his lost power Norman joined with the Carnage Symbiote, and their dark unholy alliance was formed to destroy Spider-Man! Trouble is, Osbourn still hasn’t got all his memories back – including the knowledge that Peter Parker is really Spider-Man – and his terrified captive must now endure Norman’s maniacal; bloodthirsty interrogation or give up their knowledge of Spider-Man and his friends.

As you’d expect Stuart Immonen’s artwork looks as impressive as ever. Every page is awash with vivid detail and finely constructed panel layouts that seamlessly relays the story as we shift between a myriad of different locales and events going on in Parker’s life. The scenes between Peter and MJ are especially moving and emotional. Yet it is Norman Osborn’s dark spiralling plunge into his Carnage Symbiote fuelled mania where Immonen’s art superbly conveys every, creepy, heart-stopping moment – especially when it comes to Norman’s special brand of pest control – and the inks by Wade Von Grawbadger and colors by Marte Gracia also accentuates the scary atmosphere to the max! Add to that the haunting cover by Alex Ross, and this is one issue that positively screams read me!

This issue of Amazing Spider-Man builds to a thrilling climax, one that both reveals the identity of Norman’s hapless captive and sparks a shocking revelation. One thing’s for sure, Spider-Man and the Green Goblin are on a collision course now like no other before or since. Go Down Swinging certainly looks set to be an exciting swansong for Dan Slott’s tenure writing Spider-Man. I’ve only been reading Slott’s work since Superior Spider-Man, but I’ve enjoyed his run from what I’ve read of it for the most part. Amazing Spider-Man #797 is a dark, scary issue, Dan Slott and Stuart Immonen are clearly pulling out all the stops for their final arc, and I can wait to see the inevitable showdown between Spider-Man and Osborn’s Carnage Symbiote infused Goblin!

Publisher: Marvel Comics

Writer: Dan Slott / Artist: Stuart Immonen

Inks: Wade Von Grawbadger / Color Artist: Marte Gracia

Letterer: VC’s Joe Caramanga / Cover Artist: Alex Ross.

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Old Man Logan #31 Review

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comics, Ed Brisson, Frank Martin, Gorgon, Hawkeye, Logan, Marvel, Marvel Comics, Mike Deodato, NCBD, Old Man Logan, Old Man Logan #31, Old Man Logan #31 review, Scarlet Samurai!, The Hand, The Maestro

Old Man Logan #31

Review by Paul Bowler

Old Man Logan #31 begins the first major Marvel Legacy adventure for the man formerly known as Wolverine, as he confronts a deadly new threat – the Hand! Upon his return to Tokyo, Old Man Logan becomes drawn into a ferocious conflict involving the Hand, and they are now stronger than ever! In his battle with the feuding clans, Logan will also have to face the mysterious Scarlet Samurai, a lethal adversary like no other he’s faced before…

Friends and foes, both past and present return as the adventures of Marvel Comics grizzled time-displaced alternative dimension version of Logan continues with Scarlet Samurai Part 1, the brand new story arc from writer Ed Brisson, artist Mike Deodato JR, and colorist Frank Martin. Following his run in with the Maestro and the Hulk gang in Canada, Logan’s travels bring him back to Kabukicho, in Tokyo, where his reminiscing about this place he once called home briefly eclipses Logan’s apocalyptic future in the Wastelands.

Violent action, drama, and brooding intrigue permeate every aspect of Ed Brisson’s tautly woven scrip as Old Man Logan’s momentary peace is shattered by a brawl with henchmen from the Crazy Thunder Clan empowered by a new drug that gives them uncanny regenerative abilities. You can’t have a slug-fest like this in Tokyo without the Silver Samurai being involved somehow, and sure enough the Yashida Corporation developed the drug, Regenix, and the mystery of who has been supplying it to the Crazy Thunder Clan is soon ruthlessly uncovered.

From the shadowy, neon lit side streets, to the gleaming vista of the Tokyo skyline, the fantastic work of artist Mike Deodato and colorist Frank Martin effortlessly brings the various locales featured in this issue to life. Dedato’s trademark open-panel style and dramatic use of perspective places you right in the thick of the action. Every scene feel larger than life, especially when Logan tracks down the Crazy Thunder Clan, and the battle which follows – just like their earlier confrontation – is a blood splattered collage of visceral action and severed limbs as Logan’s berserker rage kicks into high gear! Frank Martin’s colors accentuate the action perfectly, with urban grey tones contrasting beautifully with the shiny modern hues of Yashida Corp, while the brutal violence and unflinching detail jostles with ominous shadows amidst the crimson carnage.

As the issue races towards its devastating high-rise cliff-hanger, Logan makes a fortuitous discovery, Gorgon – who has also led the Hand into battle against Wolverine in the past – makes his move, and the Scarlet Samurai finally steps into the fray!

From the moment you see that gorgeous cover by Mukesh Singh, you just know that you are in for something special with this issue of Old Man Logan. The first part of this new saga is a real scene setter. There’s plenty here for long term fans to enjoy, but this issue is also a great jumping on point for new readers too (especially as it also features a brief recap of Old Man Logan’s back story by Robbie Thompson, Andrea Sorrentino, Lee Loughridge). The Tokyo setting is impressively realized, the plot moves along at a blistering pace, and the mystery surrounding the Scarlet Samurai will no doubt prove an intriguing and bloody one for Logan to solve. The creative team of Ed Brisson, Mike Deodato, and Frank Martin are really hitting their stride now, this series continues to go from strength to strength, and Old Man Logan # 31 gets this new story-arc off to a great start!

Publisher Marvel Comics

Writer: Ed Brisson / Art Mike: Deodato JR / Colorist: Frank Martin

Letterer: VC’s Cory Petit  / Cover: Mike Deodato JR & Frank Martin

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Old Man Logan #30 Review

Tags

Alpha Flight, comics, Ed Brisson, Frank Martin, Hawkeye, Logan, Marvel, Marvel Comics, Mike Deodato, NCBD, Old Man Logan, Old Man Logan #30, Old Man Logan #30 review, Old Man Logan Days of Anger, The Hulk Gang, The Maestro, X-Men

Old Man Logan #30

Review by Paul Bowler

Its all blood, claws, and nukes in Old Man Logan #30 as the showdown between the Maestro and Logan reaches its startling climax! In Logan’s quest to avert both his own nightmarish future in the Wastelands and prevent the Maestro and the Hulk gang from unleashing Armageddon in present, his criss-crossed timelines have united Logan with Clint Barton and the female Hulk gang defector, Cambria. Together they pursued the Maestro and the Hulkling children across Yurkon territory, Canada, where Logan’s savage battle with the Maestro now faces the sudden emergence of the most deadly, and unexpected threat of all…

Marvel Comics Old Man Logan series from the creative team of writer Ed Brisson, artist Mike Deodato JR, and colorist Frank Martin continues to soar to new heights of excellence as the thrilling Days of Anger storyline concludes!

The Maestro has been a formidable adversary for Logan, this alternative universe version of Bruce Banner has used the Hulk gang (savage Banner descendants Logan fought back in the Wastelands) to implement his mad scheme and wipe out humanity, but now events have come to a head. Although the Hulk gang and their missiles have been neutralized thanks to Cambria’s intel and Puck’s help on the Alpha Flight space station, the Maestro, Logan, and his unlikely allies now find themselves held to ransom by a child with a nuclear bomb!

Briefly revisiting the bleak future of the Wastelands to finally reveal how the Maestro managed to bring the Hulk gang to this dimension, events quickly spiral back to the present day where opposing sides and loyalties prepare to square off in this riveting issue of Old Man Logan as writer Ed Brisson piles on the tension and suspense at every given opportunity. Each line of dialogue crackles with menace and raw emotion as the youngest member of the Hulk gang, Malakai, threatens to detonate the final active nuke and kill them all.

The nail bitingly dramatic face-off which ensues quickly becomes a battle of wills, but with the Maestro and Logan only compounding the situation further it’s up to Cambria to try and convince the frightened child that the Maestro has been lying to them all along. The frenetic action builds at an astonishing rate form heron in, with Ed Brisson throwing some ingenious plot twists and character beats into the mix along the way, and there are some genuinely shocking moments of jaw-dropping carnage to look out for as well!

Boasting some of the series’ most striking, and emotional scenes to date, artist Mike Deodato’s characteristic borderless panel layouts completely immerse you in the action. Events build at a rapid pace amidst the snow swept landscape of Yukon territory, with characters and their expressions all hauntingly realized by Deodato’s intricate work and lavish attention to the finest details, while colorist Frank Martin utilizes an exquisite fusion of bold hues and subdued tones to further accentuate the unfolding drama with stunning clarity. Every page is a dazzling spectacle of singularly framed and moments: the Maestro’s raw strength and power, Cambria’s defiance, Hawkeye’s valiant stand, and Logan’s berserker rage as he goes toe-to-toe with the Maestro are all just some of the blockbusting highlights that will stay with you long after you’ve finished reading this issue.

A trio of codas are forged in the resolution of Days of Anger that are as powerful as they are emotional, the underlying themes of this story-arc are brought to the fore, and the aftermath ultimately has a profound effects on all of the major players involved. Ed Brisson, Mike Deodato, and Frank Martin have done fantastic work with this series, Old Man Logan #30 rounds off this storyline in fine style, and I’m really looking forward to seeing what this creative team have in store for us with their next arc: The Scarlet Samurai!

Publisher Marvel Comics

Writer: Ed Brisson / Art Mike: Deodato JR / Colorist: Frank Martin

Letterer: VC’s Cory Petit  / Cover: Mike Deodato JR & Frank Martin

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