Daredevil #24 Review

Tags

Chip Zdarsky, Daredevil, Daredevil #24 review, Daredevil#24, Foggy Nelson, Kirsten McDuffe, Marvel, Marvel Comics, Matt Murdock, Mike Murdock, Spider-Man, The Kingpin, Tony Stark, Typhiod Mary, Wilson Fisk

Daredevil #24

Review by Paul Bowler

The Man Without Fear gets ready to face the music in Daredevil #24 (Truth / Dare Part 4) as his trial for murdering Leo Cararo looms. Ironically, Matt Murdock is only just Back in the Red as Daredevil following the chaos wrought on Hell’s Kitchen by the Stormwyns, and with the citizens of the city looking for someone to hold accountable Matt’s crime-fighting return might soon be over before its even begun.

Daredevil #24 is a masterclass in storytelling from writer Chip Zdarsky that sees Matt and the ensemble cast, both friend and foe alike, run a gauntlet of frayed emotions and angst as Daredevil’s trial approaches. With the erstwhile Mayor Fisk now considered a hero in the eyes of New York’s citizens, Matt has been moved into making plans of his own to ensure the safety of Hell’s Kitchen from the threat of Fisk’s corporate and criminal machinations with the imminent  likelihood that Daredevil will probably soon be behind bars. Daredevil has already enlisted Spider-Man’s help to put the frighteners on a meeting of the crime families where Wilson Fisk appointed Izzy Libris as the new Kingpin of New York City, and asked Tony Stark to gain board approval to bid in the property auction for Hell’s Kitchen to keep it out of Fisk’s clutches. 

Matters have been complicated by Foggy Nelson decision to go behind Matt’s back to recruit not just Kirsten McDuffie into DD’s legal defence team, but also calling in Mike Murdock – Matt’s twin brother — to pose as Matt himself during the trial as Daredevil takes the stand. As if all that wasn’t’[t enough for Matt to deal with Mayor Fisk has also made a dangerous new ally, Typhoid Mary! Zdarsky juggles all these plot threads and characters with consummate ease throughout this issue. For a superhero who is blind like Daredevil there’s a certain irony to be had in having the supporting characters spending most of this issue wrestling with own inner conflicts and emotions to such a degree that it consequently makes them all essentially blind to the secrets, lies and uncomfortable home truths right under their noses — which is all frankly genius scripting from Chip Zdarsky.

The Devil’s in the detail and that certainly the case here as the art for this issue of Daredevil is handled by penciler Mike Hawthorne, inker JP Mayer and color artist Mattia Iacono who collectively render the numerous scenes and character perspective with a striking level of detail, exciting page layouts, and bold colors. The fallout from Matt and Kirsten’s relationship resonates especially powerfully throughout, and the art beautifully encapsulates this integral driving force of the issues richly compelling narrative. The loneliness of Daredevil’s plight is also wonderfully depicted as Matt ponders the fate of Hell’s Kitchen alone on a rooftop, the courtroom is a veritable who’s who of friends and foes, and we even get a masked, suited and booted look for Daredevil as he prepares to face justice in this remarkably illustrated issue.

I can’t begin to tell you how much I’ve enjoyed Chip Zdarsky’s run on Daredevil since the tiles 2019 relaunch. He’s taken Matt Murdock on a dark journey, turned all the familiar DD tropes on their head, and woven a masterpiece of interconnected story arcs and unexpected character beats into a rich narrative that has ultimately lead to this point. Daredevil #24 is a stylish blend of courtroom drama, shady scheming, and emotional drama with the fate of Hell’s Kitchen at stake and only a whisper of hope remaining  for Daredevil as his trial begins. Highly recommend. 

Publisher Marvel Comics

Writer Chip Zdarsky / Penciler Mike Hawthorne

Inker JP Mayer / Color Artist Mattia Iacono

Letterer VC’s Clayton Cowles

Cover Marco Checchetto & Matthew Wilson

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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

The Amazing Spider-Man #52 Review

Tags

Doctor Strange, Harry Osborne, Kindred, Last Remains, Last Remains Part 3, Marvel, Marvel Comics, Nick Spencer, Norman Osborne, Patrick Gleason, Peter Parker, Sin Eater, Spider-Man, Spider-Man #52 Review, Spiderman #52 Review

The Amazing Spider-Man #52

Review by Paul Bowler.

The darkest, most macabre confrontation imaginable awaits Peter Parker in The Amazing Spider-Man #52 as the wall crawler comes face-to-face with the new villain – Kindred! As Kindred reveals his true power to Spider-Man, horrors past and present are unleashed, and Spidey begins realise the terrible danger he’s in!

Having failed to secure the help of Doctor Strange last issue Spider-Man decided to take the fight directly to Kindred himself, but it’s a decision Peter might come to regret as their showdown unfolds. With a gathering of high profile skeletal remains for Kindred’s ghoulish tea party from hell, including George Stacy, Jean Dewolf, Marla Jamerson, Flash Thompson, Gwen Stacy, and Ben Parker, writer Nick Spencer ramps up the horror quota of Kindred’s vendetta to the max in Spider-Man #52 to such a degree that its positively skin-crawling. The way Kindred taunts and goads Spidey before brutally pummelling him to a pulp is done with almost surgical precision, and its not long before our friendly neighbourhood Spider-Man finds the tables have been horrifically turned on him.

Kindred has been plotting and scheming from the shadows for much of Spencer’s run, having first killed Mendel Stromm and then Mysterio, Kindred went on to resurrect Sin Eater to cleanse criminals of their sins — including Norman Osborne (the Green Goblin). Last Remains kicked off with Kindred sending these collective sins after Spider-Man’s Spider-Friends,  Spider-Gwen, Spider-Woman, Spider-Girl, Miles Morales, and Madame Web, transforming them into twisted demonic version of themselves in order to unleash carnage on Peter and terrorise New York City. It is this demonic version of The Order of the Web that Kindred now uses against Spider-Man in this issue with almost frightening relish, and effetely forces him into a fateful no-win scenario.

Patrick Gleason’s artwork is a perfect fit for The Amazing Spider-Man. Employing a dynamic blend of overlapping page layouts and spectacular two-page spreads to convey the horror and intensity of Spidey’s face-off with Kindred, Gleason renders every moment of raw emotion, grisly horror and bone crunching action to perfection. Every scene is packed with detail   and colourist Edgar Delgado enhances the action with a glorious use of vivid color, rich tones, and  sinister shadows.

Everything builds towards a shock cliff-hanger which is brilliantly ambiguous and shockingly chilling. Grim thrills and intense action makes Amazing Spider-Man #52 riveting reading, Nick Spencer is firing on all cylinders here, and Patrick Gleason’s art continues to impress on every level. The creative team on this book are doing a fantastic job and Last Remains is easily one of the most darkly compelling Spider-Man storylines that I’ve enjoyed in a  long while. 

Publisher: Marvel Comics

Writer: Nick Spencer / Artist: Patrick Gleason

Colorist: Edgar Delgado / Letterer: VC’s Joe Caramanga

Cover: Patrick Gleason and Edgar Delgado

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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 #14 Review

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Apocalypse, Jonathan Hickman, Marvel Comics, X of Swords, X of Swords part 12, X-Men, X-Men #14 review, X-Men Apocalypse

X-Men #14

Review by Paul Bowler.

The cross-dimensional saga X of Swords continues apace in X-Men #14 as writer Jonathan Hickman delivers the long awaited reckoning between Apocalypse and his wife, Genesis!

As events go this year’s epic crossover X of Swords has been vast in scale, it has encompassed the entire X-Men comics range, and brought a series of startling revelations to the fore. The X-Men champions of the Mutant nation of Krakoa have been chosen to retrieve ancient swords before their participation in a tournament against the champions of Arakko, led by Genesis, and their children, the first horsemen and now sword-bearers of Arakko! As the champions gathered at the Starlight Citadel Apocalypse learned that the fearsome Annihilation, ruler of Arakko, is actually his long lost wife genesis!

Last issue virtually retconned everything we once knew about Apocalypse. In X-Men #14 we get another perspective on those events as Genesis meets him on the eve of the coming battles to recount the history of Arakko. Its a spellbinding blend of legends, world-building, conflict and heartbreak as Genesis’ story unfolds. We see how Krakoa and Arakko were torn apart across the dimensions, the subsequent wars that followed raged on, and witness Genesis’ salvation ultimately became her own cosmic hubris. One of the most compelling aspects of the mutant amnesty on the island of Krakoa – established during House of X and Power of X – is how it allowed for a far more sympathetic and insightful portrayal of Apocalypse. X of Swords has continued the renaissance of Apocalypse which has now become a cornerstone of Hickman’s X-Men run. The reunion with his wife Genesis in this issue is fraught with emotion and tension, indeed, this is probably the most intricate character development the ancient mutant has ever undergone.

Featuring art by Mahmud Asrar and Leinil Francis Yu, and colors by Sunny Gho, X-Men #14 is a visual cornucopia of beautifully rendered scenes, lush gardens bloom with opulence, while magnificent battles unfold across vast landscapes as magic and legends entwine as one. The attention to detail Asrar and Yu have lavished on this issue is quite staggering, every page is packed with detail, and Sunny Gho’s vibrant colors encapsulate the epic scope of the story perfectly.

This issue of X-Men effectively bring us to the midway point in the X of Swords saga. As a whole the event has been sound enough, in concept at least, but the sprawling nature of the narrative has also seen it veer alarmingly between grandiose storytelling and pretentious twaddle at times. So far X of Swords has hardly been essential reading. A lot of far more compelling plot threads have been effectively sidelined to accommodate this crossover event as well. However, now that we are getting to the nitty gritty of the story perhaps X of Swords will take a turn for the better once the tournament begins and the combatants clash – with the fate of Krakoa and Arakko resting on the outcome. 

We now see how the shared history of Apocalypse and Genesis has forged the evens leading into X of Swords (which in some instances even reach back as far as X-Men #2), its tragic how Genesis fell to the corruption of Annihilation, and inevitably a titanic showdown between them is now on the cards at some point. X-Men #14 brings some much needed elucidation to X of Swords somewhat contrived storyline, its gorgeously illustrated throughout, and stands as a compelling character piece in its own right.

Publisher: Marvel Comics

Writer: Jonathan Hickman /Art: Mahmud Asrar & Leinil Francis Yu

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

Design: Tom Muller /Cover: Leinil Francis Yu & 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

The Amazing Spider-Man #50 Review

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Green Goblin, Kindred, Last Remains Part 1, Marvel Comics, Nick Spencer, Norman Osborne, Patrick Gralson, Sine Eater, Spider-Man, Spider-Man #50, Spider-Man #50 Review, Spider-Man Last Reamins, The Order of the Web

The Amazing Spider-Man #50

Review by Paul Bowler.

The Amazing Spider-Man #50 marks another landmark issue for Marvel’s friendly neighbourhood Spider-Man. LAST REMAINS begins here, the first chapter of a new epic from writer Nick Spencer and artist Patrick Gleason. The mysterious villain Kindred finally enters the fray to strike at Spider-Man. But, having just saved Norman Osborne – director of the Ravencroft Institute for the criminally insane — from the Sin Eater, Spider-Man and his friends, the self styled Order of the Web (Spider-Gwen, Spider-Woman, Spider-Girl, Miles Morales, and Madame Web), are all completely unprepared for the terrifying horror that Kindred is about to unleash! 

Following on directly from the colossal Amazing Spider-Man #49 (or #850 if we go by the legacy numbering), the double-sized Amazing Spider-Man #50  kicks off the LAST REMAINS story-arc with a bang. The scope and scale of events depicted in this issue are mind-blowing and far-reaching as writer Nick Spencer balances the twisting narrative threads into a nerve jangling  web of intrigue, one where every strand is relevant, precisely crafted, and rich with powerful emotional beats for Spider-Man, his friends and even his foes. Furthermore, this issue also spins an uncanny recapping of the battle at Ravencroft, its chilling aftermath, and the brooding set-up for LAST REMAINS into the mix. As such, there’s plenty here for long-term fans to enjoy whilst still providing enough for newcomers to go on to quickly get up to speed with the plot.

After seeing Spider-Man and the Green Goblin fight side-by-side last issue against the Sin Eater, it was inevitable the Goblin would betray him. However, Spidey’s subsequent fit of rage and his decision to leave Norman behind in the ruins of Ravencroft as he escaped with The Order of the Web now pays off big time with the frightening aftermath of what that battle holds for Sin Eater, Norman Osborne and Kindred alike. Throw in a frightening encounter for The Order of the Web, a crushing defeat for Spider-Man, a visit to Doctor Strange, and some rather ominous interludes with Kindred and the stage is set for what might well become one of Spider-Man’s darkest and scariest stories ever. 

Patrick Gleason takes over artistic duties with this issue of Amazing Spider-Man to craft the distinctive tone and style of the saga that is LAST REMAINS. Using a striking mix of overlapping page layouts and bold splash-pages to convey the action, Gleason packs every scene with rich detail and grim atmosphere, which, together with colorist Edgar Delgado’s subtle use of intricate shades and hues, ensures this issue of Amazing Spider-Man is a visual treat. Spider-Man’s frenetic flight from the danger and horror he encounters is also hauntingly portrayed, as is his conversation later with Doctor Strange about the fate of The Order of the Web, Norman Osborne’s sinister encounter in the bowels of Ravencroft is steeped in horrific menace, and Kindred looks absolutely terrifying. Overall I was  really impressed with the style of Patrick Gleason’s work on this issue of Amazing Spider-Man and look forward to seeing more.

Nick Spencer’s run on Spider-Man has had its ups and downs for sure, the early optimism and back to basics approach of the relaunch did go on to get bogged down in a deluge of seemingly unrelated events and crossovers, but for the most part I’ve enjoyed the majority of Spencer’s run and Amazing Spider-Man #50 really sets the series back on a more even keel — more so perhaps than even last issues super-sized 850th extravaganza.

Aside from brining two years’ worth of plotlines to fruition, what really makes Amazing Spider-Man #50 stand out is how Kindred’s gruesome agenda  begins to take shape as this skin-crawlingly disturbing villain steps from the shadows for the first time. Nick Spencer has teased us for a while now as Kindred Spider-Man’s life, watching, waiting and plotting. Amazing Spider-Man #50 is an excellent milestone issue, elements of Spencer’s run begin to slot into place to reveal a much wider picture as Kindred’s identity is uncovered, and its a bombshell of a revelation that is sure to rock Spider-Man’s world to the core! 

Publisher: Marvel Comics

Writer: Nick Spencer / Artist: Patrick Gleason

Colorist: Edgar Delgado / Letterer: VC’s Joe Caramanga

Cover: Patrick Gleason and Morry Hollowell

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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

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

Tags

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

Tags

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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