Amazing Spider-Man #64 Review

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Amazing Spider-Man #64, Amazing Spider-Man #64 Review, Boomerang, Kindred, King's Ransom, Kingpin, Marvel Comics, Nick Spencer, Peter Parker, Sinister War, Spider-Man, The Amazing Spider-Man #64 Review

The Amazing Spider-Man #64 Review

Review by Paul Bowler.

The Amazing Spider-Man #64 finds Tombstone and Robbie Robertson at loggerheads yet again and Spider-Man’s life is getting trashed in the crossfire as a result! Mind you with Pete and his roommate Fred Myers (AKA. Reformed super villain  Boomerang), teaming up with Spidey to keep the pieces of the all-powerful Lifeline tablet out of the Kingpin’s clutches, and Peter’s other roommate Randy Robertson dating Tombstone’s daughter, Janice Lincoln (the Beetle), its little wonder Spider-Man’s life is a tad chaotic right now!

Nick Spencer continues to steer the series back towards a more scattershot, back-to-basics and fun approach to Spider-Man’s world that was so indicative of the early stages of his run. The first half of “King’s Ransom Part Two” is a frenetically paced blend of recap and cliff-hanger fallout after Madame Masque and Crime Master ambushed Randy and Janice back at Pete’s apartment — which was interrupted when Peter and Fred suddenly returned home. The ensuing fight details how Spider-Man managed to enter the fray — with Peter cleverly managing to protect his secret identity — while safely sidelining Fred but also failing to prevent Randy and Janice being kidnapped. 

Amazing Spider-Man #64 features slick artwork from Federico Vicentini, with Alex Sinclair on colors and lettering by Joe Caramagna. The pace of the action hardly lets up for a moment. Every page is dynamically structured, vibrantly illustrated and accentuated with a striking  pallet of color. Spidey’s battle with Madame Masque and Crime Master in the apartment offers further insight into the abilities of Spider-Man’s new high-tech suit (courtesy of JJJ’s Threats & Menaces podcast). The suit enhances Spider-Man’s strength, agility, web shooters, and also enables TNM’s subscribers to livestream Spidey’s adventures — at his discretion of course — and this quirky modern twist on Peter’s old job selling photos of Spidey to the Bugle has boosted Spider-Man popularity in NYC (much to the Kingpin’s annoyance) and sent JJJ’s channel subscribers though the roof!  I quite like the new costume, although I’m not overly fond of the Social Media slant to it all that much. Mark Bagley’s cover impressively showcases the current story line, however, it features Spidey in his classic suit, which seems a bit strange given all the time Marvel spent building hype about the new suit — guess this cover was commissioned before the new suit was revealed or decide on? 

The one thing I’ve really like about Spencer’s time on Spider-Man is the humour peppered throughout the dialogue and the fun dynamic between all the characters and situations they stumble into. This issue is no exception to that rule. The bromance between Peter and Fred has  also been a real highlight, and there are some especially moving moments this issue as Fred decides to take matters into his own hands against the Kingpin’s plans. Given all the years of bad blood between them, having Robbie and Tombstone set aide their differences — for now anyway — also leads to some fun hijinks as they try to track down Randy and Janice – as for the happy couple, well, as you’d expect there’re still bickering like crazy and testing their captors patience to the limit!

If all that wasn’t enough we also have the Kingpin’s scheme to assemble villains to send against Boomerang and Spider-Man, along with sinister machinations involving Kindred and Baron Mordo behind the scenes, and an ominous hint towards the Sinister War that’s coming in July thrown into the mix as well. While this issues not the best jumping on point, it does bring a lot of longstanding plot threads together, and sets up some intriguing possibilities. If you’ve stuck with Spencer’s run this long you’ll find plenty to enjoy here, while newcomers will find Amazing Spider-Man #64 crams in a hell of a lot but still manages to be a fun and enjoyable — if somewhat overwhelming — read nevertheless.

Publisher Marvel Comics

Writer Nick Spencer / Artist Federico Vicentini

Colorist Alex Sinclair / Lettere VC’s Joe Caramanga

Cover Mark Bagley, John Dell, 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 #18 Review

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Age of X, Darwin, House of X, Johnathan Hickman, Karkoa, Mahmud Asrar, Marvel, Marvel Comics, NCBD, Power of X, Sunny Gho, Synch, The Children of the Vauly, The Vauly, Wolverine, X-Men #18, X-Men #18 Review, X-Men The Vault

X-Men #18

Review by Paul Bowler.

The secrets of the mysterious Vault are finally explored in X-Men #18 from writer Johnathan Hickman, artist Mahmud Asrar and colorist Sunny Gho. It has been a long time since this team of specialist agents were sent by the Quiet Council of the Mutant nation of Krakoa to investigate the Vault – a place where time moves differently and a chronal lock makes it impossible for anyone to rescue them. 

Along with the central premise of establishing the new Mutant Island nation of Krakoa, Johnathan Hickman’s relaunch of the X-Men, which began with House of X and Power of X, also revealed that Professor X’s long-time friend, Moria MacTaggert was really a Mutant with a Groundhog Day style power that allowed her to relive multiple irritations of her timeline. Having spent many lifetimes trying to advance the X-Men’s cause and rebooting the timeline each time to learn from their setbacks, House of X and Power of X saw Moria discover that the ultimate threat and suppression of Mutantkind rested with an artificial intelligence that would be created in the distant future – Nimrod. 

So when a Child of the Vault managed to escape from the Vault – a technological marvel that uses time dilation and advanced technology to alter humans — the X-Men sent the Mutants Darwin, Wolverine (Laura Kinney) and Synch to South America to enter the Vault and assess the potential threat, along with the capabilities of the children, and uncover any inherent weaknesses in the children’s powers or the Vaults remarkable technological infrastructure. The only trouble is the team never returned. They’ve been gone for months, but as time moves differently inside the Vault, Darwin, Wolverine and Synch have now actually been inside the Vault for centuries!

The ongoing narrative of Hickman’s new X-Men run has sometimes felt less of the compelling blend of fresh ideas and innovative character arcs that spun our of House of X and Power of X, and more like a case of two-steps forwards and two-steps back as branches of the storyline unconsciously folded back over itself or became diluted with meandering events like X of Swords. Hickman is keeping a lot of plate spinning — some more successfully than others — but so far its been enough to keep everyone guessing and excited about where all of this is essentially  going for the X-Men.

Darwin, Wolverine and Synch entered the Vault way back in X-Men #5, now with X-Men #18 Hickman is finally addressing this tantalising plot thread, and he certainly doesn’t disappoint with the often bizarre and mind-boggling revelations that are divulged thick-and fast throughout this issue with almost serendipitous glee. Having this issue narrated via Synch’s recollections of events is also a clever move by Hickman which organically drives the plot from key selective viewpoints, with the inner machinations of the Vault and the motivations of the Children of the Vault converging on parallel lines with the X-Men’s incursion, and the series’ now iconic bullet-point style info-graphics filling in the blanks — especially the insightful information concerning the evolution of Synch’s powers post resurrection and what this could mean for mutant kind going forward.

This team was selected for their unique survival abilities: Darwin can adapt to any life-threatening situation, Wolverine has her healing-factor, and Synch can duplicate their powers. They were ideally suited to this mission, especially as there was no way back if things went wrong (which of course they did), and X-Men #18 details what happened in the initial moments of the relative 537 years that the team have effectively been missing. The Children of the Vault are purportedly the true heirs of the world, meant to be vastly superior to humans and Mutants, so how they react to the “wild gods of the outside world” proves decidedly disturbing, and the technological wonders of the  Vault are an uncanny challenge in itself for the X-Men’s team to experience — let alone  fully comprehend. 

Artist Mahmud Asrar and colorist Sunny Gho give substance and clarity to the finer vagaries of Hickman’s storyline, with hauntingly futuristic landscapes, advanced machinery and technological interfaces, and the almost palpable mix of awe and trepidation the team experience permeates every page. Asrar does a fantastic job of rendering these powerful emotional moments as the mysteries of the Vault begin to unfold, with intricate, sweeping page-layouts seamlessly condensing the narrative, there’s an action-packed encounter between the X-Men and the Children of the Vault that is also impressively realised, while Sunny Gho’s subtle use of delicate tones and shade brings an almost spiritual quality to the teams journey into the unknown and the ensuing centuries of discovery that await.

It has felt like a hell of long wait for Marvel’s flagship X-Men title to finally get back to addressing the mystery of the Vault and the fate of Darwin, Wolverine and Synch after they failed to return. In that respect X-Men #18 certainly gets the ball rolling again, even though it frustratingly poses just as many questions as it answers. However, if you’ve stuck with Hickman’s new X-Men this far your patience is rewarded as X-Men #18 finally gives us a clear sense of progression, and in that respect above all it delivers in spades. 

Publisher Marvel Comics

Writer Johnathan Hickman / Artist Mahmud Asrar 

Colorist Sunny Gho / Letterer VC’s Clayton Cowles 

Design Tom Miller / 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

Immortal Hulk Flatline Review

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Bruce Banner, Declan Shalvey, Gamma, Hulk, Immortal Hulk, Immortal Hulk Flatline, Marvel, Marvel Comics, NCBD, The Immortal Hulk

Immortal Hulk Flatline 

Review by Paul Bowler

Expanding on the dark saga of The Immortal Hulk, Marvel’s one-shot Immortal Hulk Flatline, written and drawn by Declan Shalvey, delivers a tale that smashes into the heart of all things Gamma! At the dawn of ever day, Bruce Banner awakens in a new place. Perhaps the Hulk is trying to tell him something? Banner has grown tired of his green-skinned alter ego, but when a new gamma-powered villain suddenly arrives in a New Mexico town he has no choice but to confront his anger, and the terrifying results are far from anything Bruce Banner could ever have predicted…

Few comics have enjoyed or can compare to the success and critical acclaim that The Immortal Hulk has enjoyed in recent years. Al Ewing and Joe Bennet – along with a number of guest artists — have redefined the character and by taking him back to his horror roots. However, Marvel were somewhat caught off guard by the unprecedented success of The Immortal Hulk, so with the series’ end  already set and established to happen with its fiftieth issue, their response was the commission of a series of one-shots by esteemed writers and artists to bring us further standalone stories from this hugely popular era of the Hulk. 

One the most eagerly anticipated of these one-shots has been Immortal Hulk Flatline by the acclaimed Irish creator Declan Shalvey who is doing both the writing and the art for this one-shots intriguing storyline. Known for his pin-sharp, striking visual style, and fine writing skills, Shalvey brings all his skill to bare on crafting something uniquely special for the Immortal Hulk Flatline. While Ewing’s and Bennet’s main series rumbles towards its conclusion, Declan Shalvey steers the narrative back to reexamining the dark schism that fuels the conflict between Banner and Immortal Hulk, with the green behemoth deposing Banner at different locales around the country, seemingly intent on drawing his attention to something that Banner is still desperately struggling to define. 

Of course that’s only part of the mystery at the heart of Immortal Hulk Flatline. The other is Banner’s chance meeting with his old friend and college lecturer on Gamma radiation, Professor Noonan. This haunting encounter leads into the discovery of a new gamma-powered adversary that Banner and the Immortal Hulk inadvertently come into conflict with. Shalvey brings some new and unexpected insights to the core themes of Al Ewing’s ground-breaking run on The Immortal Hulk, casting new light on the chilling dynamic of the series’ initial premise, and the existential common goal that ultimately drives Banner’s pantheon of alters. 

Handling the role of writer, artist and colorist like this is quite a responsibility and Declan Shalvey does so with considerable style and verve. The artwork is indeed a veritable tour de force by Shalvey, his Immortal Hulk is a distilled version of Joe Bennet’s horror themed grotesque, and more of a chiselled, brutish thug, but his Immortal Hulk persona is still every bit a darkly menacing powerhouse to be reckoned with. The new Gamma irradiated villain that Hulk battles in this one-shot possesses telekinetic-like Gammer abilities, which are used to devastating effect as their savage no-holds-barred conflict crashes from page to page across a plethora of dynamic and stylish page layouts. Petit’s lettering is bang on point as well for what is actually quite a dialogue intense issue. Shalvey also employs a masterful use of color, using muted tones to highlight the drudgery of the dead-end jobs Banner takes on to blend into the background, while vibrant colors accentuate the explosive battles, and somber hues Convey the shared reckoning of the emotive climax. 

Declan Shalvey has achieved an astonishing feat with this one-shot special. The fact Shalvey’s brought so many quintessential elements of the series together is remarkable in itself;  that he’s also made them resonate so well in such a glorious fusion of story and art makes The Immortal Hulk Flatline one-shot one of the early high-points of 2021 and a fine addition to the enduring legacy of the Immortal Hulk.

Publisher Marvel Comics

Writer & Artist Declan Shalvey

Letterer VC’s Cory Petit

Cover Declan Shalvey

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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

Star Wars: Darth Vader #10 Review

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Darth Vader, Darth Vader #10 review, Darth Vader 10, Greg Pak, Into the Fire, Marvel Comics, Mustafa, Ochi, Raffaele Ienco, Star Wars, Star Wars Darth Vader 10

Darth Vader #10

Review by Paul Bowler.

Having endured the Emperor’s wrath and survived the test of the Eye of Webbish, the Dark Lord of the Sith’s ordeal continues in Star Wars: Darth Vader #10 with a terrifying confrontation with the Red Horror in the depths of space! As Imperial forces close in, the greatest predator in the galaxy is now the only thing standing in the way of Vader’s quest to uncover the Emperor’s greatest secrets!

The action and drama are almost palpable in Marvel Comics Star Wars: Darth Vader #10 (2020-), as writer Greg Pak steers the Dark Lord’s journey into the realms of action-packed star-fighter combat and dark psychedelic horror. Vader has already survived his brutal punishment for defying the Emperor, then being stranded on Mustafar where he rebuilt his cybernetic shattered body, before fighting the assassin Ochi, waves of droid mercenaries, and tackling the bizarre trial within the Eye of Webbish Bog. Now, having taken his old star-fighter and Ochi along for the ride, Vader set course for the planet Exegol – where the Emperor’s darkest and most insidious secrets are waiting to be discovered. 

Trouble is the only route to Exegol is through the Red Nebula, forcing Vader to navigate his way past a trio of Imperial Star Destroyers commandeered by administrator Umbaran and the monstrous Summa-Verminoth that lurks within the nebular. Pak’s scripting and characterisation is bang on point, with the Imperial’s cold and calculating facade wavering in the face of Vader’s relentless determination, while Ochi’s snarky quips punctuate the tension with plenty of wry humour as Vader and his unwitting prisoner continue to make a surprisingly efficient — if rather fraught — double-act.

The art by Raffaele Ienco is gloriously detailed and almost  feels cinematic in its rendering of the huge scope and scale of events in this issue. Vader’s iconic look is now very different with his limbs and cybernetics rebuilt from the junk found on Mustufar – giving the Dark Lord a more gritty appearance. The space combat with the TIE fighters is also impressive and puts you right in the heart of the action. However, it is the Lovecraftian appearance of the grotesque leviathan Summa-Verminoth itself, whose attacks are both physical and psychological, and  Vader’s dream-like journey through classic scenes of the Star Wars saga past, present, and possible future where Vader confronts his worst nightmare that are truly mind-blowing. Ienco’s artwork is also beautifully enriched by colourist Neeraj Menon’s exquisite use of tone and shade throughout, and the cover by Arron Kuder and Richard Isanove presents a hauntingly bleak snapshot into this most mesmerising aspect of Vader’s journey so far during this Into The Fire story-arc.

One of the caveats the Emperor decreed at the start Vader’s fall from grace, was that Vader was prohibited from using the Force to help him during these trials, and that doing so would mean his death. It is this pivotal limiting factor for the Dark Lord of the Sith that now crucially plays a key factor in the climatic scenes of Darth Vader #10, where immovable force finally quite literally meets immovable object as the quasi-nihilistic rhetoric of the Dark Side ultimately tips the scales for the victor.

Into The Fire Part V: The Red Horror reaches a major turning point in this compelling storyline, and the creative team on this book continue to impress on every level. Star Wars: Darth Vader #10 transcends the conventional perceptions of Darth Vader’s legacy with a skilful reframing of reality,  one that juxtaposes  Vader’s destiny with that of his son, and brings the Emperor’s darkest secrets within striking distance at last!

Publisher Marvel Comics

Writer Greg Pak / Artist Raffaele Ienco

Colorist Neeraj Menon / Letterer VC’s Joe Caramagna

Cover Arron Kuder & Richard Isanove

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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

Doctor Strange Epic Collection: Alone Against Eternity Review

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Clea, Doctor Strange, Doctor Strange Epic Collection: Alone Against Eternity, Doctor Strange Epic Collection: Alone Against Eternity Review, Dormammu, Dr Strange, Dracula, Epic Collection, Eternity, Gene Colan, Jim Starlin, Marv Wolfman, Marvel Comics, Master of the Mystic Arts, P.Craig Russell, Quadriverse, Stephen Strange, Steve Englehart, Umar, Xander the Merciless

Doctor Strange Epic Collection: Alone Against Eternity

Review by Paul Bowler.

Marvel Comics Doctor Strange Epic Collection: Alone Against Eternity collects a magical mix of Bronze Age talent. In this trippy, spellbinding mid-’70’s voyage through the mystic arts, some of Doctor Strange’s most iconic adventures are brought to life by the wondrous talents of Steve Englehart, Marv Wolfman, Jim Starlin, Gene Colan and P.Craig Russell.

Steve Englehart and Gene Colan arguably crafted some of the most breathtaking and classic Doctor Strange storylines of all time. For when Dormammu and Umar and Eternity sweepingly declares that the very end of time itself is imminent. In order to save the world and reality as we know it Stephen Strange will have to confront the most uncanny threat of all – himself! This enchanting and mind-bending saga remains one of my favourite Doctor Strange, and its a delight to revisit it here in this collection.

Also here is the conclusion to Englehart’s run, the spine-chilling Dracula crossover, a trip to hell, and the Time Travelling Occult History of America. Then the brilliant Marv Wolfman and Jim Starlin enchants us with an outstanding confrontation between Doctor Strange and Xander the Merciless and Clea gone mad! With a reality twisting descent into the uncanny Quadriverse, we then reach an unparalleled reckoning as Stephen Strange confronts his status as the Sorcerer Supreme! As if all that wasn’t enough, there’s a gorgeously illustrated annual by co-writer / artist P.Craig Russell to enjoy as well!

With its mesmerising storylines and impressive artwork the Doctor Strange Epic Collection: Alone Against Eternity is a sumptuous mix of arcane wonder and bewitching spectacle on every level. Collecting Doctor Strange (1974) 6-28, Annual (1974) 1 and Tomb of Dracula (1975) 44, this Epic Doctor Strange volume of classic stories is sure to cast a spell over fans old and new alike.

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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

Amazing Spider-Man #55 Review

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Amazing Spider-Man #55, Amazing Spider-Man #55 review, Amazing Spiderman #55 review, Green Goblin, Harry Osborne, Kindred, Kingpin, Last Remains, Marvel, Marvel Comics, Mary Jane, Miles Morales, Nick Spencer, Norman Osborne, Patrick Gleason, Peter Parker, Spider-Man

The Amazing Spider-Man #55

Review by Paul Bowler.

Last Remains concludes in Amazing Spider-Man #55 with an epic showdown between Spider-Man and Kindred! Its a battle that will shake Peter Parker’s world to the core, but the fallout from Kindred’s diabolical scheme could prove even more devastating for Spider-Man and those he loves…

So, after lurking in the shadows for nearly two yeasr, Kindred’s identity was finally revealed as none other than Norman Osborn’s son, and Peter’s old friend, Harry Osborne! After tormenting his old pal for what Harry perceived as Peter “sins,” namely his inability to stop Norman from causing chaos as the Green Goblin throughout their lives, Kindred beat Spider-Man to a bloody pulp, killing and reviving him over and over until restoring Peter’s life one last time to reveal the endgame of his grand plan — and to Peter’s horror it involves Mary Jane!

Writer Nick Spencer brings the chilling Last Remains storyline to a nerve jangling finale  with Amazing Spider-Man #55 as the final battle unfolds in the crypt at the Osborne family cemetery. Spider-Man’s Spider-Friends, Spider-Gwen, Spider-Woman, Spider-Girl, Miles Morales, and Madame Web have also been captured by Kindred, and Peter can now only watch helplessly as Mary Jane is  inexorably drawn into Kindred’s ghoulish web of vengeance. Events are brought to a cataclysmic head as Peter and Harry’s lifelong friendship is put under the microscope, uncomfortable home truths are finally aired over a grisly last supper, and old wounds get reopened with devastating results for all concerned.

I’ve really enjoyed the work of artist Patrick Gleason and colorist Edgar Delgado on this series and they’ve done a terrific job with this issue as well. Gleason’s art perfectly captures the grim tone of this story. Every page resonates with atmosphere and menace as Kindred’s dark schemes are given centre stage, with dynamic page layouts stylishly conveying the brutal action scenes, while Edgar Delgado’s masterful use of tone and shade accentuates the brooding air of dread, and the tense filled final moments are all brilliantly rendered in such a way that you almost  feel  a part the plight which Peter faces.

The ingenious way that Spencer throws a curveball move from some old foes as well as MJ into the mix for this final chapter of Last Remains is brilliantly done. Rounding everything off with an edge-of-your-seat cliffhanger was also a bold move — especially considering the revelations in this issue — and no doubt this storyline could well have wide reaching ramifications for the wall crawlers future. All in all, after a bit of lull during the recent glut of Marvel’s big comic book events and crossovers, I think Last Remains has really set Nick Spencer’s run on Amazing Spider-Man back on track. I’ve throughly enjoyed it and consider it one of the best comic storylines I’ve read in 2020.

While we await what’s in store for Spider-Man in the aftermath of Last Remains, Marvel have also given fans their first look at Spider-Man’s all new costume that Spidey will wear beginning with March’s Amazing Spider-Man #62 by Nick Spencer and Patrick Gleason and Aprils Amazing Spider-Man #63 — the costume is designed by Dustin Weaver, who also illustrates the variant covers for Amazing Spider-Man #62-#63 and was a collaborative effort with Spencer and Gleason. The new costume has a distinctly sleek, high-tech look to it, and I have a feeling it will be something fans will either love or hate. Personally I don’t mind it, I think its ok, I like the Spider-Noir style eyes, and the color scheme, though somewhat quirky, oddly seems to suit Spider-Man quite well.

• 

• 

Well, there we have it. My final review for 2020, and what a year its been hasn’t it? The Covid 19 pandemic has certainly turned our world upside down, tragically the death toll of this awful virus is still far from over, but the vaccine now offers hope. I’ve found the lockdowns tough, we’re still under almost lockdown conditions here in the UK, and that’s sadly meant that Christmas has been more of series of Zoom chats than the normal family get togethers I look forward to every year. Thank you for being there. Thank you for all your continued support of my blog and everything that I do, it means so much to me, to have this little corner of the internet to ramble on about comic books, films and TV shows like I do, and here’s hoping that 2021 brings better times for a us all. 

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

Daredevil #24 Review

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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

Tags

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

Tags

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

Follow @paul_bowler

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