Azzarello opens this issue up in the Weapons Room of Hephaestus. Diana heads to Hell to bring Zola back from Hades and she needs the proper tools to get the job done. She opts to go alone but Hermes forces himself into joining her. Azzarello does a nice job injecting humor into the beginning pages as Hephaestus deems Diana’s choice of weapons archaic and gives her Eros’ Twin Pistols to aid her.
Azzarello creates a very fresh take on Hell. His vision is one of great emptiness. I especially liked that Hermes describes Hell as whatever Hades imagines it to be. There also a moment that reminded me of The Body World Exhibit based on the design of the Demon.I have to speak about Cliff Chiang’s art in this issue. Everything from the page layouts to the character designs and backgrounds are drawn with so much attention to detail its crazy. He has a very clean line when he draws and each panel is a incredible piece of art on its own.Special mention to Matthew Williams on Colors. I really enjoyed his use of bright reds and the contrast in used with cooler blue and grey tones. This is a very beautiful book. As much as I admire what Azzarello has done with Wonder Woman and her Origin story, I can’t imagine another artist who could have executed those ideas as well as Cliff Chiang and Tony Atkins who pencils issues in between Chiang.
Cliff Chiang's unique take on Hell in Wonder Woman #8
Hermes and Diana fight through the lost souls of Hades and eventually find Zola. Unfortunately they also find Hades in the process. Hades makes a deal with Diana. He originally was promised a Bride which is why he took Zola. However he makes a deal with Wonder Woman. Give him Eros’s Twin Pistols and he will let Zola go free and unharmed. Wonder Woman agrees to the deal though she should know it’s not smart to make deals with Hades in the first place. This issue ends in shocking fashion and I assume Wonder Woman is going to need the help of her brother and sister gods come issue 9. This is a great series and another example of why the New 52 works. Go ahead and add this series to your pull list as long as Azzarello and Chiang are on board. You wont be disappointed.
The Punisher #10
Writer: Greg Rucka
Art: Marco Checchetto, Matt Hollingsworth [Color Artist]
Continuing the “Omega Effect” crossover story, ThePunisher #10 picks up where last weeks Avenging Spider-Man #6 left off. Having agreed that the destruction of the Omega Drive–which contains intel on every major super-criminal organization under the sun–is the best course of action, Spider-Man, Daredevil, the Punisher, and “Punisherette” Rachel Cole-Alves set out to wreak havoc upon the New York underworld before destroying the drive for all of the organizations to see.
Greg Rucka writes a fast-paced, fun issue here. Yes, I just used the word “fun” to describe a book starring the Punisher. Rucka handles the Spider-banter well here, even having Frank Castle himself throw in a veiled quip at one point. It should be noted that this is the first Punisher comic I’ve ever bought (I’m mostly familiar with him from guest appearances in other books) and I have to say that Rucka makes the breakdown of Castle’s tactics during the raids on AIM, Hydra, Hand, and Exchange operations easy to follow.
He also provides a little more insight into Sgt. Rachel Cole-Alves’ backstory for new readers and develops the character over a few more panels. To keep it simple, though, she’s basically got a similar backstory as Frank Castle. To round things out, Rucka parallels what each team–Spidey/Daredevil and Castle/Alves–do en route to the rendezvous, with Spider-Man and Daredevil getting caught up delivering a baby in stalled traffic and the Punishers stocking up on firearms in a hideout where an Iron Man helmet and Hawkeye bow are visible (I wonder how Frank Castle got his hands on those…).
Overall, Rucka keeps the second part of this crossover moving at the same brisk pace while maintaining the fun factor and seamless writing it began with. Coupled with more stellar art by Marco Checchetto and Matt Hollingsworth, this is another must-read in a thus-far perfect multi-book crossover.
Venom #16
Writer: Rick Remender
Art: Kev Walker, Chris Sotomayor [Colors]
A while back, Venom captured the D-list villain Human Fly. This issue, he’s in charge of protecting a train transporting Human Fly to the Raft, a maximum security prison designed for super villains.
It all starts out simple enough, with Human Fly giving a sob story about how he stole a few million dollars from the Kingpin and now the Kingpin is going to kill his son. It adds depth to the Human Fly, especially given the revelation at the end of the issue.
Before Flash can fully process any of this, though, one of the guards informs him that the Kingpin has already placed a $10 million bounty on the Fly’s head and that one of the other guards has already offered to take it. It turns out the guard with the intel is no guard at all, but actually the Hobgoblin in disguise. Needless to say, a battle between the three ensues and Venom is dealt another personal defeat.
Rick Remender has promised in recent weeks that people who like seeing Flash Thompson’s life suck would be happy in coming months, and so far, he seems to be keeping that promise. If it’s all downhill from here, I can only imagine the depths to which he’ll take Venom before things start looking up. Aside from giving Human Fly some of the best characterization I’ve ever read from that character, he also makes great use of the Phil Urich Hobgoblin here. Like what he did with Jack O’Lantern early on in the series, I actually think Human Fly is more than a C- or D-lister for a change.
Another solid one-and-done from Remender this week, just in time for new readers to jump onboard for the “Savage Six” story arc.
Uncanny X-Force #24
Writer: Rick Remender
Art: Phil Noto, Dean White [Colors]
During last year’s “Dark Angel Saga,” the Age of Apocalypse’s evil version of Iceman escaped into Earth-616 (i.e. the mainstream Marvel Universe). This was the primary reason for that reality’s Nightcrawler joining X-Force.
In Uncanny X-Force #24, he finally gets his revenge on his former friend and teammate.
While Nightcrawler, Wolverine, and Deadpool head to Madripoor to take care of AoA Iceman, Fantomex and Psylocke attend the Otherworld funeral of Psylocke’s brother, Jamie Braddock. Here, we see Fantomex’s more human side during a brief conversation with Psylocke’s other brother, Brian (AKA Captain Britain), and learn that in order to save Fantomex during the Otherworld saga, Psylocke gave up her ability to feel sorrow or remorse.
Back in Madripoor, the fight comes down to Nightcrawler and Iceman–no powers or weapons, just two former friends fighting to the death. Rick Remender really drives home the emotional impact of this battle via Nightcrawler’s thoughts and the banter between the two. Additionally, Remender continues to bring some of the best Deadpool antics outside of Daniel Way’s Deadpool solo series and provides a huge leap in the Fantomex-Psylocke relationship, as well as building upon the father-son dynamic between Fantomex and Apocalypse child clone Genesis.
Phil Noto and Dean White’s art in this issue is vibrant and detailed, perhaps even my favorite art on this series thus far. The transitions between panels are extremely fluid and easy to follow, keeping the action moving at a steady pace.
This one-and-done issue is a must-buy for fans of the series and new readers interested in the title alike.
Wolverine and the X-Men #9
Writer: Jason Aaron
Art: Chris Bachalo [Penciler/Colorist]; Tim Townsend, Jaime Mendoza, and Al Vey [Inkers]
As you’re probably aware (based on the banner on this issue’s cover), Wolverine and the X-Men #9 is an Avengers Vs. X-Men tie-in issue. As such, it provides a micro-level look at the macro-level events taking place in the event’s main book.
This issue in particular takes place during the events of Avengers Vs. X-Men #1, detailing Captain America’s visit to the Jean Grey School for intel from Wolverine.
Having dealt with the Phoenix before–namely when it possessed Jean Grey and turned her into a force of destruction before she killed herself to stop it–it’s only natural that Beast would be monitoring deep space in the event that it returned. Thus, we find out here that Beast and Wolverine were well aware of its impending return far before Steve Rogers came to tell them.
Jason Aaron also delves into the internal conflict going on with Logan, as well as that potentially brewing within the school, regarding the potential of going to war with Cyclops’ group of X-Men on Utopia. Those X-Men, after all, are people that Wolverine and others in his school called family for years. Unfortunately, they pretty much all–Cyclops especially–believe that Hope Summers is the “Mutant Messiah” and that the Phoenix possessing her will bring about a reawakening of the mutant species, which was mostly de-powered by the Scarlet Witch during “House of M.”
As Logan says to Captain America, “Think of Utopia as a compound full of heavily armed religious fanatics. And you’re the feds butting in, telling them what to believe and how to live. It won’t go well.” Wolverine knows it’s going to come to blows and is wary about siding against the X-Men, and Captain America only convinces him to side with the Avengers by putting it in terms of saving the world.
Logan’s decision is shaky, at best.
Meanwhile, the Phoenix Force’s approach lays out two telepaths with previous connections to it–Rachel Grey and Quentin Quire–and alarms the Shi’ar Emperor Gladiator, whose son, Kid Gladiator, is a student at Logan’s school. Gladiator and the Shi’ar are also familiar with the destructive nature of the Phoenix, and while it remains to be seen if they’ll come into play in the main series, it’s only natural that they should show up in one of the X-book tie-ins.
Chris Bachalo’s art remains hit or miss for me. While I enjoy it here for the most part, there are a few panels, such as the psychic disturbance with Grey and Quire on page 15, that were a little confusing at first, but made sense on second viewing. My main art gripe here is that Rachel Grey is seen standing behind Wolverine in the faculty meeting near the end of the issue after being laid up in the school’s medical facility on the previous page.
Minor art gripes aside, Aaron does with this issue what any good tie-in should do–add depth to the main story. By adding more detail to the events of the first round of AVX and throwing in additional plot threads that allow for a stand-alone story arc.
Avengers Vs. X-Men #2
Writer: Jason Aaron
Art: John Romita Jr. [Pencils], Scott Hanna [Inks], Laura Martin [Colors]
[We’ve tried our best to be as spoiler-free as possible here, but nobody’s perfect. Read at your own risk.]
Defying Captain America’s request to take Hope Summers into custody last issue, Cyclops fired the first shot in the X-Men’s war on the Avengers against the Star-Spangled Hero himself.
As the Avengers take Utopia’s beach, Emma Frost moves Hope inside–assuming the girl, with more questions than answers regarding the Phoenix and what its return means regarding her, will stay put. In short order, the most epic battle in comics since the end of 2008’s Secret Invasion or 2006’s Civil War commences.
Jason Aaron sets up several of the fights to take place in the accompanying Avengers Vs. X-Men: Versus mini-series beginning next week, with several moments in this issue hinting at the outcomes of those fights. He brings Quicksilver into the fray, revealing where the son of Magneto stands in the fight (HINT: There isn’t going to be a reunion of the original Brotherhood of Evil Mutants anytime soon), and teases the entrance of Magneto’s daughter, the Scarlet Witch, with no hint of who she’ll side with.
The highlight of this issue is arguably Aaron’s insights into the match-ups, like calling Emma Frost’s organic diamond form punching Tony Stark’s multi-billion dollar armor the “most expensive punch in history,” playing up the marital dramatics in a fight between Storm and the Black Panther, or pointing out that Wolverine is fighting against an island of characters he once called family.
This initial battle is all for naught, but it does skirt on the idea that Cyclops might potentially become a villain. Much of what he says in this issue sounds like things reformed X-Men über-villain Magneto would say, and he does have his own Juggernaut now in Colossus. With 10 issues to go, the only things that are certain are that several characters are bound to switch sides, Civil War-style, (Hell, it’s even teased in the Cap vs. Wolverine cover for AVX #3) and that things will spiral further out of control.
At this point, my biggest hope (aside from wanting a Cyclops villain turn) is that we at least get a Marvel Ultimate Alliance 3 video game out of this in a year or two.
So, two issues into Avengers Vs. X-Men and I can say I’m underwhelmed. What I thought was largely going to be a collaborative effort in bringing two different teams and their vantage points to light has thus far turned into “Cyclops is crazy and the Avengers aren’t.” I don’t buy the angle that Cyclops is losing his mind, or that he’s taking things too far. It paints every X-Man and woman as blind sheep fighting for the cause of a crazy man. Maybe I’m rooting for the little guys, in which case i feel the X-Men are warranted to protect one of their own. The characterization feels off, especially with Cyclops and Wolverine. Again, maybe it’s because I’m in Cyclops’ camp here, but I can’t help but feel like this story feels off.
I do love John Romita Jr.’s work in this series so far. His facial work with females has improved very much. His pencils give all of the energy and intensity you’d expect between a battle of the two most recognizable factions in Marvel. Aaron’s script does provide great narration as Avengers and X-Men beat the hell out of each other. Also, kudos for him creating the Magnetic Fastball Special. Those moments are what I’ve enjoyed about this series so far. He also gave Emma the best line in this issue reflecting the tone I think most X-Men have towards their Avenger counterparts. After Iron Man refers to Hope as “the girl,” Emma responds by telling him that the girl’s name is Hope and that they never requested help in the first place.
We get quick glimpses of Quicksilver and Wanda ,with Quicksilver rushing to join his Avengers team and Wanda walking away from her journal not joining the fight just yet. The journal by the way is called “Wanda’s Dream Journal” (slap forehead with hand) there are more than a few of these moments in this issue that make you cringe. As I said in my opinion this book hasn’t delivered the goods just yet with the story. It’s a pain to see characters like Quicksilver, who was actually insane (anyone remember House of M?), fighting along side Avenger’s while Cyclops is characterized as a mad man losing touch with his reality.
I’m hoping next issue improves a bit and makes the reason for this fight a bit less one-sided. With the cover to issue #3 showing Cap fighting Wolverine, it will be interesting to see why he defends the X-Men after dropping down and beating up the same students he defended during Schism. As I said, as a fight book this is fun. As an event that is supposed to change Marvel’s landscape for the next year…not so much.
Amazing Spider-Man #684
Writer: Dan Slott
Art: Humberto Ramos, Victor Olazaba [Inks], Edgar Delgado [Colors]
Certain that he had thought of everything possible while preparing to fight the latest incarnation of the Sinister Six (Doctor Octopus, Sandman, Electro, Mysterio, Rhino, and Chameleon), there was one thing Spider-Man didn’t account for–Doc Ock doing the same thing and making short work of the Avengers.
Despite taking out one of the Sinister Six when Thor shot Electro into orbit, the Avengers–Captain America, Iron Man, Red Hulk, Hawkeye, Spider-Woman, and the aforementioned God of Thunder–are taken down quite easily and their Quinjet, with Black Widow inside, is crashed. Spider-Man, with his new spider armor crippled, is left at Octavius’ mercy.
Fortunately for him, Symkarian mercenary Silver Sable has been following him and the Avengers since the G8 Summit and is able to rescue Spidey and the Black Widow.
The Sinister Six escape with the rest of the downed Avengers in tow and Ock begins negotiating with the world’s leaders. In exchange for clean records and $2 billion for each of the other five members of the Sinister Six, Octavius will stop global warming with the “Octavian Lense” his octobots can create in Earth’s atmosphere. Spider-Man, Silver Sable, and Black Widow are able to patch into these transmissions via help from Horizon Labs and the Symkarian prime minister, and head off to an abandoned AIM facility in the Sahara Desert that they figure out is in use by Doc Ock.
The AIM facility ends up being a trap, however, and the three are left to face Sandman, who has the entire Sahara Desert at his disposal.
Dan Slott continues to weave his epic event, keeping Ock’s true intentions in the dark, as well as what he has promised various members of the Sinister Six in exchange for their help. Additionally, the Sandman battle in this issue is by far the most interesting in years. Typically, Spider-Man stops Sandman by using a nearby water source to wash him away or turn him into mud, or bakes him into glass. It’s one thing for Spider-Man to fight the Sandman on a beach or in a quarry or construction site, but another beast entirely in the middle of the world’s largest desert. The means by which Slott has Spider-Man, Silver Sable, and the Black Widow defeat the Sandman (with help from Horizon Labs) here is fairly brilliant.
Aside from being a great premise for a fight in this story, the Sahara Desert fight also offers a huge opportunity for impressive visuals and Humberto Ramos doesn’t disappoint. I know I’ve said this before in other reviews, but Ramos’ work grows on me every time I see it. It’s honestly gotten even better in the last year and a half, becoming a combination of his older style (which, to me, has more of an anime feel) and traditional comic art. Some of his faces even bring Todd McFarlane to mind. Like Stefano Caselli on the first two issues of this arc, Ramos brings his A-game here.
In a year that has Amazing Spider-Man #700 on the way, as well as at least two more big story arcs, I’m wondering how Dan Slott and Co. can top what they’re doing right now.
Kyle Higgins Nightwing series ties into Batman and The Court of Owls this month. Last issues revelation that Dick was next in line as a Talon for The Court f Owls was a shocking twist for the character. This issue Nightwing is following up on his lead after being framed for murder. He reclaims his Escrima sticks that were found at the scene of the crime just in time to get Alfred’s distress call from the Bat Cave. This story takes place at the same time as Batman#8 though you don’t need to read that issue to be involved in whats going on. If you have there is some payoff showing how William Cobb gets freed from the Bat Cave if you’ve paid close attention to Batman#8.
Higgins alternates between following Nightwing around as he attempts to save the Mayor of Gotham from The Court of Owls and goes back in time to 1901 introducing us to a boy by the name of William Cobb. Cobb’s story is one all too familiar to Dick Grayson’s in that he is not a child of Gotham but does become a child of Haly’s Circus. The view-point of William Cobb is the focus throughout the issue allowing for some deep seeded resentment towards Nightwing. I like that William is treating Dick as if he’s Betrayed his rue calling while Dick ever the optimist continues to set his own path. This books title is Nightwing though and I wish more of this issue would have been from his perspective.
I like Eddy Barrows art a lot. It’s epic in scope and he captures Nightwing’s trademark moves very well on paper.There were a few moments in this issue though where I felt the page layouts led to me being confused by what I was reading as well as who was saying Dialogue to whom. It makes reading this issue harder than it should be as it already is jumping back and forth between to characters.
This issue is a shaky start to a strong event happening in the Bat Books. The cliffhanger at the end led to me wanting to read the next issue and I still enjoy what Kyle Higgins and Eddy Barrows are doing with the character. I just want more of this story as told through Dick’s eyes and not necessarily him becoming a supporting character in his own book.
Issue #8 of Batman starts off with Bruce finally coming to terms with his behavior regarding the Court Of Owls and him finally coming to the conclusion that he’s been acting like a stubborn fool. Scott Snyder gives just enough time to focus on Bruce being tortured physically and mentally. I like that he allows the events of the past 7 issues to finally sink in with Bruce.
It only lasts for a few seconds though. During his conversation with Alfred they both notice sounds on the roof and from that point on Snyder and Capullo put together one of the most energetic and suspenseful issues yet of Batman.
Bruce and Alfred go into full Panic Room Mode. With Bruce sending Alfred to the Bat Cave as he defends Wayne Manor from The Court and their Army of Talons. Snyder allows Greg again to tell large parts of the story through panel progression. While Capullo amazes us with the art, Snyder gives the Talons sentence after sentence of noteworthy Dialogue. The Talons are creepy, in a Slasher Film kind of way. “Hoot Hoot” will forever give me chills from now on.
A brief glimpse at Capullo and Glapion's amazing work in Batman #8
There is a constant sense of fear and worry as Bruce and Alfred are split up and left to fend for themselves. The issue again runs at breakneck speed and it ends on a bad ass cliffhanger. I also commend Snyder for continuing to throw new tools and gadgets at the reader keeping things constantly fresh and fun “Where does he get those wonderful toys” indeed.Capullo continues to draw amazing panel after panel of action. Every choice and panel seems thought out in detail and it shows in the amazing results on the page. With the final page hinting that Batman may finally start giving the Owls something to fear themselves.
There is a back up story co written by Snyder and newcomer James Tyonin IV. It establishes two things. First it gives Alfred a larger role in the story and how the rest of the Bat Family comes into play during Night Of The Owls. Second it effectively sends The Talons into full on Horror film territory as they target and execute Public Figures across Gotham City. The art for the backup is also great in focusing on the terror and overwhelming fear a normal human would have when confronted with a creepy Owl Man staring at them.
Scott Snyder and Greg have created a group of Villains that have invaded the culture of the Batman Mythos in a way I haven’t seen since the “Hush” arc for better or worse.I love this series and I continue to be amazed at the level of consistency and quality of this book. You’re a fool if you’re not reading this series , it’s that simple.
“Frank Miller’s Dark Knight just completely changed how I view things.” – Frank Cho
Matthew Sardo spoke with illustrator Frank Cho at C2E2 in Chicago and the pair discussed Cho’s early influences and what book he would like to work on in the future. Cho is best known for his work on Liberty Meadows, Mighty Avengers and Jungle Girl.
Why are you a creator?
“It’s the only thing I know. It’s the only thing I know. It’s something I have to do. I didn’t have a choice,” Cho said.
What was the first comic you published and how did it feel to hold in your hand?
“It felt good, I’m a very tactile guy. I like to hold things when I read. Actually the smell of the newsprint brings back a lot of memories,” Cho said.
What book did you read that made you want to get into the comic book industry?
“When I was in fifth grade that’s when I started collecting comics. Pretty much all the Marvel Comics blew my mind. I remember two of my very first comics that I got was Fantastic Four #250 by John Bryne, X-Men #166 by Paul Smith and Chris Claremont, and shortly after Walt Simonson’s Thor run, and Don Newton, Detective #509 I think. His (Newton) illustration just blew my mind away and shortly after Frank Miller’s Dark Knight came and that just completely changed how I view things. That and American Flag by Howard Chaykin,” Cho said.
How would you describe your style?
“Classic and clean. I guess some people would say dirty, but I would like to think of my stuff as classic and clean,” Cho said.
What advice do you have?
“If you’re artist, keep drawing every day and if you’re a writer, write every day,” Cho said.
What book do you want to work on?
“Probably Conan, I would like to get my hands on Conan,” Cho said.
Story By: Brian Azzarello
