Review: The Bat-Family May Never Be the Same After BATMAN #77

By

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Woah. That’s probably the best way to sum-up the implications of Batman #77, out this week from DC Comics. Whether it’s meant in a positive of negative way is yet to be seen.

Defying Bane’s warning, the youngest member of the Bat family has a “that’s so Damian” moment and launches a solo assault on occupied Gotham. Meanwhile, Bruce wakes from his coma, resolved to confront Bane and his father, regardless of the cost.

The Writing

Let’s discuss craft before delving into the details. Tom King’s writing on Batman #77 is tense, tight, and action-packed. Damian is effectively on a speed run through Gotham, attempting to make it to Bane’s base of operations without being bogged down, and one feels the momentum pushing the story forward.

Thomas remarks to Damian that he is “Stubborn, defiant, naïve. You are your father’s son.” And in fairness, they’re all traits Damian exemplifies in great quantity here.

Bruce and Selina’s story gets overshadowed by the rest of Batman #77, but there’s a decent amount to ponder from a thematic angle here as well. For instance, we first see Bruce wake up while Selina is across the room in the kitchen. She’s singing a verse from Habanera which, at first, seems to obviously underscore the theme of her relationship with Bruce. As the book moves on, though, we see it echoes Bruce’s relationship to Gotham. He can never truly leave the city behind, and by the issue’s end, he’s resolved to make a final stand for the city.

The real narrative payoff, of course, comes at the end of Batman #77. When Tom King promised to “change the character for a generation, or maybe more. Maybe forever,” the shocker in this issue could be part of what he had in mind. Without divulging spoilers, suffice to say it’s a substantial blow to the Bat-family, one that will likely polarize fans, as well as change the dynamics of the Bat mythos. Of course in storytelling, one can justify even a radical move like this if ultimately motivated and serves the story. With that in mind, King has some high standards to clear with the climax of his run.

The Artwork

Mikel Janin and Tony S. Daniel provide art for Batman #77. The pair forms a fantastic team, delivering visuals that hit every story beat and capture the action behind the storytelling. While the art styles are distinct, they mesh well, making the work feel cohesive as a whole.

The artists employ repetition in layout, with similar images presented from different perspectives or special focus in the frame. The effect capitalizes on the drama and accentuates the tension in the work. It’s especially noteworthy when contrasted with a more kinetic pages, yet both still work as a singular presentation.

Jordie Bellaire and Tomeu Morey split color duties for Batman #77, and they don’t disappoint in comparison to the quality illustrations. One can appreciate the eye for detail right from the first page; Damian and Gotham Girl meet on a rooftop, backed by the Gotham skyline. The colors on the buildings in the background give it an almost cel-shaded quality.

The colors Bellaire and Morey employ throughout are vibrant, eye-catching, and perfectly match the tone of the work. It’s a quality presentation in this department.

Final Thoughts

Batman #77 is packed with excellent artwork and compelling storytelling from start to finish. The bombshell it drops will carry narrative weight though, and King needs to make it work in the end. Otherwise, he risks the entire story he’s built over these three-plus years. Decide for yourself after stopping by your local comic shop this Wednesday.

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Review: Clark Works To Become Heroic In SUPERMAN YEAR ONE #2

By

Jose "Jody" Cardona

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The Golden Age of Superman has been Remade!

The origin of Superman is one many people know by heart, even if you’ve never read a comic before. The biggest challenge to writing the story is doing something different that has your version stand out and last issue Frank Miller did just that. Instead of focusing on the alien nature of his origin or the powers manifesting, we focused on Clark Kent growing up in Smallville, falling in love with Lana Lang, and trying to find his place in the world. It was a nice, coming of age story that ended with Clark not going to Metropolis but the Navy to help the world. What adventures will our young Kansas native find out at sea?

Superman Year One 2 cover **Some Spoilers Below**

Story:

Clark Kent begins his training for the navy and soon rises to the top as one of the best recruits. From strength training to marksmanship, the trainers agree he might be the best soldier they have. One day during training, however, Clark sees something out in the bay where his training takes place. After that, he soon grows more distracted and sloppy, leading to a bar fight.

He gets chewed out by his leaders, but Clark can’t help but think of the bay. That night, he sneaks out and swims to the location only to find Atlantis, which has been wrecked by a submarine. Only thinking of a moment, Clark quickly gets to work helping the people, gaining the attention of the mermaid, Lori Lemaris. She begs her Superman to stay, but Clark returns to the surface, promising to return after his work in the Navy.

When I read the first issue and saw Clark heading to the Navy, I was unsure of what direction Frank Miller was going. It was a pleasant surprise to see him use elements from the golden age of Superman comics in the modern-day. From the romance of Lori to the original Superman shield having a black background, this issue captured the past of the Man of Steel.

Aside from the nostalgia factor, the navy sequences are a surprisingly nice change up to past Superman origins. Usually, we see Clark in Metropolis, facing off against a Kryptonian superweapon or the monster that killed Krypton. This time around, however, we bring the focus on him trying to be a hero as humans can be. Clark knows he isn’t human, but he still tries to help how humans help. Stopping bar fights to protect harassed ladies, holding grenades to protect his fellow soldiers, and just going out of his way to help the Atlanteans. He’s not trying to be a Superman; just a hero.

Art:

While I’m usually okay with John Romita Jr.’s artwork, there were certain parts that weren’t quite up to quality standards. While the navy and action sequences look great, the Atlanteans have a bit of a mixed bag about them. While the linework of those above the water gives detail to each character, most of the merfolk lack real linework to distinguish what is their attire and what’s them. This wouldn’t be such a problem if the colorwork would have it melt into each other, but even that gets hiccuped with mismatching looks.

The only sequence that works for this reviewer, however, is the reveal of Clark’s Superman suit. It captures the look of the Golden Age with bright colors having him pop right off the page. It brought a smile to this reviewer’s face and almost had me forget about the Atlanteans’ lack of detail. Almost.

Conclusion:

While it isn’t as great as the first issue, there is still some cool stuff in this one. Along with some kick-ass action, we get Clark building up to become a hero through training and a chance encounter with Atlantis. The art sadly doesn’t hold up, but hopefully can get itself back on track as we approach the final issue. Overall, a decent read for a neat retelling of the Superman origin.

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Review: JANE FOSTER: VALKYRIE #2- Another Entry In A Redefining Series

By

Ben Snyder

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Few writers have a grasp over their characters histories and tones like Jason Aaron has over the Thor mythos, and his understanding is on full display in Jane Foster: Valkyrie #2 out this week from Marvel Comics. Sharing writing responsibilities with Al Ewing, their script and plot are top-notch. Coupled with Cafu’s lines, Jesus Aburtov’s colors, and VC’s Joe Sabino’s letters, Jane Foster: Valkyrie #2 is another worthy entry into Aaron’s Thor collection.

Picking up immediately following Bullseye’s stabbing Heimdall from chapter 1, Jane Foster: Valkyrie #2 continues the ensuing battle between God and Man. Jason Aaron and Al Ewing decision to make most of the dialogue an internal monologue from Valkyrie’s perspective was a clever one as it allows the action to flow simultaneously.

This entry goes a long way in supporting Aaron and Ewing’s theme of establishing a new legacy, exemplified by Jane Foster destroying Brumhilde’s Dragonfang. In most other arcs or stories reacquiring Dragonfang from Bullseye would have been the main concept for the story. The idea of retaking a sacred artifact to restore it’s Divinity and maintain its holiness is a classic trope. However, Jane Foster: Valkyrie #2 is not concerned with this at all. Instead, it opts for reformatting of the canon, establishing Jane Foster as the tried and true Valkyrie by escorting Heimdall to the assumed-to-be-destroyed Valhalla.

This story arc is also a nice nod to the original Nordic mythos of the Valkyrie doing this exact thing instead of fighting with people in Iron Suits with superpowers. It shows that Aaron and Ewing has a respect for the source material dating back to the ancient tales.

The choice of using Brumhilde’s Dragonfang as the object symbolic of the past status quo is smart as well. There are thousands of stories of swords with mystical powers that give its wielder divinity or mystic powers (ie. Excalibur), but placing this holy weapon in the hands of a sociopath highlight the flaw in these stories. If someone who is outright evil holds this powerful weapon, the weapon itself becomes evil. Jane Foster’s Undrjarn, The All-Weapon shifts to be whatever Jane Foster needs it to be. Undrjarn is all about the intent of its wielder as well. But in Valkyrie’s hands, Undrjarn is a force for good.

Valkyrie Saves Bystander — The benefits of hallucinating giant balls of Death are endless

Valkyrie’s ability to see Death approach is an interesting mechanic and reading Valkyrie says she could use it to essentially track Bullseye shows how well thought out her powers are. What seems like an ability less suited for combat gets repurposed into a quasi-detective ability. Cafu and Jesus Aburtov’s rendering of these blobs are equally impressive.

Similarly, the art in this chapter is phenomenal. Cafu’s lines are clear, kinetic, and fluid and Aburtov’s colors pop off the page. In combination, they produce some of the most stellar art of the year. One scene, in particular, is when Bullseye is riding in on his flying horse. It seems like a shot ripped right out of a traditional opera or fable, the powerful Valkyrie’s riding in on flying horses to conquer evil. But with Bullseye as the rider the sky is colored blood red, symbolizing the coming bloodshed. Not to mention that the close-ups of Bullseye make him look certifiably unhinged.

Jane Foster: Valkyrie #2 is a tremendous feat from Jason Aaron, Al Ewing, Cafu, Jesus Aburtov, and VC’s Joe Sabino. The story is bold, theatrical, and definitely, a launchpad for Valkyrie to remain a prominent figure in ongoing Marvel stories and the art more than holds it’s own. Jane Foster: Valkyrie #2 is a dramatic reshaping of the character and should be on everyone’s list.

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Review: AQUAMAN #51: Aquaman Teams Up With Aqualad, The Son Of Black Manta

By

Corey Patterson

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When readers last saw Arthur Curry, he was adjusting to life back in his hometown of Amnesty Bay, Maine after a brief stint with the Old Gods. Most of the townspeople welcomed the oceanic warrior back with open arms, but many held strong reservations about his new deity friends. Their differences seemed to scare people. Unfortunately, this prejudice was directed toward another newcomer who happened to be Jackson Hyde, a.k.a. Aqualad, the son of the villain Black Manta. AQUAMAN #51 from DC Comics, available in stores Wednesday, August 21, tells the story of his reintroduction to Arthur.

Story

Kelly Sue DeConnick Jackson is a kid struggling to shape his identity. Aside from struggling with the normal issues every teenager faces, his villainous father makes it particularly difficult for the young hero to carve a good reputation for himself. To make matters worse, the authorities of Amnesty Bay find Jackson be a “suspicious individual,” a classification the duo suspect implies something more.

Jackson is a complex yet relatable character that often serves as tempered foil to complement the more adventurous Arthur. He’s a cautious person who takes the time to think things through before acting on impulse. That’s why it’s great to see the more seasoned hero help his companion ease his mind after experiencing such awful treatment from the town. Part of this process involves helping the Old Gods build a home for themselves on the Island of Amnesty, which allows for a perfect bonding opportunity between Jackson and the others who are considered outsiders.

Readers will enjoy viewing these worlds collide, but DeConnick won’t let them forget about Queen Mera and the upcoming royal wedding ceremony taking place in Atlantis. It’ll be interesting to see how she conducts her role as ruler without Arthur by her side. But the challenges he and Jackson meet in this story tells us the sea isn’t done with him yet.

Art

Robson Rocha’s penciling, Daniel Henriques’ inking, Sunny Gho’s coloring create brilliant landscapes in AQUAMAN #51. They present highly detailed landscapes of the Maine coast, complete with rocky cliffs, aqua blue waters, and multicolored skies.

Clayton Cowles’ lettering is the standout feature of this issue. His placement of the letter boxes is almost magical in that it creates effects of both movement and sound. For instance, the panel depicting Arthur diving off a cliff shows a speech box for the exclamation “Follow me!” that looks like a standard oval, that is until the reader traces a long, narrow deviation that follows him as he plummets to the water below. This helps the reader feel the effects of Arthur’s descent by helping them imagine an extended echo all the way down.

Comic Covers

Rocha, Jason Paz, and Alex Sinclair’s depicts Arthur fighting a mechanized version of BLack Manta, giving readers a sense of conflict coming our heroes’ way. Josh Middleton’s variant cover, on the other hand, shows Arthur swimming peacefully with a school of stingrays, emphasizing his renewed carefree attitude upon returning from the “dead” in recent issues.

Conclusion

In AQUAMAN #51, DeConnick brilliantly brings back a fan favorite character while speaking to the real world issues of prejudice and self-identity. We’ll have to wait and see how the duo face the challenges ahead.

What did you think of Aqualad’s reintroduction? Let us know in the comments below!

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What A Strange World In WONDER WOMAN COME BACK TO ME #2

By

Cat Wyatt

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WONDER WOMAN COME BACK TO ME #2, out this week from DC Comics continues Diana’s journey to find the man she loves, and rescue him at all costs. This tale perfectly highlights how Diana can take anything in stride.

The cast of characters in this plot is getting ever larger.

***SPOILER WARNING***

To be clear; Wonder Woman Come Back to Me #2 has already been published once before but under a different title. It was originally seen in Justice League Giants and is now being reprinted so the whole tale can be in one cohesive set.

The second issue in the series continues Diana’s epic quest in a land that appears to be made of lost things. Like the previous issue, this one is broken up into two parts; a layover from the original printing. But since both are set on the same crazy island, it really does read more like one cohesive issue.

Amanda Conner and Jimmy Palmiotti wrote this plot together, and they did an excellent job of showing the insanity that can come across Diana’s path. They did an even better job of showing how Diana can take all of it in stride – especially when the ones she cares about are at risk.

This plot does get a little out there at times, though there’s no doubt that it’ll all wrap back around before things are said and done. There are some surprise guests as secondary characters in this issue, and that adds a touch of humor and confusion to the mix; balancing out the cocktail of emotions our heroine has surely been feeling.

Wonder Woman Come Back to Me #2 had a fairly large creative team working on the project, but that probably shouldn’t be so surprising. Chad Hardin was one of the artists; providing us with some spectacular imagery. His island landscapes do their job and then some, showing us a rich and lush world full of oddities.

Meanwhile, Alex Sinclair provided the colors, and he did an excellent job of enhancing the work that Haroin provided. The vegetation comes to life with his colors, and the monsters pop against the green backdrops.

On that note; one of the things this issue excelled at was showing motion and combat. You can really feel when a character is dashing through the forest, or lunging for an attack. And knowing the speeds Wonder Woman works with, that’s enough to get us (almost) wincing in sympathy.

Also on the creative team was Tom Derenick, who did the overall layouts for the issues, and Travis Lanham, the letterer. Together they flesh out the look of the pages and make it clear to readers what is going on at any given point.

Wonder Woman Come Back To Me #2 is an interesting read on the whole, even with some of the crazier events that happened here. It had a good sense of humor about itself and highlighted some of the best aspects of Diana’s character.

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How FEARLESS #2 Lives Up to Its Name

By

Cat Wyatt

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FEARLESS #2, out this week from Marvel Comics is a collection of short stories that are not afraid to take risks in the subject matter or stories told. These tales are both strong and emotionally compelling. And for many readers out there, this is exactly what we needed and wanted to see.

Storm looking fierce on the cover of Fearless #2

***SPOILER WARNING***

Like the first issue, Fearless #2 has three short stories within its pages. Each short has a different creative team behind it, yet the three work together thanks to their predominant focus (the strong female characters in Marvel).

One of the three short stories in this collection is continued from Fearless #1, so if you haven’t read that one, you should check it out before picking up this issue.

Ms. Marvel has been pulled into the ‘Campfire Song’ plot in Fearless #2.

The first short story in Fearless #2 is called ‘Campfire Song Part 2’, and as you can guess, is the short that is continued from before. This plot is going to be the only one to make it into all three issues of Fearless, so in many ways, it could be considered the backbone of the series.

This whole plot seems to be partially about bringing some of the most iconic Marvel women into one location. The reason for their being there seems innocent enough, but there’s an insidious undertone that has left readers concerned from the very start. And if the conclusion of this plot is any indication, we’ve had a very good reason to be worried.

Seanan McGuire is the author behind this short story, as well as the first (and later, third) parts of the tale. She’s managed to weave together multiple character plots so that it makes sense for these ladies to converge in one place. And the undertone mentioned above has been on point – subtle, but unmistakably present.

McGuire perfectly captures the oppression that many mutants (and Inhumans) face in this world. And she does so in a context that many young adults can connect to. That alone makes this plot one worth reading.

Claire Roe (artist) and Rochelle Rosenberg (colorist) did a fantastic job bringing this plot to life. The characters were all depicted in a more relaxed setting, even dressing down in some cases (Carol went for the plaid because of course, she did).

Ever wanted to see Night Nurse kick butt? Wish granted.

The second plot in this issue is titled ‘Night Nurse: A Cape of Her Own’ and features the one and only, Night Nurse. Okay, the title totally gave that part away. But moving on… This issue gave the Night Nurse a real chance to shine. She makes appearances in many comics, but this is the first plot that truly and completely revolved around her. And it proved that she can be a hero in every sense of the word.

This plot perfectly balanced the more intense moments with little bits of humor. After all, who doesn’t want to see Night Nurse cold clock an antagonist with a fire extinguisher? And it has a few unexpected cameos as well, to round things out.

Karla Pacheco wrote this tale, and she clearly didn’t hesitate to give the Night Nurse her due. Iolanda Zanfardino provided the lines for the short, and Rachelle Rosenberg appeared once again for the coloring. Together they made something truly unforgettable.

Our two favorite girls are back on the case.

The last short in Fearless #2 is by far the shortest of the three. But in many ways, it took some of the biggest risks. This one was titled, very simply, ‘X-23’ and naturally focused on Laura and her sister, Scout.

Together our clones invade a facility that supposedly housed a bunch of their clones; only to find something even more horrifying inside. There is some strong political commentary going on here, all without directly stating it as such. Regardless, it’s clear how our creative team feels about this particular issue.

Eve Ewing took her emotions and opinions to paper for ‘X-23’, being the writer of this short. Meanwhile, Alitha Martinez was the lead artist, and Rachelle Rosenberg providing the colors. The darker shading shown here perfectly complemented the dark tones of this story.

An amazing cast of characters, and an equally impressive creative team.

Fearless #2 had a few elements that made their way through all three stories, tying them all together. The first element, of course, has to do with the leading characters. All are iconic ladies from the Marvel universe – and some of our favorites at that.

The second element you may have already picked up on; Rachelle Rodriguez. She was the colorist for all three of these tales. The third piece is on a similar vein; Cardinal Rae provided the lettering for the entire issue; thus giving us a visual connection between the three. It made everything feel nice and cohesive, despite the difference in focus.

In the end, Fearless #2 proved to be exactly what it promised; fearless. These plots have taken quite a few risks, while also showing us exactly what these leading characters are capable of. And now we seriously can’t wait to see what will be in store for Fearless #3.

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How Carol Deals with a Swarm in MARVEL ACTION: CAPTAIN MARVEL #1

By

Cat Wyatt

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Ever wonder how Captain Marvel would deal with a swarm of creatures? Well, wonder no more, for MARVEL ACTION: CAPTAIN MARVEL #1 out this week from IDW answers that question. This issue is a fun and lighter take on the beloved character, with a story perfect for all ages.

Captain Marvel is ready for a fight in Marvel Action: Captain Marvel #1.

***SPOILER WARNING***

Marvel Action: Captain Marvel #1 is clearly a lighter take on the heroine so many know and love. But that’s not always a bad thing. Sometimes it’s just fun to see Carol taking on something on a smaller (or more humorous) scale.

This issue brings together so many of the best elements in Captain Marvel. And adds on bits that any teenager or young adult will appreciate; sleepovers, scary movies, and BFFs. What more could we possibly hope for?

The plot of course. Because all of what was mentioned above was merely the fun setting before a curveball was thrown at poor Carol. It looks like her movie night wasn’t meant to be. At least they managed to get through one scary movie before things blew up.

Chewie takes center stage on this alternate cover of Marvel Action: Captain Marvel #1

Sam Maggs clearly had a lot of fun writing this issue. They took one of the iconic (and oft-overlooked) supporting characters in Carol’s story and really ran away with the idea. It’s a bit of a silly plot, at times. But in a way that’s all in good fun. And let’s be honest here, who doesn’t like a swam of kitties? Except, you know…they’re not actually cats.

This issue will make fans chuckle. And, as mentioned above, it’s friendly for readers of all ages. The violence is toned down to be palatable for kids, but the plot itself isn’t immature (or at least, not so much as to be off-putting for older readers).

You can tell this creative team had a blast with this plot.

Our artists also had a lot of fun creating this issue, by the look of things. Sweeney Book was the lead artist, with Brittany Peer providing the coloring. Together they brought us some truly hilarious pages to enjoy.

Carol was drawn a little shorter than normal, leaning towards an almost cartoonish appearance (but not quite). Really, they were going for making her look younger and cuter. And it worked. Her expressions were comical, and very clearly Carol regardless.

The latter pages are where this issue really stands out. The swarm of creatures does resemble a certain character (Chewie), which understandably resulted in readers immediately jumping to some conclusions about their nature.

The last panel was the highlight of this issue, showing off some brilliant artwork as well as the more humorous side of the plot.

Time for a movie night in between two BFFs.

Marvel Action: Captain Marvel #1 is a fun and light read. It’s perfect for Captain Marvel fans that are looking for a bit of an escape from the real world. Or for fans of Chewie who just want to see more Flerken chaos.

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Review: HELLBOY AND THE B.P.R.D.: SATURN RETURNS #1 Investigates A Decades-long Murder Mystery

By

Corey Patterson

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With the recent revamping of Hellboy’s popularity, it only makes sense that the comic series that started it all would receive its own rebirth. Fortunately, HELLBOY AND THE B.P.R.D.: SATURN RETURNS #1 promises to perform more favorably than the recent Hellboy film reboot. Readers are reintroduced to the fascinating Bureau of Paranormal Research and Development as they work with the half-demon to investigate a series of occult-like murders that stretch back years in a small New Hampshire town.

Story

The opening pages of this issue take readers to Tatoskok Falls, New Hampshire, a quiet town in 1975 New England that’s recently come to the forefront after a number of murdered bodies were discovered. It is here where Hellboy and B.P.R.D. Agent Kinsley begin their investigation into the possibility of supernatural forces being involved.

It is unclear to Kinsley whether otherworldly beings would be a part of this case, especially given that the “mysterious” occult symbols local authorities called them in to investigate were actually a random combination of religious icons, including the Star of David.

Mike Mignola and Scott Allie’s writing evokes feelings of intrigue, fear, and betrayal—all of which are the qualities that make up the quintessential Hellboy story. It sets up a intriguing mystery story that will grip readers for issues to come.

Art

Christopher Mitten’s penciling, Brennan Wagner’s coloring, and Clem Robins’ lettering are sights to behold in this intriguing issue. Mitten crafts authentic foliage to bring to mind falls in the New Hampshire countryside, yet finds a way to combine it with the horrific corpses to upend reader expectations. Wager’s warm colors for the environment and deep reds for the blood stained bodies only add to this effect.

To add to the unsettling aura of this issue, Robins places the letter boxes far apart throughout the issue to give readers time to take in the horror of the murder scene.

Comic cover

Mitten’s cover artwork depicts Hellboy holding an owl with a pile of skulls in the background. This gives readers an unsettling sense of the issue to come as owls are often used a symbols of occult practices.

Conclusion

HELLBOY AND THE B.P.R.D.: SATURN RETURNS #1 offers an intriguing new murder mystery for Hellboy and the team to solve. Something tells us there’s more to these murders than meets the eye, and the B.P.R.D. better be ready for it.

What are your theories as to the cause of these murders? Let us know in the comments below!

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POWERS OF X #3: A Plot To Unplug Nimrod

By

Brandon J. Griffin

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This week POWERS OF X #3 drops a fast-paced test of how well you’ve been paying attention to Jonathan Hickman’s bold vision. We spend all our time in Year One Hundred and see a plan unfold intended to unplug Nimrod.

POWERS OF X 3 CVR — BE SURE TO CHECK OUT THE VARIANT TO THIS COVER

SPOILERS LIE AHEAD

Have you been paying attention? Are you able to keep up? Powers Of X #3 will put that to the test. Hickman’s masterful comic book craft can prove to be quite dense at times but always supremely rewarding for those who are willing to fully dive in.

Luckily, with the Dawn of X titles we’ve gotten so far, there are plenty of graphs and charts that are extremely helpful. This issue in particular has some very slimmed down graphs that really help illustrate what is going on with Moira X and her ninth life.

Even if you’re not entirely on the same page as Hickman, this issue does a great job painting the grand scheme picture once the finale is reached. We see the plot unfold and the end goal being to restart Moira with the information she’ll need to overcome Nimrod in her tenth life–after Wolverine injects the info into her head and promptly kills her.

Powers Of X #3 provides a satisfying payoff and landmark for this new era of X-Men comics. Moira is front and center as the most important mutant to have ever existed. Giving us the breakdown of her nine lives after her finale reset was perfectly executed and helps keep readers on the same page with the creators.

Speaking of keeping readers on track with Hickman’s intense vision, R.B. Silva and Marte Gracia put on an absolute show in this issue. Powers Of X #3 has a rapid pace to it, loaded up with action that barely gives the reader much time to breathe. They illustrate this dense and complicated story with careful craft, making it easier to digest.

It’s also a stunning book to read through. Silva gives characters so much weight and purpose with every little action. The landscape of Year One Hundred is uniquely futuristic while subtly calling back to familiar territory.

The action sequences are swift and enthralling, there’s no fat in these panels. Nimrod being at the center of chaos gives Marte Gracia the wonderful pink hue to work with. There’s a beautiful display of color throughout this issue, every sequence explodes off the page.

Powers Of X #3 is an important benchmark issue, resetting Moira for her tenth life with the knowledge to prevent Nimrod. We’re now up to date with Moira back in House Of X. This issue rewards readers who have been keeping up with Hickman’s bold new vision.

It’s also an easier digest for those who may be a little lost on exactly what’s happening across these two titles. By the end of Powers Of X #3 readers are provided with enough to understand the bigger picture.

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DAREDEVIL #10 – An Exercise In Intensity

By

Brandon J. Griffin

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This week Marvel unleashes DAREDEVIL #10 on the world. Chip Zdarsky’s run on the book keeps getting better and better–this one might make you sweat a little.

DAREDEVIL 10 CVR — EAT YOUR HEART OUT QUESTION

SPOILERS LIE AHEAD

Matt Murdock finds himself in the right/wrong place at the right/wrong time. While visiting the brother of the man Daredevil murdered, as his probation officer, Murdock finds himself in the middle of a police shootout inside the police station.

Detective Cole North has a hit put on him by the Owl while inside a police station filled with crooked cops. His “guardian devil” happens to be there to bail him out and even provide a cover for him–blaming the entire mess inside the police station on Daredevil.

Everything that Chip Zdarsky has introduced to Daredevil is paying off already in just ten issues. Between Matt quitting his other life, sleeping with the mob wife/librarian, Cole North’s conflicted being, and Matt’s questioning of morality and religion–there’s already so much to grab onto that was birthed in this series. There’s a lot of merit in that, not carrying over a lot of baggage from the previous creators.

The theme of Matt Murdock struggling with his religion and not being able to “shake the devil’s influence” is enthralling. The conflicted character of Cole North has been developed and unfolded at the perfect pace. Even Matt shedding his Daredevil skin, something we’ve seen in superhero comics hundreds of times, has felt fresh and exciting.

Daredevil fans have been blessed in recent years. The Charles Soule Daredevil run was no easy act to follow, but Zdarsky is doing it. What’s most impressive is how effective this series is without feeling anything like the Soule run. It’s potentially two all-time great runs back-to-back with completely different visions.

Zdarsky isn’t the only creator making this an experience to remember either. Artist Jorge Fornés and colorist Jordie Bellaire elevate this series to the it’s current standing–which is among the best comics Marvel is putting out at a time that they are on fire across the board.

Daredevil #10 is a perfectly crafted build of suspense and anxiety. The way the drama unfolds will bring readers to the edge of their seats. Fornés slowly raises the intensity throughout and when the bullets start flying and Matt steps out of the shadows, it’s extremely satisfying.

This issue’s paced and executed like an intense, panic-inducing episode of a great television show. It specifically reminded me of the heart palpitations I had watching that episode of True Detective when Rust Cole goes undercover in the trailer park to pull that biker guy out in the middle of a raid. It’s not often that comic book art can do that to a reader.

Not to mention how absurdly cool Matt looked once he emerged in his makeshift Daredevil mask wielding police nightsticks. That’s another element we’ve seen a lot of recently but feels fresh and exciting with these creators behind it.

Jordie Bellaire’s specific use of red as an immediate sign of danger in these panels is striking. She provides a contrast in these panels that gives it an iconic and memorable appeal that will insure that readers will keep this imagery in their heads long after closing the book.

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The Writing

The Artwork

Final Thoughts

The Golden Age of Superman has been Remade!

Story:

Art:

Conclusion:

Story

Art

Comic Covers

Conclusion

Story

Art

Comic cover

Conclusion

***SPOILERS LIE AHEAD***

***SPOILERS LIE AHEAD***

SPOILERS LIE AHEAD

SPOILERS LIE AHEAD