Review: “Sir Hal” Fights In A Medieval Fantasy Epic In THE GREEN LANTERN #9

Hal Jordan thought visiting the Tolkien-esque fantasy planet Athmoora would offer plenty of rest and relaxation. Alas, this was never to be as a monstrosity begins attacking members of the United Planets, of which Athmoora is a part. Now the newly dubbed “Sir Hal” must find a way to defeat the threat, but can this be done when his power ring won’t function properly?

Story

Green Lantern stories are usually riffled with exaggerated science fiction elements and futuristic technology. But this story bucks the trend by placing Hal right in the middle of a society who fights evil with swords and and magic, not high-tech power rings—Hal in fact is unable to use his ring reliably on the planet due to an odd interference. Some may claim this change goes against the Green Lantern mythos’ identity, but it is this break from the standard formula that ultimately keeps readers engaged with the comic line.

It would be too predictable for Morrison to send more space baddies like Controller Mu to Hal’s doorstep, so he brilliantly unleashes threats that refuse to be defined by rationality and science. This round features a confrontation with a alien who looks like Hal’s predecessor Abin Sur, as well as an interdenominational being who’s hell-bent on destroying everything in its path. Needless to say, Hal is in for a few surprises as the past and future collide.

The sheer absurdity of Hal finding “R & R” on a war-torn planet is exactly the kind of quirkiness that makes Morrison’s run on THE GREEN LANTERN shine. This unhealthy attraction to dangerous situations is what Hal is known for, and it’s exciting to see how he maneuvers his way through this situation with little more than his wits.

Art

Liam Sharp’s penciling in THE GREEN LANTERN #9 shows us how versatile of an artist he is. His ability to draw medieval characters alongside those of the sci-fi persuasion is nothing short of remarkable. This is pleasantly complemented by Steve Oliff’s earthy tones to give readers the feeling of the world’s lack of technological dependence.

Amidst these illustrations lies Tom Orzechowski’s impressive lettering placements, giving us full context of the somewhat odd battle taking place while covering up none of the action.

The Comic Covers

Sharp’s main cover features Hal taking on the Abin Sur lookalike to give readers a direct foreshadow and focus for the story. Jeff Dekal’s variant cover art places focus on the magical qualities of the issue’s setting by depicting spirit-like animals erupting from Hal’s ring.

Conclusion

THE GREEN LANTERN #9, while changing up the formula, remains true to the mythos by bringing back a character from Hal’s past. It’s great to see our favorite characters grow through new experiences while remaining tethered to impactful events from their pasts.

What did you think of the change in the comic’s story formula? Let us know in the comments below!

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UNCANNY X-MEN #21 – Black Queen Operates In Grey Area

Brandon J. Griffin

The X-Men had forgotten Emma Frost ever existed, but no longer. Scott and his fellow mutants go to confront his former lover in UNCANNY X-MEN #21.

SPOILERS LIE AHEAD

With Age Of X-Man still going on, the mutants that weren’t taken away to Nate Grey’s utopia are left in a very confusing world. With their allies and species seemingly vanished, it’s a big deal when they discover a major player like Emma Frost is still on the board.

Our subplot shows us the darker underbelly of what goes on when the X-Men are no longer around. Anti-mutant organization O.N.E. is putting a handful of mutants through horrifying experiences. Luckily they make the classic mistake of bring a wounded Wolverine behind enemy lines.

Writer Matthew Rosenberg has been doing a wonderful job pushing a story forward with only so many mutants to work with. Luckily for him (and us) he gets the cream of the crop. Rosenberg was tasked with handling the return of Cyclops and Wolverine while the rest of the X-Men leaders are off in the Age Of X-Man event.

Cylcops’ current hodgepodge uniform is mostly great, combining elements of previous costumes. There’s one problem though and it’s majorly distracting. Scott’s crotch area looks like a giant yellow diaper. Salvador Larroca is a fantastic artist doing great work, it’s just this one flaw that keeps this uniform from being truly great.

It’s great to see Larroca doing this series after his long and controversial tenure on Star Wars. Away goes the photo-reference style and out come these explosive and emotionally charged pages.

Larroca’s style is a great fit for X-Men, he’s more than capable of providing a diverse cast where everyone feels very much their own. All the powers and abilities are on display in spectacular fashion.

That one overlapping panel where the X-Men arrive and see Wolverine causing chaos is particularly glorious.

One irritating feature of this issue, and story for that matter, is how handicapped Juggernaut seems to be. When confronted with unbeatable odds and a giant foe, why isn’t Ol’ Juggs the one rushing in headfirst to dispose of these enemies? There are too many panels of him just standing idly by.

Juggernaut is finally incorporated into the action once Ilyana’s mutant ability is neutralized. Once the demon takes over, she quickly removes the Gem Of Cyttorak and disposes of Cain Marko. The sequence is extremely entertaining and beautifully illustrated.

The page of action-panel breakdowns at the end of the issue is another art highlight. Our cliffhanger ending shows Emma (with a scar from what I assume is the O.N.E. device being removed from her head) having erased the entire world’s memories of the existence of mutants altogether.

Emma Frost continues to go through and interesting development with Matthew Rosenberg behind the wheel. She’s not entirely a villain, but she’s definitely operating in a grey area rather than being straight-up heroic. Ms. Frost is playing by her own rules, which puts her and Scott’s relationship in an interesting place to go forward with.

Rosenberg has crafted a clever story with the development of Emma Frost at the heart of it. Fans had reason to worry after her last appearance at the end of IvX, but we’re now back on track.

All-in-all, Uncanny X-Men #21 is another solid issue. The only blemishes are very minor and it carries the story forward in an exciting direction. Matthew Rosenberg and Salvador Larroca deliver a perfectly palatable X-Men story focusing on heroes we’ve missed for quite some time.

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Review: Lois Lane Takes On Watergate Level Corruption In LOIS LANE #1

Corey Patterson

Lois Lane has always been the DC Comics character who’s fallen in the shadow of her famous superhero husband. True, she’s been the focal point of countless Superman stories, but there’s never been a comic line focused exclusively on the hard-hitting investigative journalist. Fortunately, the creative minds of Greg Rucka and Mike Perkins are bringing readers a tale of truth, suspense, and cultural commentary as Lois uncovers a dangerous secret that could impact the whole world.

Story

After spending a week with her head down deep in work, Daily Planet editor Perry White informs her a colleague was found dead in Russia after criticizing the Kremlin. Stricken with anger and unbelief, Lois requests one of her journalist colleagues to “question” those responsible while she attempts to dig deeper into this scandal.

Reading this issue makes one feel like they’ve been thrust into the middle of a Watergate level investigation. In order to showcase Lois’s journalistic abilities, Rucka has her use her connections to investigate the incident. Among these includes The Question, who wastes no time extracting information from a lead. But this investigation isn’t the only thing on her mind. Back at home, Lois continues to face criticism from the public after sharing a kiss with Clark as Superman.

The story’s parallels to the United States’ current dealings with Russia and the Southern border are hard to miss. In fact, we get to see Lois criticize the administration for taking money from large corporations in exchange for children detention center contracts. It’s this ability to speak to real issues in a fictional world that makes LOIS LANE #1 one of the greats.

Art

Perkins’ pencil and ink work, working in conjunction with Paul Mounts’ coloring, sets the tone for the issue. The bold lines and various dark shades makes one feel as if they’re joining journalists Bob Woodward and Carl Bernstein as they venture into dangerous territory in pursuit of a story.

Simon Bowland’s letters add to the suspense of the issue as well, placing the word balloons in such a strategic way as to complement Lois’ probing questions, building even more suspense.

The Comic Covers

Perkins’ cover, with its dark shades and fiery Superman sigil, captures the drama behind Lois’ dangerous world of investigative reporting. Jenny Frison’s variant cover places much more of an emphasis on Lois’ status as a journalist, placing her in a suave fedora complete with leather jacket and interview pen.

Conclusion

LOIS LANE #1 is a breakout hit that promises to establish Lois’ status as one of the greatest DC Comics characters. The intelligence, strength, and pursuit of truth makes her just as much of a hero as Superman.

What did you think of Lois Lane’s first comic line? Let us know in the comments below!

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Review: JUSTICE LEAGUE #27 Reveals a New Apex Predator

Michael Fromm

Previously, on Justice League (Apex Predator – Part 1), J’onn J’onnz searches for a cloaked man that people are using as the embodiment of fear mongering across America in the aftermath of Lex Luthor’s villainous call to action. This cloaked figure turns out to be none other than Lionel Luthor back from the dead. Meanwhile, Superman, World Forger, and other League-ers attempt to recruit their Multiversal counterparts in an effort to fix the Source Wall and stop Perpetua. Finally, Hawkgirl leads the search for The Legion of Doom in the Hall of Justice.

The “Apex Predator” story and “Year of the Villain” event continues in this issue, with forgotten pasts serving as the theme throughout. The Justice League has arrived at the Monitor’s world, while J’onn J’onnz comes face to face with the newest member of the Legion of Doom, and the eponymous Apex Predator is revealed.

** Spoilers Below **

Story

Eons ago, the Monitor, the Anti-Monitor and the World Forger stopped the rise of Perpetua—but can they overcome billions of years of mistrust to work together and do it again? Plus, Lex Luthor’s offers across the DC Universe haven’t gone unnoticed—Martian Manhunter is aware of “the Offer.” And J’onn J’onnz will pay the price.

James Tynion IV continues the three threads he began in the previous issue of “Apex Predator,” letting shine some deep moments of character development as well as plot building. As mentioned above, forgotten pasts served as the interconnecting motif throughout the book. J’onn J’onnz recalls the horrors of being experimented on as a child by Lionel Luthor, all the while in a similar situation in the present at the hands of Professor Ivo. This is the strongest storyline in the issue, as Tynion has created an interesting take on the Martian Manhunter, one who is filled with rage and obsessively looking for answers.

The writing becomes a bit uneven from here on out. Tynion hurriedly throws in a quick reiteration of the various Crises the DC Multiverse experienced, and why that applies to the Monitor, as well as World Forger attempting to enlist his brother in the fight against their mother. It’s a lot of world building in four pages, and Tynion is not as poetic as Snyder has been with this amount of exposition.

Ivo reveals he has been creating the human/martian hybrid army for Perpetua, dubbed “Apex Predator” by Lionel Luthor back in the day. But J’onnz obsessive hunt for Lex is incomplete. Despite Hawkgirl’s plea, he must continue. Tynion presents a tantalizing setup for the next issue of Justice League, with a holographic Lex Luthor offering the Martian Manhunter the answers he desperately seeks.

Art

Javier Fernandez returns in “Apex Predator” with his classic, pulpy style. This time, he really delivers supreme artistry, particularly with the fluctuating appearance of J’onn J’onnz throughout the issue. We see an enraged Martian Manhunter, a younger version being split in two, an oversized version imprisoned in a Bacta Tank, and a liquid version leaping through a computer monitor. Fernandez gives J’onnz so much detail in his varying morphed and twisted appearances, you can truly feel the pain and rage that the Manhunter from Mars is experiencing.

Fernandez also crafts some intense action sequences with Martian Manhunter and Hawkgirl fighting Ivo and Amazo. His dark and grittier aesthetic really amplifies the fierce battle that ensues.

Conclusion

The story and artwork featuring Martian Manhunter is on point, but the middle pages in “Apex Predator” comes off as a bit flimsy.

What did you think of the second part of the “Apex Predator” storyline in Justice League #27? Let us know in the comments!

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Review: SUPERMAN: UP IN THE SKY #1 Has a New Take on the Man of Steel

Michael Fromm

Superman: Up in the Sky #1 is the first part of a six issue miniseries, which was originally printed in the Superman Giant series hidden somewhere in your local Walmart.

** Spoilers Below **

Story

Aliens have kidnapped a young Earth girl from Metropolis, taking her off-planet. Superman goes in pursuit of them, but with each stop along the path, the mystery of who the aliens are deepens, and the Man of Steel is faced with a new task. Is he getting closer to rescuing the girl, or further away? And who is protecting Metropolis in his absence? This galaxy-spanning question poses a moral dilemma for Superman: How much is one life worth compared to the millions back on his adopted planet? How far will he go, what foes will he face, to find that answer?

In Superman: Up in the Sky #1, Tom King has gone for a ‘back to basics’ formula to telling this Man of Steel story. Readers are given a strong emphasis and why Superman is the hero we know and love. His supporting players, including Perry White, Pa Kent, and Lois Lane are also put in the spotlight to give a clear idea as to who these characters are, for any new readers.

King is known for his emotionally complex take on established characters. Sometimes they are revered (see: Vision), while others are met with division (see: Heroes in Crisis). Here we see an obsessive Superman, one who must be able to save anyone and everyone. He refuses to accept that he cannot help people individually, whilst also being the savior the entire planet needs him to be. It’s very reminiscent of Batman, who will stop at nothing until the mystery is solved. King leans heavily into the investigative journalist that Supes is supposed to be, but rarely seen.

Art

Penciller Andy Kubert brings his visceral and bold style to Superman: Up in the Sky. Much like his work in The Dark Knight III: The Master Race, there are some images of Superman in this book covered in shadow, and with heavy, vivid creasing. When he draws closeups of his characters, Kubert is a master of facial expressions, particularly that of rage. There is also some beautiful imagery of Superman saving the day time and time again. That’s not to say the artwork is flawless. Some character proportions and facial expressions are a bit uneven.

Conclusion

Tom King and Andy Kubert present a great jumping on point for new readers, as well as an interesting angle on Superman’s unquenchable need to save the day for established fans.

What did you think of Superman: Up in the Sky #1? Let us know in the comments!

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Review: Get Some Space Western Goodness With SPACE BANDITS #1

David DeCorte

Space Bandits #1 from Mark Millar and artist Matteo Scalera is equal parts space western and prison drama, all brought vibrantly to life with an over-the-top eighties’ aesthetic.

This first issue sets our scene: two bandits, each notorious throughout the galaxy. The tables turn on them, though, when they’re betrayed and abandoned to their fates. Now, they have to find a way to break out of a penal colony in space to seek revenge on their former allies.

The Writing

The story’s core is a revenge narrative involving a cast of compelling characters focused around Thena Khole and Cody Blue. Space Bandits #1 reads like a prologue to a much larger story. It establishes our protagonists, and lays out clear motivations for their characters. Not only that, it presents an impressive scale for the characters’ inventive world.

To that point, the real strength in this first issue is the stellar worldbuilding. It’s a solid balance of serious and zany elements that pay homage to classic tropes, presenting with great creative vision. Like, we’re talking space cruisers with ten-story Lionel Richie figureheads and mining colonies set up on giant floating space-god lobsters kind of stuff here. It’s presented with a straight face and commitment to the bit, though, echoing the works of Terry Pratchett or Douglas Adams in that regard.

Millar lays out the narrative well in Space Bandits #1. There’s sparse narration or direction, yet the reader never feels lost as we move from one alien setting to the next.

The characterization is another strong point in the book. Although as mentioned, it embraces plenty of age-old tropes, it pays homage to the cliches, rather than leaning on them. The characters manage to feel fresh in context. There’s a level of dimension to them, elevating them above generic stock archetypes. It’s excellent writing all around.

The Artwork

Scalera’s visuals in Space Bandits #1 strike a delicate balance between refined and cartoonishly animated. Everything has a great sense of vivacity with dynamic images that flow well and match the story beat-for-beat.

The illustrations are detailed and well-composed. We’re not looking simply at a sequence of images that follow the story; rather, Scalera manages to make the visuals leap off the page. It’s vibrant, expressive, and eye-pleasing from beginning to end.

Marcelo Maiolo’s colors play a major role in bringing the art to life as well. He employs an incredibly rich palette that is equal parts space disco and gallery-worthy artpiece. The colors work in perfect tandem with Scalera’s illustratzions to produce a visually-striking final product.

Final Thoughts

Space Bandits #1 follows hot on the heels of Millar’s Sharkey the Bounty Hunter, presenting a similar yet distinct space western vision. Highly recommended.

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Review: SPENCER & LOCKE 2 #4 – It All Comes Tumbling Down

Anthony Composto - EIC

Spencer & Locke 2 #4 is out this week, concluding the thrilling Action Lab: Danger Zone series, and hoo boy do things sure happen.

Locke and Spence make one last effort to end Roach Riley’s reign of terror, and things will never be the same. The series is written by David Pepose, with art by Jorge Santiago, Jr., colors by Jasen Smith, and letters by Colin Bell.

First off, huge congrats to the entire creative team for pulling off such an exciting and jaw-dropping sequel series. Spencer & Locke 2 is the Dark Knight, the Empire Strikes Back, or the Toy Story 2 of comic books, whichever you prefer. It took everything that was great about the first volume and somehow made it even better. The stakes were higher, the characters became fuller and more real (even the seven-foot tall talking panther), and the payoff hits harder. Sequels aren’t easy to pull off, but these guys made it look easy.

The art team pulls out all the stops with issue four. Santiago’s depiction of Roach Riley in this conclusion is downright terrifying. It’s like the villain has transformed over the course of the series and he’s finally reached his final demonic form. There are several panels that will send a chill down your spine. And on top of giving you nightmares, Santiago also delivers the kinds of emotion you would expect from a finale. It’s so hard to talk about without spoiling anything (and trust us, you do not want this issue spoiled), but between Santiago’s pencils and Smith’s intense, explosive colors, you’re going to feel a lot of things deep in your gut while reading this comic.

Pepose knows how to pace a series like a pro. I’ve read six-issue series where I felt like the writer didn’t have enough time to tell their story effectively. Pepose, meanwhile, managed to tell a fulfilling story in just four issues. All the characters managed to have a satisfying arc, plot threads got tied up in ways that did not feel rushed, and the story actually has an end instead of leaving you wanting more (well, it does leave you wanting more, but in a good way, not in a “shit, THAT’S how they ended the story??” way).

While the story itself is enthralling, the strength of Spencer & Locke is always its characters. As mentioned, everyone from Locke to Melinda to Roach to Hero feels fully realized in this issue. They all have an arc, and they all feel real. Pepose and Santiago have made readers care about these people; they’ve made us fear for their safety and their sanity. Yes, even Roach. As villainous as he may be, Roach has proven himself to be a sympathetic and complex antagonist, which is all you can ask for in a story. You can’t help but feel bad for him.

This is a series about trauma; it always has been. It’s about how we learn to accept and live with our scars. That’s not an easy thing to do, and Spencer & Locke doesn’t pretend like it is. This finale doesn’t tie everything up with a pretty bow and say “There you are! Everyone’s cured of their problems and living happily ever after!” No; it’s too honest a series to do that. It takes a real approach to the topic, and that kind of honesty is much appreciated. Reading this series may hurt your heart at times, but no more so than real life might. A series that evokes true emotions like this is truly something special.

Spencer & Locke shows us the best and the worst of humanity. It explores our weaknesses and our vulnerabilities. It makes us feel. This volume concludes with fiery intensity that you won’t want to miss.

What did you think of the Spencer & Locke 2 finale? Let us know in the comments!

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In Defense of THE WALKING DEAD’s Abrupt Conclusion

Anthony Composto - EIC

July 2, 2019

Robert Kirkman shocked the comics world yesterday by announcing The Walking Dead would end with this week’s issue #193, something he’s well within his rights to do as series creator.

The announcement came with no warning. Kirkman and his company Skybound went so far as to solicit future issues prior this week’s finale in order to throw fans off the scent.

Earlier today, we published an article describing the conclusion of The Walking Dead as a “missed opportunity.” This article was obviously an opinion piece, with the author feeling that Kirkman should have passed the series on to new creators instead of ending it completely: “This is a chance for Kirkman to give back to the community that supported him when he had nothing, but instead, he’s going out on his ‘own terms.'”

The article argued that Kirkman holds a great power, and with that great power, there must also come great responsibility.

But, is that Kirkman’s responsibility? Obviously, as series creator/writer, Kirkman can end the series whenever he wants. No one is arguing that. But on a moral level, would the “right thing to do” have been to pass the torch to a new writer?

I don’t think so. Would it have been a cool thing to do? Maybe. But Kirkman wasn’t under any moral obligation to do so. The Walking Dead is his baby. Is it wrong for him to want to end the story on his own terms?

Kirkman supports the comics community in many other ways. He runs Skybound Entertainment, which puts out a ton of indie comics. He’s an Image Comics partner, and Chief Operating Officer of the company. The man has helped countless up-and-coming writers and artists get their work out into the world. He gave them a voice, and off the strength of their own work, instead of letting them piggyback off of his own successful title.

And hey, who’s to say that this is the absolute end of The Walking Dead comic? How do we know that Kirkman, Skybound, and Image aren’t planning on putting out a Tales of The Walking Dead anthology series next year, penned by some of the hottest young writers and artists? If it happens, that would be awesome, but if it doesn’t, that’s fine too.

The comics industry needs a constant influx of new, young voices. Robert Kirkman has helped keep that influx coming in for many years already; no one can take that away from him.

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The Cancelation Of THE WALKING DEAD Is A Missed Opportunity For Robert Kirkman

Matthew Sardo

July 2, 2019

News broke Monday night that this week’s issue of The Walking Dead would abruptly end the series. The creator of the series, Robert Kirkman had this to say.

“I got to tell my story exactly how I wanted to, for 193 issues, and end it on my terms, with no interference at all along the way… at any point. That’s such a rare thing, and it doesn’t exist without the unyielding support this series got from readers like you. Thank you so much.”

His statement is nice from a creator’s point of view, but Kirkman isn’t a struggling writer trying to fund his first Kickstarter. He’s a significant player in the comic book industry and more so, Hollywood. The end of his run on THE WALKING DEAD is the perfect opportunity to pass the torch to the next generation of writers, artists, inkers, colorists, and letterers. THE WALKING DEAD is a part of pop culture, and now we have multiple spinoffs of television series but not the comic book. This is a chance for Kirkman to give back to the community that supported him when he had nothing, but instead, he’s going out on his “own terms.”

The only reason he’s going out on his “own terms” is that someone didn’t offer him enough money. Yet, this shouldn’t be about the money for Kirkman. As an elder statesman of the comic book industry, it should be about what is best for the community that has supported him. Passing the torch to the next generation creators has the potential for great ideas which immensely outweighs the possibility of negative outcomes. Kirkman doesn’t owe anyone anything, but it’s the right thing to do.

Just image if George Lucas kept Star Wars to himself. There would be no Grand Admiral Thrawn or Dave Filoni. Letting other people play with your toys doesn’t diminish the product, it provides the opportunity to look at the world through a new lens with endless possibilities in storytelling.

What are your thoughts on the cancelation of THE WALKING DEAD? Comment below.

We Are The Walking Dead…

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Review: MS. MARVEL ANNUAL #1 Lacks Skrull-Based Suspense

Colin Tessier

Ms. Marvel Annual #1 features one of the “Acts of Evil” match-ups, where Ms. Marvel clashes with the Super-Skrull in a story that doesn’t feature the suspense you’d hope for.

Ms. Marvel Annual #1

Writer: Magdelene Visaggio

Artist: Jon Lam

Color Artist: Msassyk

Letterer: VC’s Joe Caramagna

STORY:

As part of Marvel’s “Acts of Evil” event, Kamala Khan faced off with the Super-Skrull in Ms. Marvel Annual #1. Visaggio quickly recaps the history of the Skrulls and Emperor Kl’rt, which is a helpful refresher because this famous alien race has been around for several decades. The premise of the issue is fairly simple: “Captain Miracle,” who others jokingly call Scott Kree (a nod to DC’s Mister Miracle) offers Kl’rt the chance to avenge Throneworld by attacking Earth and, by using a powerful device, remaking it as a new world for the Skrulls. In the span of roughly three pages, Visaggio efficiently sets up the villain’s motivations for his actions.

To tie it all together, Miracle tells Kl’rt that the device requires the powers of a shapeshifter; rather than sacrificing another Skrull, he points Kl’rt toward Ms. Marvel. For a one-off issue like this, the basic foundation of the plot is forgivable; the success of these stories ultimately depends on the interactions of the characters because they’re the real appeal.

A mysterious, punny caped crimefighter named Captain Hero swoops in and defeats the Constrictor. Rather quickly, the reader learns that Hero is actually Kl’rt in disguise The Super-Skrull may have Kamala (mostly) fooled but his odd vocabulary acts as a constant reminder that Captain Hero isn’t as virtuous as he tries to seem. The best Skrull stories, like Secret Invasion, play off of the mystery that it’s impossible to tell who’s a human and who’s not. There’s no uncertainty for the reader here, which makes the plot comparatively uninteresting.

Though the main narrative thread pits Kamala against Kl’rt in a traditional alien invader story, Visaggio crafts a more compelling conflict beneath the surface. Kamala takes issue with Captain Hero because he uses increasingly violent methods to fight crime. Ms. Marvel, having been trained by some of the Marvel Universe’s finest heroes, feels that it’s her responsibility to correct the new hero’s methods. “You got some old-fashioned ideas about heroism, Captain,” Ms. Marvel says. “That’s not how we do things. Not anymore.” Here, the conflict devolves into a physical fight. But, with more development, exploring this clash of ideologies could have been a stronger heart of the issue.

Right after this fight begins, Captain Hero shows his true face. Kl’rt’s lines are a stream of cliches about the destruction of his home planet, his goal to remake Throneworld and doom Earth in the process. But the contrast between the Super-Skrull and Ms. Marvel, who wasn’t remotely involved in the actions Kl’rt hopes to avenge, is compelling. She’s innocent but Kl’rt blames her, and all mankind, for the downfall of his people. Despite this lack of involvement, Kamala still tries to help Kl’rt move away from the pain of his past and toward a brighter future. Kamala doesn’t solve the problem in the most original way but it’s better than punching it into submission.

ART

Lam’s art consistently looks like what you’d expect to find in manga. As with other annuals, Lam’s style is a change of pace from the series’ usual art, which, in addition to the isolated story, gives the book an Elseworlds-like feel. A few tie-ins to the current Marvel Universe (a throwaway line about the Fantastic Four and Bruno’s presence) somewhat contextualize the story but, by and large, Ms. Marvel Annual #1 is markedly detached from the rest of the series.

The most striking art in the issue comes when Captain Hero actively maintains his disguise from Ms. Marvel. Just before the two meet on rooftop, the Captain transforms into Kl’rt ad evilly monologues to himself. He stares off at the city and Ms. Marvel sneaks up on him. In just one panel, Kl’rt transforms back into his human form. The jarring visual shift, unlike most of the story, is a welcome tribute to the aforementioned Skrull stories of the past. More moments like these could have elevated the suspense and intrigue in the issue.

Ms. Marvel Annual #1 is a fairly unremarkable tale of a young hero doing her best to help a new adversary. While completely borrowing from the formula of previous Skrull stories like Secret Invasion and Meet The Skrulls may have made this adventure feel like a cookie-cutter remake, Visaggio excessively distances herself from these predecessors. She adds some promising new wrinkles, like Kamala’s efforts to reframe Kl’rt’s mindset. But many fans will likely leave this issue wanting more of the mystery that usually accompanies the Skrulls.

What did you think of Ms. Marvel Annual #1? Did you want to see more of a mystery?

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Story

Art

The Comic Covers

Conclusion

***SPOILERS LIE AHEAD***

Story

Art

The Comic Covers

Conclusion

Story

Art

Conclusion

What did you think of the second part of the “Apex Predator” storyline in Justice League #27? Let us know in the comments!

Story

Art

Conclusion

What did you think of Superman: Up in the Sky #1? Let us know in the comments!

The Writing

The Artwork

Final Thoughts

We Are The Walking Dead…

STORY:

ART

SPOILERS LIE AHEAD