Review: Barry Teams Up With the Sage Force Avatar in THE FLASH #62

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The Flash goes Undercover with the newest Force User!

The Flash has spent the past few weeks on a quest to find fellow Force users. The first he has found is the heroine, Fuerza, in Corto Maltese. The pair learns from each other, but things take a turn when they’re attacked by a corrupt police captain. Fuerza, who has been fighting his corruption for months now, wishes to kill him. The Flash, ever the hero, stops her. This causes her to turn her back on him, sending Barry off to his next location. Flash and Iris find themselves in Zandia, a nation run by criminals, to find the wielder of the Sage Force. Turns out the wielder, Psych, is a big fan of the Scarlet Speedster! Will this user become an ally to the Flash?

**Some Spoilers Below**

Story:

After meeting each other, Psych explains to Flash what he’s doing. The kingpin known as Roulette has illegal casinos all over the world, amassing in a gambling empire. Psych, an agent of ARGUS, has been sent in to stop her. With his subsequent control of the Supervillains, Iris has a few doubts, but Psych explains his origin. This is enough to get Flash on his side, and the trio sneaks into Roulette’s gambling hall. As the plan begins to get underway, Psych believes they need a distraction. This distraction involves him exposing the fastest man alive to this small nation of criminals.

I am on the fence about our new Force user. While his design and use of powers are cool, we already had an antihero Force user. He does take a turn for the more evil side in the middle, but some variety would be better. I’m not saying have him be either full out hero or villain, but maybe someone still fresh in the game.

I do like the setting the story takes place in. It puts Flash in an element we don’t usually see him in. Most stories, he’s in Central City, where he can run fast a free. This one, however, he has to play the stealth card to survive. I was at the edge of my seat as Flash and Psych snuck into Roulette’s hall. It felt like a spy movie, right down to fighting their way out. It’s an enjoyable issue with a cliffhanger that leaves me clamoring for the next.

Art:

The illustrations of Christian Duce have grown on me throughout this story, and it hit it’s peak this issue. The characters and action haven’t looked better, with the throwdown at the Casino being the highlight. The only thing that makes this art better is the fantastic colorwork of Luis Guerrero. He’s able to find a balance between vibrant and subdued to keep the world exciting yet realistic. It’s an excellent pairing for a good arc, what else can I say?

Conclusion:

While I might not be a fan of our new Force User, this was still another fun chapter of The Flash. The action in the criminal nation kept me on the edge of my seat, and the cliffhanger has me counting the days until the next issue. The art is very well done and has finally found its stride for the Force Quest. If you’re a fan of the Flash or heist stories, you might want to take a look at this one.

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Review: Wonder Woman #62 Ends The Just War with a Whimper

By

Jose "Jody" Cardona

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Wonder Woman’s Just War Concludes Here!

Wonder Woman is caught in a civil war while searching for Steve Trevor. It turns out he found safety in the presence of a reincarnation of Aphrodite. She has grown tired of love, seeing as the emotion has lead to violence all across history. Steve corrects her thinking and convinces her to help Wonder Woman, who is meeting with the Prime Minister of Durovnia. The rebels agree to speak to the Prime Minister to find common ground at a sacred site to both sides. He decides to go, under the protection of Diana, Steve, and Aphrodite. Before the heroes can get the leader to the location, one obstacle stands in their path: Ares. Will this war end in peace or bloodshed?

**Some Spoilers Below**

Story:

The Prime Minister tells Wonder Woman to stand down so he can face Ares. He explains it’s his duty to confront this threat as an elected official. Ares exposits how mortals pick monsters as their leaders as they understand them. As he prepares to kill the supposed monster, Diana intervenes to fight. Ares quickly disarms Wonder Woman of her Lasso, but the Amazon reminds him that she is the master. Before the fight gets too bad, however, Aphrodite steps in to subdue the God of War. With the battle, over and done with, the Prime Minister speaks to the rebels about a ceasefire.

I feel like this conclusion could have been good if the opening was better. Throughout the story, Ares seeks a Just War, yet we don’t know what that means. From what I gather, it’s supposed to include men who are willing to put faith in the enemy to help find peace in the end. Wonder Woman assures this about the ceasefire will help as Ares looks upon the war-torn nation. Again, this is just my guess. There are probably others who are much more qualified who could analyze this. As a common comic reader, however, it wasn’t very fulfilling. Hopefully, in the next arc, Wilson will be able to tell a much smoother narrative.

Art:

I love Xermanico’s illustrations. Each character looks fantastic; full of expression and emotion. The previous artist’s designs are given a new life thanks to the out of this world art. There is a panel at the end of the story that is just breathtaking. It’s the perfect way to end the story. I wish we could keep Xermanico, but the solicitations for the coming issues say otherwise. I’m going to miss this team, and I hope to see them real soon.

Conclusion:

There are glimmers of a good story here, but doesn’t quite hit the mark. The action and art are good, but the flaws of the story weigh it down. If we had a stronger start, it might have been better. I don’t regret reading it, but we need a stronger opening in the next arc.

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Spoiler Review: UNCANNY X-MEN #10 Ends Its Weekly Run With A Huge Status Quo Change

By

Manuel Gomez

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Uncanny X-Men ends it’s hyper, action-packed ten issues weekly run with an explosive final battle, emotional closure and a huge status change for the X-Men.

X-Man (A.K.A. Nate Grey) is dying. In his last days, he has used his omnipotent mutant powers to forcibly change the world into an ecological and sociological paradise. Needing followers, X-Man twisted Magneto, Blob, OmegaRed and eventually Storm into powerful avatars of his will: the Horsemen of Salvation. Legion (A.K.A. David Haller) foresaw X-Man’s machinations and tried to avert them with the help of the X-Men. However, Legion and the X-Men were quickly overpowered and X-Man took over Legion’s body. Terribly outmatched, X-Men leader Jean Grey sent out a telepathic distress call to all current and
former X-Men to fight for their future!

Uncanny X-Men #10
Written by: Ed Brisson, Matthew Rosenberg & Kelly Thomspon
Art by: Pere Perez
Colors by: Rachelle Rosenberg
Letters by: VC’s Joe Caramagna

SPOILERS AHEAD!

Writing

Uncanny X-Men #10 wastes no time at all in picking up from last issue’s all-out brawl of a chapter. A massive back-up of mutants arrives to join the fight, and it’s again great to see so many beloved characters in one book. One of the best things this new Uncanny has done is give multiple characters chances to shine, all while still delivering some epic superhero throwdowns. It’s a testament to the writing team of Brisson, Rosenberg and Thompson that they were able to balance that for ten weeks straight.

The focal point of this chapter is the final confrontation between Nate Summers (X-Man) and his mother Jean Grey, it’s what the narrative has been building too, and the writing team handles it perfectly. The moment is both visually and emotionally impactful, especially for longtime fans of the X-Men.

Plenty of other beloved (and new) characters shine here too; Psylocke, X-23, Cannonball, and a mind-control free Strom all get some great moments that showcase the power teamwork that makes the X-Men so unique as a team. It’s another classic trope that Brisson, Rosenberg and Thompson know how to write.

Then there’s the ending…SPOILER ALERT...where the X-Men are once again removed and reality changes. Oh yeah and Cyclops is back. But before anyone cries ‘been there done that’, take into account the level of care and detail that went into each and every weekly issue. The ending may be familiar, but it also feels emotionally earned and leaves the door open for the ‘Age of X-Man’ event (which we all knew was coming).

Art

The art in this series has really captured the energy and momentum needed for weekly chapters. Pere Perez creates some dynamic layouts, dramatic splash images and some truly fantastic choreography with the massive fights and high character count.

Despite the speed and amount of images, the narrative flows. Throw in Rachelle Rosenbergs pop art color palette, and you have a book filled with some beautiful comic book imagery.

Conclusion

Uncanny X-Men: Dissasembled has been a wild, fun ride for ten weeks. This concluding chapter leaves Marvel’s Mutants in a perfect place to build yet another classic mutant saga. And that’s the best we can hope from an X-title, epic, character-based sagas that feel both grand and intimate. This new version of the title feels closest to classic Claremont era than it has in years, and it’s great. This is a book you should be reading.

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Review: THE FANTASTIC FOUR #6 Shows Us the Best of Marvel’s First Family

By

Corey Patterson

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Dan Slott’s reforming of The Fantastic Four in THE FANTASTIC FOUR #6 is blazing ahead at full speed. In the previous issue, Ben Grimm, a.k.a. “The Thing,” finally married Alicia Masters but was rudely interrupted by Doctor Doom. Now he plans to take out Galactus in Latveria. The Fantastic Four rush to join the fight but meet a mysterious “herald” in this action-packed adventure story fans will deem true to form.

Story

Slott seems to have found his calling in the first Marvel family, and this issue is proof of it. He’s gotten each character’s voice down pat, from Grimm’s bumbling and kind nature to Susan Storm’s dry wit. But what really makes this story shine is Slott’s ability to weave their personalities together in a wonderful tapestry.

Case in point: Grimm’s reaction to Doom’s announcement ruining his wedding night. We aren’t presented with a typical groom bemoaning his wedding mishap. Instead, we experience Grimm’s thought-process as he tries to decide if he’s madder at Doom for interrupting his wedding or Galactus for causing trouble in the first place.

While each character is entertaining in and of themselves, it’s great to see their interactions with one another. The conflicting personalities, as well as the family dynamics, are also complemented by the egomaniac Doom himself and his mysterious new herald.

Doom has always been one of the most compelling villains in Marvel comic history; he constantly strides the line between right and wrong while maintaining a huge ego. In this comic, his insistence that he is solely qualified to defeat Galactus showcases that ego. But it would have been great to see more of the discerning side of his character.

The story shows the Latverian residents’ and Doom’s herald’s admiration for their leader in a way that allows one to sympathize with their dependency. We’re able to see how people in desperate situations are often drawn to leaders who characterize themselves as powerful figures.

Art

Aron Kuder and Esad Ribić use their artistic talents to fuse the old and new in THE FANTASTIC FOUR #6. The cover art uses hazy lines on Doom’s face to present him in the style of comics from a decade ago. On the other hand, Kuder illustrates the story with wavy yet defined lines that allow for crisp images fitting of modern adventure comics like The Amazing Spider-Man.

Marte Gracia and Erick Arciniega add bright colors to the scenes featuring the Fantastic Four, as well as purple-infused backgrounds that add to the sci-fi/adventure feel. In addition, Joe Caramagna uses dynamic font choices that give each character tone in their voices, which includes an effective use of bold letters and capitalization.

Conclusion

If you’re a fan of the Fantastic Four but wondering if this new series can live up to their former glory, fear not! Slott and the team have managed to capture the magic of Marvel’s First Family. The characterizations are almost enough to carry the story by themselves. We’ll have to wait and see if the series can keep the momentum going.

Are you a fan of Slott’s run on the Fantastic Fantastic so far? Let us know in the comments below!

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[Review] INVADERS #1 Opens a Complex Story of Friendship and Trauma

By

David DeCorte

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With Invaders #1, Marvel harkens back to its legacy of World War II-era characters including Captain America, Namor, and others. Brought forward into the modern age, though, we see the dynamics in the characters’ relationships have shifted.

The book follows directly from the events of Avengers and Zdarsky’s recent Namor: The Best Defense. Namor prepares his kingdom for war, considering a preemptive strike against the surface as his best option. Memories of his experiences in World War II haunt him throughout the narrative, though. At the same time, Captain America and others weigh how to respond, providing exposition for the narrative.

The Writing

Yes, Invaders #1 pits Namor against the surface world yet again. This time feels different, though, lending pathos to Namor’s turn toward villainy.

Though it’s a team-up book, the narrative is decidedly Namor-centered. We watch as he consolidates the forces to realize his plans through half the book, with expository flashbacks occupying many of the other pages. Cap and Human Torch get relatively little time, while Bucky only enters at the book’s end.

Jim represents the voice of empathy in Invaders #1, telling Steve that Namor needs help, not a fight. For Namor, the war “never ended,” as Jim puts it. Through flashback sequences, we see how the deaths of close comrades weigh on Namor, though he tries to deny it. The survivor’s guilt, leading to the desire to achieve peace…by whatever means necessary.

Exploring the character from this perspective is an intriguing idea. This will likely become the focal point of Zdarsky’s narrative, given a few key lines Namor offers up about his plan towards the book’s end.

Invaders #1 ends on a clear turning point in the story. Zdarsky gets the band back together with the mission to redeem one of their own, which sets us up for an epic and consequential story in future issues.

The Artwork

The art provided by Butch Guice and Carlos Magno fits the style of book beautifully. The pair employs a heavily-inked, shadowy style for the flashback sequences. This provides a look reminiscent of the older comics to which Invaders #1 pays tribute, distinguishing them from the sharper, more modern look of the present-day panels.

The character designs in both time periods are highly-detailed. Dynamic figures fill every panel, making the art jump off the page. However, the layout in the flashbacks is tighter, compared to the expansive and splashy layouts of the present sequences. Both styles compliment the subjects well.

Alex Guimarães captures the right colors for the present and past segments of Invaders #1. The muted, earthy tones used in the flashbacks give it a sense of mournful nostalgia. In contrast, the present day segments benefit from a vibrant palette employing just about every color at the artist’s disposal.

Final Thoughts

Invaders #1 sets up an intriguing premise, dropping hints for mysteries to be addressed in later issues. This one’s worth adding to the pull list.

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Review: A New Fight For Survival Begins In ALIENS: RESISTANCE #1

By

Darryll Robson

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Acting as a sequel to the computer game Alien: Isolation and to the 12-part mini-series Aliens: Defiance, Aliens: Resistance see’s the return of several franchise characters and seasoned writer Brian Wood. Dark Horse Comics have a proven track record with the franchise, as can be seen with the recently completed Dust to Dust story line by Gabriel Hardman, so there is a lot of pressure to keep the flag flying high.

This new chapter in the saga has action, adventure and corporate corruption running through it, so it is off to an excellent start.

Dark Horse Comics — Cover Art Detail for Aliens: Resistance #1

The Story

One character has been blacklisted by the all controlling Weyland-Yutani corporation, while the other is on the run from them after sabotaging one of their missions to collect xenomorph specimens. This means that from the very beginning Wood has a dramatic story to tell. His job is to unite the characters and give them a mission. This element of the narrative is very straight forward and will not come as a surprise to anybody reading.

Zula, from Wood’s Aliens: Defiance series, searches out Amanda Ripley, daughter of Ellen Ripley from the original movie and central character in the Aliens: Isolation computer game, to enlist her help in stopping Weylan-Yutani from weaponizing the xenomorphs. Again, the concept is not new to the franchise and has been the motivational force behind several of the films and even more of the previous comics. What makes this version stand out is the characters and their own personal motivations.

Wood brings together two survivors who have already been through more than their fair share of the Alien nightmare. He re-introduces the characters to the readers by building the relationship between the two women and by giving them a joint purpose. Both of these characters have a lot of background that readers may not be familiar with but the way that Wood handles the script means that it doesn’t matter. Like any successful first issue, everything you need to know is in these pages.

A large number of Aliens based stories have a similar story structure or theme and Aliens: Resistance doesn’t stray too far from that expectation. It is a story about ‘what comes next,’ about how characters seriously affected by a traumatic experience take back control of their lives. And, on some level, it’s about revenge. Wood is able to juggle all of these aspects of the narrative while still producing some wonderfully tense action sequences.

The Art

Robert Carey has produced art work for Batman and Transformers comics and is no stranger to Sci-fi or horror. He is able to create uneasy feelings in the reader in both empty spaces and in close quarters. One aspect of the Alien franchise that resounds through all of the best stories is the sensation of claustrophobia in the vastness of space. This is something that Carey does well. The atmosphere produced from panel to panel and page to page is all consuming. He gives Wood’s narrative a real sense of depth closing in.

One of the highlights of Aliens: Resistance is the magnificent scenery that the characters pass through. From the vast, empty, planet landscapes to the sprawling cities; the locations set the tone for the comic. Each section of the narrative starts with an establishing shot that leaves the reader in no doubt about the type of world the characters inhabit. It is breathtaking and wondrous to behold, but you also get the impression that danger is just around the corner.

Dan Jackson uses a very dirty color palate for the majority of the comic. This is reminiscent of the original Alien movie. Everything is smoke and grime. The central characters are grafters who live in a worker’s world, this is reflected through Jackson’s coloring where he only uses the occasional splash of bright color to highlight the modernity of a particular vehicle or Corporate sign.

Conclusion

Everyone involved, from Wood and Carey to Nate Piekos on letters and even Roberto De La Torre’s cover, adds to the overall atmosphere of oppression that runs through the story. From a visual point of view, this is an excellent Aliens story and an immersive comic book. As a continuation of the franchise, there is plenty here for long-time fans, but it is not necessary to have read any Aliens comics from the last decade or so.

Aliens: Resistance is an excellent start to a new story and ticks off everything required for a first issue.

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AMAZING SPIDER-MAN #13: We’re In The Best Era For JJJ

By

Brandon J. Griffin

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Nick Spencer and Ryan Ottley wrap-up our trip through memory lane with Amazing Spider-Man #13. Spidey takes a backseat to his new partner, J. Jonah Jameson, as he confronts his past mistakes.

SPOILERS LIE AHEAD

The gigantic “Big Man” that attacks our beloved heroes ends up being operated by Frederick Foswell Jr. (son of the original Big Man). His path to revenge on Spider-Man was set forth by a misguided Jonah on the day his father was buried.

Not only does Jonah continue to clean out as many of his past mistakes as he can, but he also saves Spidey’s ass. Before the issue’s end, he also makes a fool out of Mayor Kingpin, refusing to endorse him or let Spider-Man be used as political propaganda for the criminal mastermind.

JJJ has long been a favorite of Spider-Man’s many supporting characters, but right now we’re getting the best we’ve ever seen of the character. Chip Zdarsky’s fantastic Peter Parker: The Spectacular Spider-Man series started the trend–Nick Spencer has taken the ball and run with it with Amazing Spider-Man.

Peter and Jonah’s relationship is hilariously satisfying, loaded with so much heart. It’s also a place we haven’t gone before in Spider-Man comics, nor would it have worked before. Where we are now in Spider-Man history is the perfect time for this development, and it’s being handled by the perfect batch of creators.

Amazing Spider-Man #13 has plenty of gut-wrenching moments as well with Jonah revisiting the missteps of his path. Without these moments of pain and reflection, the emotional impact of his new role would fall short. The most impressive feat is that Spencer and Ottley illustrate these progressions without betraying the character we’ve loved all these years–he’s changing, but he still sticks to his guns.

Jonah is bettering himself, which is making Peter reflect and better himself as well. ASM #13’s message is clear, the mistakes of your past don’t own who you are today. The duo is perfect for each other and for compelling comic book reading.

The main plot of this issue brings back a lot of early Spider-Man characters (Big Man, The Enforcers), it’s hard not to get the feeling of “classic” Spidey. The slow-burning subplot carries a classic feel of its own, drenched in total mystery.

Scorpion is the latest to get roped into whatever Taskmaster and Black Ant are up to. He finds himself locked up with a handful of other villains and one of the many curious subplots continues to thicken.

Teasing and managing future drama in these subplot breaks are a part of comic book storytelling that is making a comeback. Nick Spencer does it masterfully, every little snippet we get makes us want to read the next issue immediately.

Ottley delivers another gorgeous issue, loaded with emotional beats and satisfying action. His artistic vision for Amazing Spider-Man is the evolution of what has always made the character such a comic book staple. The more classic elements and characters you bring into the mix, the more his art continues to shine.

Spencer and Ottley are a dream team working on the perfect title. Each issue hammers home the point more and more; we are in a great era for Amazing Spider-Man comics. The two words that come to mind the most are memorable and iconic.

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BLACK WIDOW #1 Review: Back From The Dead And Looking For Action

By

Darryll Robson

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Black Widow has had a difficult few years and, although being killed and reborn in a clone’s body may be par for course for your average Superhero, the strain is beginning to show. To help her through these difficult times Marvel Comics have enlisted movie writers/directors Jen and Sylvia Soska to pen the next stage of Natasha Romanoff’s life. With a selection of horror/thriller B-movies under their belt, it is pretty clear that Black Widow is not going to have an easy ride.

It’s a New Year, and a new creative team brings us a new mini-series about everyone’s favorite Russian spy. What can go wrong?