Review: THE GREEN LANTERN #3: Hal Meets God?

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Fans of Green Lantern stories from the ’80s love Grant Morrison’s new run. The unique artwork and police crime drama elements bring us a classic Hal Jordan story we haven’t seen in years. What’s more, THE GREEN LANTERN #3 ups the ante by featuring slave traders and a being that looks like the traditional conception of God from the Old Testament.

STORY

Grant Morrison’s THE GREEN LANTERN #3 introduces us to the Slave Lords, a group of slaver traders who have set up an intergalactic auction. But instead of auctioning off individuals, the auctioneer is selling entire planets full of people. The group has teamed up with the Blackstars, a militia group who has agreed to protect the slavers in exchange for funds that will help Controller Mu, their leader, acquire a powerful weapon.

With all this illegal activity going on, the Green Lanterns jump on the case. Hal makes his entrance by tackling the celestial being named “The Shepherd” who recently purchased Earth. The alien bears the resemblance of an elderly man with long, flowing robes akin to Biblical figures. He characterizes himself as God by promising the people of Earth paradise, but Hal will have none of it: His ring detects something unsettling about The Shepherd and attempts to tell the people of Earth before it’s too late.

This fantastic story makes us take a hard look at humanity’s ugliest tendencies. One of the greatest lines of the issue comes when Hal confronts the people of Earth, explaining the future ramifications of selling the planet to a celestial being. He asks them, “You’d seriously sacrifice the lives of your great-grandchildren? For short-term gain?” The allusions to our destructive relationship with our own planet are hard to miss.

ART

Liam Sharp and Steve Oliff do a wonderful job of crafting art that looks like it’s straight out of an 80’s comic. We see a mix of surreal designs and bright colors to give us a cosmic story that honors the past while offering us something new.

Each Green Lantern has a unique design that showcases the true diversity of the Corps. Each member is drawn to embody his, her, or its battle style, and Oliff’s solid coloring allows them to stand out from the ever-changing backgrounds. And these backgrounds aren’t just empty space; they’re filled with a variety of striking planets, asteroids and other celestial bodies.

CONCLUSION

Morrison, Sharp and Oliff have offered us a story with the best of the Green Lantern mythos: action, weirdness and cosmic storytelling. Coupled with the police procedural/drama aspects, THE GREEN LANTERN #3 shows it knows how to connect with fans of Hal Jordan and his Corps.

What did you think of Morrison’s handling of the Green Lantern mythos? Let us know in the comments below!

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Review: YOUNG JUSTICE #1 Brings the Team Back in a Messy Way

By

Jose "Jody" Cardona

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Young Justice is back!

Young Justice has always been a strange concept for me. They are a team of teenage heroes, even though the Teen Titans are still a thing. Both have casts of characters that were either sidekicks, trained by dark forces or sometimes both. What is the need for it? Then their animated series brought them into the spotlight. With the opinion of the team being so high, DC has decided to put out a new iteration, written by Brian Michael Bendis. How will this new version of the team pan out?

**Some Spoilers Below**

Story:

It’s a dull day in Metropolis as a new hero rolls into town. Jinny Hex, descendant of legendary cowboy Jonah Hex, has come to Superman’s city for help. Before we can learn with what, however, invaders from Gemworld show up. As they begin to cause destruction, other young heroes show up to face them. The first comes in the form of Tim Drake(Robin) who meets up with Cassie Sandsmark, former Wonder Girl. The invading forces give the pair a chance to get back in the fight together after a long break. While they face off against some of the soldiers, Impulse speeds in alongside a new Lantern calling themselves the Teen Lantern to help as well.

This book, much like our young speedster, goes by way too fast. The pacing in this book is insane, and it’s hard to follow. We meet Jinny, invasion starts, flashback 4 minutes ago to a deep conversation between Tim and Cassie. This happens so quickly I can barely connect with these characters! Readers need the balance of fast and slow so we can enjoy it.

That being said, I did have fun with its action and humor. I found myself laughing at Impulse’s attitude and Jinny’s encounter with the cops. It’s moments like this that show the series can be a great one. If Bendis can work out the pacing, I think this will be a fantastic Young Justice run.

Art:

Gleason has been a mixed bag for me in the past, and this issue is an excellent example of why. His designs for the Young Justice team are good, but some of the faces look a bit strange. While Bart looks as cartoonishly energetic as always, Conner’s mouth appears to be entirely on one side of his face. There are more positives than negatives, but the flaws stand out.

Conclusion:

This opening is rushed and a little messy, but it’s fun. The pacing and art might cause some readers to be taken aback. However, if you’re just looking for some cool comic action and humor, this comic gives you plenty. If the rest of the series is like this, while fixing the problems it has, we might have a great Young Justice series.

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[Review] King & Gerads Reunite for BATMAN #62

By

David DeCorte

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After the segue provided in the previous issue, Batman #62 delves back into the broader narrative of King’s story.

Coming off the conclusion of their fantastic run on Mister Miracle last November, Tom King and Mitch Gerads reunite to provide a surreal, dark, and bloody entry. Here, Batman finds himself captured by Professor Pyg. Unable to understand how he got there, Bruce attempts to fight back delirium and crack the mystery. Bruce is not prepared, though, to learn who’s really behind the mask.

The Writing

Batman #62 has almost no dialogue. Instead, the issue works almost entirely through Bruce’s inner monologue. Like King’s work on Mister Miracle, the issue reflects the deconstructive approach employed in that series.

King is giving us insight into Bruce’s deteriorating mental state. He’s not certain of what’s going on and how it relates to Bane’s takeover, and the fact that he doesn’t know is gnawing away at him, testing his grip on reality. This points to clear danger for Batman, and the threat that he may be pushed over the edge.

The lack of dialogue means Batman #62 tends to rely heavily on mood. There is palpable anxiety and dread throughout the book, with Bruce seamlessly moving back and forth between talking his way through the confrontation, while trying to crack the mystery behind it.

The storytelling is abstract and dreamlike, leaving much of it up to subjective interpretation. Where we’re headed, though, seems like pretty foreboding territory.

The Artwork

I don’t want to keep harping on the Mister Miracle connection. However, if you loved Gerads’ work on that series, you’ll find plenty to like in Batman #62 as well. The work possesses that same disorienting, psychedelic style. Like Bruce, the visuals make you question what is real, or whether you’re trapped in some kind of washed-out nightmare, which is a perfect aesthetic for a Professor Pyg story.

Of course, the colors play a role nearly as important as the line work. The washes of sickeningly-bright colors amid the splotches and visual glitches really help drive home the vision.

Despite Batman #62 being loose on narrative and almost devoid of dialogue, Gerads does a great job of laying out the sequence of the action. Nearly every page is divided neatly into three evenly-spaced, horizontal panels. The effect reflects the methodical, step-by-step mental process Bruce walks himself through, while also establishing an uneasy sense of symmetry amid the chaos in each panel.

Even the lettering by Clayton Cowles contributes to the spidery, creeping visuals.

Final Thoughts

Batman #62 is as unsettling as it is disorienting…in a good way. Even if you’re not picking up this biweekly series, this issue is one to grab (especially with that Frank Miller variant cover).

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How LIFE OF CAPTAIN MARVEL Nails The Origin Story Retcon

By

Anthony Composto - EIC

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Life of Captain Marvel is a beautiful, personal story about family, that also shows how to properly retcon a character’s origin.

When Carol Danvers starts having panic attacks brought on my memories of her childhood, she goes home to Maine to face her demons head on.

The story is written by Margaret Stohl, with pencils by Carlos Pacheco, inks by Rafael Fonteriz, colors by Marcio Menyz (with Federico Blee), and letters by Clayton Cowles. Flasback art is by Marguerite Sauvage (issues #1-3 & #5), and Erica D’Urso & Marcio Menyz (issue #4).

This is an incredible, intimate story. Captan Marvel is one of Marvel’s heaviest hitters; writers can use her to tell grand, epic action stories on a cosmic scale. The fact that Stohl uses Carol to tell a deep, complex story about family dysfunction is a testament to both the writer and the character.

Family is messy, and Life of Captain Marvel explores that in depth. It’s a story about feeling like you’re an outsider in your own home. It’s also about overcoming that, and realizing that your parents are just people – flawed, confused people just trying to get through life, same as you. Not everything is black and white, and things aren’t always how they seem on the surface. This is a comic exploring the grey areas of life.

The artwork really reflects these ideas, too, especially the flashback work by D’Urso and Menyz in issue four. D’Urso makes Carol’s parents look so young and bright-eyed. Even when they’re trying to raise a family, the artwork makes you think, “oh, they’re just kids themselves, figuring it out as they go along.”

And there’s also a big, action-packed alien fight. But the family drama is what drives this story, and why you should pick it up.

Life of Captain Marvel also retcons Carol’s origin in a MAJOR way, but it’s done in a very satisfying way. There will be spoilers from here on, so step away and come back after you’ve read the story if you want to be surprised.

It’s revealed that Carol’s mother was a Kree warrior all along. Carol (who’s name is actually Car-Ell, Kree for “champion”) never inherited her powers from the original Captain Marvel; the incident with Mar-Vell only activated her natural, dormant Kree powers.

Now, admittedly, at first this reveal might make you say “ugh, seriously?” It seems like an unnecessary change that relies too heavily on coincidence. However, that hesitation fades away after a few words from Carol’s mother:

“They’re not anyone’s [powers] but yours. They never have been. … Light and power and speed and strength, because it’s who you are.”

And suddenly everything clicks into place. The change to her origin makes Carol a stronger, more independent superhero. She doesn’t owe her powers to anyone else; they come from her.

Not only that, but this finally gives her the connection to her mother that she’s been craving. She doesn’t feel so alone anymore. Her mother was a warrior, just like she is, only she never knew it. Again, this goes with the themes mentioned earlier: parents are just people. They lived whole lives before having children, and they went through the same struggles that we go through. We just have a hard time thinking of them like that.

So that’s why this retcon works as well as it does. It not only makes for a stronger story, but it also develops Carol’s character. It’s not a retcon just for the sake of shaking things up or generating sales.

If you like deep, fulfilling superhero stories that put heart and soul before action, don’t sleep on Life of Captain Marvel. It’s not your normal Marvel comic; it’s a Marvel comic with indie comic vibes.

The Life of Captain Marvel trade paperback is out Wednesday, January 16th.

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[Review] CAPTAIN MARVEL #1 Offers Strong Art, Clunky Story

By

David DeCorte

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Carol Danvers is back in Captain Marvel #1, the double-sized debut issue of her new solo title. Returning from her year-long sabbatical outlined in last year’s excellent Life of Captain Marvel limited series, Danvers is ready to jump back into the action.

The issue opens mid-battle, with Danvers and Spider-Woman taking down a kraken-like beast attacking Manhattan. From there, we diverge into a few different open-ended story threads.

The Writing

Captain Marvel #1 is dialogue-driven. But, unlike the meditative style of Life of Captain Marvel, the writing here tends toward a light, snappy tone. Kelly Thompson leaves little negative space, filling each scene with quick banter between characters.

The book’s first half, focusing on Carol and Jessica Drew taking on a monster, is strong. You get a feel for the warmth and camaraderie between the two through their interaction.

That said, they’re trying to pack a lot into this single issue. We go from a battle against an unexplained monster, to Carol taking on a mentorship gig, to an awkward reunion, into a battle against one of Marvel’s most oafish villains. Captain Marvel #1 is throwing everything at the wall, and not all of it sticks.

Before readers get a chance to center themselves in any one scene, we’re off on a totally different tangent. The story feels choppy and rushed as a result. It would have been a better idea to slow things down and develop one or two of these story threads first, as the pacing and half-fleshed story elements leave it feeling unwieldy and incomplete.

The Artwork

Artist Carmen Carnero embraces a highly-dynamic style in Captain Marvel #1. Each panel offers a different angle and perspective, with kinetic figures adding to the lively sensibility.

From an artistic standpoint, the book’s strength lies in the realistic take on the characters and background details. While I’m not the biggest of Tony Stark’s look, the character designs are very strong overall.

The inks in Captain Marvel #1 work well alongside the colors provided by Tamra Bonvillain. She employs a wide palette, yet the colors have a soft, muted look that complements Carnero’s art style. This gives the final product a somewhat painted, refined look.

Final Verdict

Captain Marvel #1 is a decent start for the new series. The artwork is strong, though the pacing presents an obstacle to really forming a bond with Carol or any of the other cast in this first issue. Hopefully later issues will resolve that.

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Review: Brubaker and Phillips’ CRIMINAL Goes Monthly And Hits A Big Score

By

Manuel Gomez

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Criminal, by Ed Brubaker, Sean Phillips and Jacob Phillips, goes monthly with an excellent, moody, violent and dark double-sized debut issue from Image Comics.

Criminal #1
Written by: Ed Brubaker
Art by: Sean Phillips
Colors by: Jacob Phillips

Teeg Lawless is back in town. But he finds himself in more trouble than ever, thanks to his delinquent teenage son—and this time, fists and bullets may not be enough to solve his problems.

Writing

The world of Criminal has always been where Ed Brubaker excels the most. And having it monthly is just about the best fucking news any comics fan could hear going into 2019. Criminal is without a doubt Brubaker’s seminal work and now the scribe is going to be able to dive right in twelve times a year and drag us by the neck into that wonderful and twisted, noir world.

This issue stars Teeg Lawless, one of many reappearing characters in Brubaker’s tapestry. Teeg’s son Ricky (who has also popped up before) seems to have ripped off the wrong item from the wrong guy and now Teeg has to come up with some cash fast or else. This leads Teeg back to some old places and acquaintances (most familiar to fans); and of course, one big score. It’s a classic set up that could be a cliche but Brubaker’s too good of a writer and just elevates the whole thing. The narration, omniscient, hard-boiled, and delivered matter of factly makes just about everything read so fucking tough and hard it feels like granite.

And yet despite all the grime and grit, there is still an air of soulfulness and an element of tragedy that haunts these characters and makes you connect and care for them. Hell, you even start to root for them.

Brubaker’s love for the medium as a storytelling tool is evident also as he sneaks in little details that only four color fiends will really notice (like an occasional old school thought balloon).

It’s also great to see Brubaker continuing his use of heavy editorial and supplemental pieces at the end of his comics. Here we have a nice summary of all the Criminal graphic novels for those new to this world and a fantastic essay on the film Blood Simple by regular contributor Kim Morgan. It’s a complete package of a reading experience that works because it’s a monthly.

Art

No one draws a comic like Sean Phillips, and when it’s a crime/noir comic you are going to get comic book art perfection. Phillip draws faces that look haggard and real. His layouts and panel structure are neat, but the feel of the line work is what gives them that handcrafted and grimy look.

Throw in Jacob Phillips’ moody colors and you have the perfect pair to pull off this job. Jacob’s palette also adds a layer of freshness and experimentation that at times gives certain pages and panels a subtle, surreal vibe. It’s beautiful.

Conclusion

It’s simple, don’t sleep on this book. A new Criminal book has always been well worth the wait, and now we are getting one monthly. Just pull the fucking trigger and buy this book.

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Review: Evil Lurks In The Pages Of THE SPIDER KING: FROSTBITE

By

Darryll Robson

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Continuing on from IDW’s monthly series The Spider King, this new one-shot follows the central band of misfits as they journey on to new adventures. Packed with humour, excitement and character, The Spider King: Frostbite is a wonderful blend of Sci-Fi and Fantasy that will appeal to a large section of comic book fans.

The Spider King IDW Publishing — The Spider King: Frostbite Alternative Cover

The Story

It’s an age-old story: a group of survivors head for a sanctuary only to discover an evil force has inhabited the land.

And so begins this one-off story featuring all of your favourite characters from the monthly run of The Spider King. But don’t worry if this is your first issue of the sci-fi/fantasy adventure comic because Josh Vann has written a story that contains everything you need to know about the world of The Spider King thus making it easily accessible.

The cast of Viking warriors and Alien friends travel through the snowy landscape, heading to a nearby settlement so that they can rest and relax. Unfortunately for them, but luckily for the reader, there are dark forces at work in the forest and an unprovoked attack by a possessed wolf is just the start of the adventure.

Vann includes enough creepy elements into the story to keep the atmosphere tense without it becoming a full-on horror comic. Instead, what Vann has written is an adventure story for all ages. It contains humour, action, suspense, and a collection of wonderful characters. The nature of The Spider King story means that there is an identifiable character for everybody and in this one shot they all get time in the spotlight.

But the real stars of this issue are the villains. A collection of alien-possessed animals who brainlessly attack the band of heroes. Vann makes the first attack scary and then ups the ante, introducing more and more creatures. Ultimately this leads to a threat that seems insurmountable for our heroes. Not everything is as it seems but the truth may turn out to be worse.

The Art

The artwork is the one thing that stops The Spider King: Frostbite from becoming a straight up horror comic, which it so easily could be; after all, the story shares similarities with some of the best horror computer games and movies. This comic definitely draws some inspiration from the Resident Evil franchise and John Carpenter’s movie The Thing. However, Simone D’Armini’s pencil work and Adrian Bloch’s colors reign it in and lean more towards the comedy element.

This is not a bad thing; The Spider King is a fun romp with large appeal, so playing down the horrific side does it justice in the long run. And it’s not to say there aren’t a few unnerving or scary elements in the comic. Contained in these pages is the scariest snowman I’ve seen since Doctor Who’s The Snowmen in 2012.

D’Armini’s inks are sharp and definite. Each firm, black line forms a defined shape within the panels which represents the warrior nature of the cast. The panels themselves have thick black boarders making each panel a statement in itself but D’Armini likes to play around with the layout. He shifts panels slightly out of sync or occasionally bleeds an image to the page edge giving certain images more narrative weight.

Across the top of this are Bloch’s colors which are a beautiful blend of pastel purples and pinks contrasted with the electric blue of the creatures. This initially gives the enemy a ghostly presence but there is also the feeling of technology written into the narrative. The color scheme reminds the reader that The Spider King combines both a fantasy world and a Sci-Fi world. There is also the sense of eternal twilight which doesn’t let up throughout the entire story. Bloch keeps it cold and dark without resorting to black shadows thereby keeping the images on the lighter side without diminishing the narrative.

Above all else, it seems that the creators of Frostbite want it to be a fun read. The lettering by Chas! Pangburn definitely reinforces this assumption. From Frodi’s weird hieroglyphics on a green background to the dialogue that breaks the confines of the speech bubbles; Pangburn enjoys breaking conventions to add humour to a page. The panel with the scary snowman, for example, contains the dialogue written so large it even breaks the additional frame that Pangburn places around it. The speech is given such emphasis that the uncomfortable moment is punctuated with a laugh out loud joke.

Additional Story

This issue also contains a back-up story. Called The Errand, it is again written by Vann and lettered by Pangburn but is illustrated by Daniel Irizarri. It is a quaint little tale with a cheeky demon-esq creature and an over tired Sigrid. Mimicking the main story, The Errand mixes mythology with science fiction to create a charming tale which finishes too soon. The build-up is great but the payoff is too easy and doesn’t really explain anything. However, the artwork is fitting and there is a more thoughtful tone given to this moment of Sigrid’s character development.

Overall The Spider King: Frostbite is an exciting romp packed with humour and entertainment. The heroes are suitably heroic and the villainous creatures are solid fantasy fare. This has a lot going for it and is easy to read and enjoy. Also, if you are new to this world, I would recommend picking up The Spider King volume 1 for more of the same Middle Ages adventures.

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Review: MURDER FALCON #4 Unleashes Demons And Metal Upon The World

By

Darryll Robson

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In Image Comics‘ music and fantasy inspired Murder Falcon, the creators have managed to recreate the experience of listening to heavy metal music in a comic book format. They have woven the tropes of the music’s storytelling with outlandish visuals to produce an engrossing experience that has to be read to be believed.

The pacing and rhythm of a great rock album is present within the pages of this comic and there is even a soundtrack to complete the experience, Brooticus.bandcamp.com

Prepare to be surprised, prepare to shocked, but most of all, prepare to Shred!

Murder Falcon Image comics — Cover for MURDER FALCON #4 by Image Comics

THE STORY

The first thing any newly reformed band has to do is play a reunion gig. Unfortunately for Jake and Brooticus, their gig will be one of the hardest fought of their lives.

The band celebrates being ‘back in saddle’ but they are interrupted by a distant battle. Knowing that the battle is theirs, Jake leads his band against Magnum Khaos, a demon greater in strength than any they have faced so far.

Daniel Warren Johnson is not afraid to use over-the-top action and tongue-in-cheek clichés to tell the story of Jake and Brooticus. In fact, it goes hand in hand with the metal music influence that spawned this book. All good metal albums have an element of cheese about them; it’s one of the things that makes them appealing and provides a comfortable environment for the listener while the band introduce new ideas and concepts.

This approach is evident in Johnson’s Murder Falcon comics. He picks from the clichés of fantasy and music literature to create an easily accessible world for the readers while at the same time creating something new and exciting. The larger than life elements of this issue are metaphors for the internal struggles of the characters. This is reflected by Jake’s story the most, with numerous flashbacks that give the reader an insight into Jake’s past and the questionable decisions he’s made. There are also a few emotional twists which are becoming the norm for this series. You come for the Metal but you’ll stay for the heart!

The Art

Johnson is able to switch from emotional, quiet scenes to bombastic, louder than life battles on a pin head without breaking the reader’s concentration. This ability makes the reading experience fluid while maintaining the emotional punches required for the story to work. This is achieved in two ways.

Firstly, Johnson uses the panel layout to reflect the images they hold. This means that the fight sequences, with the chaotic demons and larger than life characters, have a more varied panel design including inserts, overlaps and page bleeds. For the heart felt, down to Earth moments however, Johnson employs straight forward panel grids. The difference between the two layouts changes the pace at which the reader follows the action and is almost forced to contemplate on the lack of action.

The second way that Murder Falcon differentiates between the two central stories is via the coloring provided by Mike Spicer. The opening scene has a single color theme giving it an emotional depth even before you follow the panels. A quick glance at the page of cold blues tells you everything you need to know about the emotional state of Jake at that moment. This changes dramatically as you turn to the second page where there is a host of vibrant colors spreading across each panel. Even before you get to the battle sequence there is a fantastical element to the coloring, creating the sense that it is somehow unreal, larger than life.

This dramatic shift between the periods in Jake’s life is also evident in the lettering work by Rus Wooton. For the most part, the speech balloons and dialogue reflect the chaos the characters are in. The balloons appear hand drawn, uneven, and the text rattles around inside the white space as the characters are thrown and knocked about. But when it comes to the quiet scenes, Wooton uses a much more understated approach to the lettering. What little speech there is is kept out of the way, allowing the images to breath. It is subtle and reflects the contemplative nature of the images. The transition from one scene to the next in Murder Falcon is like the shift from a fast metal track on an album to the opening chords of a ballad.

CONCLUSION

Murder Falcon continues to impress as the two story arcs each become engrossing in their own way. The fantasy element becomes more ludicrous allowing the humour to flow from the page and the emotional character arc becomes more heart-breaking, with each step pulling the reader closer to Jake. The storytelling is suburb and, just like true Metal music, it is not afraid to be exactly what it is. It is big, brash and unbelievable but it has a moving story to tell. A story which, thanks to the work of all involved, does not get buried by the fantasy element.

If you haven’t read any Murder Falcon before it will surprise you by its brilliance. The attention to comic craft, the love of the characters, and the musical influences are evident on every page. If you have ever seen The Aquabats! Super Show, then this is a comic book version of that, but for heavy metal music.

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UNCANNY X-MEN #9: Fighting Against Fatigue

By

Brandon J. Griffin

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Uncanny X-Men marches on, fighting fatigue and staleness along with setting up the next era for the flagship Marvel title.

SPOILERS LIE AHEAD

X-Man and Legion have become one and it’s up to the massive roster of X-Men to stop Nate Grey and his horsemen from wiping out humanity.

The biggest obstacle the X-Men and their creative team face with this rapid weekly release schedule is that of fatigue. Writers Ed Brisson, Kelly Thompson, and Matthew Rosenberg have done well to avoid becoming stale by keeping the tempo high and the action constant.

While we might not be getting bored with this “Disassembled” story, there’s not a whole lot to differentiate each issue from the last. The actual progression of the story feels like it’s at a snail’s pace if you’re reading it week-to-week. My hope is that once this storyline is done and Uncanny X-Men is at a regular release schedule, it’ll be a refreshing change of pace to slow things down and dig into the mutants themselves again.

Jamie Madrox is once again a scene stealer, foiling X-Man’s plan by being a cowardly alcoholic. This was a character moment in line with Rosenberg’s recent Multiple Man mini-series. I’m willing to bet Rosenberg wrote this scene, it’s good to see that characterization continue for Madrox.

One of the biggest letdowns of this story so far has been the utilization of X-Man’s Horsemen. They’ve mostly been props and a reason to give a few characters a sweet costume redesign. With the story all running together at this point, it could’ve been nice to take a moment and examine the new scenario from these character’s perspectives.

Another sign of feeling a bit of fatigue from the nonstop action is how riveting the Beast/Anole subplot appears at first. It ends up being another instance of the government being given an X-Gene vaccine for them to weaponize but it’s a nice, quiet moment to break up all the noise. I’ll never turn down a scene where Beast gives a mutant teenager advice.

These pages are lit up by so many colorful beams and blasts. The problem is there isn’t much of an in-depth conflict behind them from the story. This issue is loud and explosive, making it a joy to look at. The emotional height of the issue is easily Jean’s showdown with her son before the beautiful final page.

Yildiray Cinar does a fine job populating these pages and keeping the background scenes entertaining. We also finally get Legion in a decently drawn suit thanks to Cinar! Colorist Rachelle Rosenberg has made every issue an explosion of eye-satisfaction. Art isn’t where the series feels the effect of a weekly release schedule (Which is a rarity).

Next issue we get Nate Grey/David Haller facing off against even more X-Men! Most importantly, our creative team has brought some long lost favorites back into an X-Men book (MAGGOTT FTW). Uncanny X-Men #9 is a solid superhero punch-fest that could use a slowdown moment or two to avoid giving readers fatigue.

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FRIENDLY NEIGHBORHOOD SPIDER-MAN #1: All About The Neighborhood

By

Brandon J. Griffin

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Marvel’s rock star writer Tom Taylor gets a Spidey book with rising art star Juann Cabal. Friendly Neighborhood Spider-Man focuses on the people surrounding our favorite web-slinger. The all-star creative pairing previously did stellar work together on All-New Wolverine.

SPOILERS LIE AHEAD

Tom Taylor really turns on the heart and charm with his first Spidey issue. Everything you need to know about this series is in the title Friendly Neighborhood Spider-Man. This is a comic book about the immediate surroundings of one Peter Parker. He’s one hell of a guy who does everything he can to take care of the people around him.

There’s no high-octane action sequence to open our story, there’s no ludicrous villain plot threatening the lives of everyone Spidey loves. Right out of the gate this is a very plain and simple story about how much Spider-Man means to his community.

Taylor populates this neighborhood with such real people, Peter included, and right away it’s so easy to relate to and understand what we’re reading. We don’t even really spend much time with Spider-Man himself as we’re introduced to all the peripheral people we don’t spend any time with in Amazing Spider-Man; it hammers home the point that this isn’t just another Spidey title.

From the people Peter passes on the street every day, to his apartment complex neighbors, to the love of his life MJ; we spend a lot of time seeing how important Spidey/Peter are through the eyes of others.

It’s not that this issue doesn’t have action either, there is just enough to keep the pace exactly where it needs to be and remind us we’re still reading a superhero comic book. There’s also a perfect dose of classic Spidey humor, Taylor demonstrates a restraint and knack for comedic timing.

Friendly Neighborhood Spider-Man is a wonderful compliment to the main Spider-Man titles. It’s a wonderful idea to produce a series where we can spend some quieter, quality time with Peter Parker and the people around him. This launch issue is very much a love letter to the character by the creative team, a sentiment that every reader will probably share if they’re buying this title.

It’s also a title that isn’t going to be for everyone. Not every fan of superhero comics is going to dig the slower paced drama with very little punching for the massively popular wall-crawler. This series will most likely become a great accent piece to the Spidey line of books for those who just can’t get enough (Myself included).

Juann Cabal might still be an “up-and-coming” artist but he sure doesn’t seem like it here. It’s no easy task to take a script with minimal action and keep readers engaged throughout.

There are plenty of veteran artists who can lose a reader’s interest with too many pages of straight dialogue in a row. Cabal displays a wide array of emotions and navigates the story splendidly. Cabal is what breathes so much life into this lively neighborhood.

The secondary story sees Aunt May secretly going to a cancer center due to a lump she found. The tension that’s built just from her keeping a secret from her nephew is a sign of Taylor’s writing strength. He’s able to jump in here and just hit the ground running with these characters that have so much history.

The moment with Spidey and the kids, as he secretly tails his aunt, is such a classic Spider-Man moment. Dealing with the bully situation but then turning it into a whole other thing because he talked himself into a corner, but it’s okay because he saved the bus driver’s sister once; that just puts a smile on my face and a chuckle in my heart.

Friendly Neighborhood Spider-Man is a perfect accent series to a stellar Amazing Spider-Man run. We die-hard fans of the ol’ web head are in a really nice place right now. The only downfall of this inaugural issue is that it’s not for everyone; but those that it is for will cherish it for being so lighthearted, charming, and drop dead gorgeous.

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Young Justice is back!

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