X-23 Volume 1: Family Album is out January 9th, and it’s an action-packed thrill ride that doesn’t skimp on the emotions.
The series is written by Mariko Tamaki with art by Juann Cabal and Marcio Fiorito. Colors are by Nolan Woodard and letters are by Cory Petit. Georges Duarte did the art for issue six with colorist Chris O’Halloran.
About the story:
When a genetic scientist goes missing, Laura Kinney (X-23) and her sister Gabby (Honey Badger) are on the case. Meanwhile, the Stepford Cuckoos are acting stranger than usual. How are they connected to Laura’s missing scientist?
Tamaki does an excellent job picking up the torch from Tom Taylor. She encapsulates the spirit of Taylor’s All-New Wolverine, but puts her own unique spin on Laura and Gabby.
“Family Album” is not a simply superhero comic. It’s a fast paced action story AND an intriguing mystery. It’s got comedy AND tragedy. X-23 is many things at once, and that’s what makes it so compelling.
But above all else, this is a story about family. It’s about Laura and Gabby, two people who are all each other have in the world. Their relationship is funny, it’s heartwarming, at times it’s even heartbreaking, but it’s also so relatable. Anyone who has a sibling – either literal or figurative – will love this comic.
And – just like in All-New Wolverine – Honey Badger absolutely steals the show. Tamaki captures Gabby’s voice perfectly. She’s so pure and good, despite also being an unstoppable killing machine. Every line out of her mouth is gold. If you read this comic for no other reason, read it for Gabby.
Cabal and Fiorito display a huge range with their art. Their action sequences are full of high octane energy, but they also pump the small moments with tons of emotion. The facial expressions deserve a special shout-out, especially the eyes. The characters’ faces are what will make you laugh the most, or cut you to the bone the hardest. Again, despite being about superheroes and clones, X-23 is incredibly relatable, and the art is a huge part of that.
If you’re looking for a superhero story that digs deep and delivers on more than just action (but still delivers the action), definitely check out X-23 Volume 1: Family Album when it hits stores.
Deadpool Volume 1: Mercin’ Hard For The Money is out January 2nd, and it’s a fresh start for the Merc’ With A Mouth, making it a great book to ring in the New Year with.
The series is by Skottie Young (words) and Nic Klein (art), with Jeff Eckleberry on letters. Scott Hepburn did the art for issues 4, 5, & 6 with Ian Herring on colors.
Gerry Duggan’s run on Deadpool changed the character’s status quo in a major way. Wade Wilson became a millionaire and an official Avenger; he worked to put his murderous ways behind him. The series had its highs and lows, but it was generally well-received by fans. However, in the end, Duggan decided to end his run by wiping Wade’s memory and returning him to the man he was at the start. Enter Skottie Young and Nic Klein.
Young and Klein don’t waste any time showing the reader what kind of guy their Deadpool is. Wade is done with superheroing and back to mercin’ full-time. He’s rented some office space in the back of a stuffed animal shop in the mall and hired Negasonic Teenage Warhead as his assistant. He’s a dirtbag, killing for money and screwing over his friends. But damn is he funny while doing it.
If you love big, over-the-top violence with a dash of Looney Tunes absurdity, then this book is for you. Young, Klein, and Hepburn do not hold back one iota; they go balls to the wall and have a ton of fun. Whether they have Deadpool fight a giant, cosmic monster, or some local street thugs, the team brings a ton of energy and maximum effort.
All of the artists on this book – both Klein and the team of Hepburn and Herring – add a layer of dirt to the story. Their pencils are gritty and their colors muted. It provides an edge to this world and sets the tone. This isn’t the superhero Deadpool comic fans had been getting; Wade is putting the “degenerate” back in “Regenerating Degenerate.”
Young, meanwhile, packs this series with humor, from the situations he puts Deadpool in to the actual dialogue. The insults, the out-of-date cultural references, all of it will have you laughing from page one. The writer brings all of his absurd stylings from I Hate Fairyland into the mainstream with this book.
Not to give Young all the credit either – Klein and Hepburn sell the comedy with their art just as much as they deliver the action.
Deadpool is told mostly in single issue stories, which makes it all the more fun and easily digestible. The first three issues are the exception; they tell one story to catch you up on Wade and bridge the gap from Duggan’s run. However, after that, you get three very different, but equally engrossing stories. The episodic nature of the series makes it feel more like an old school cartoon, which fits the character perfectly.
Perhaps the best story of this paperback is the closing chapter. Deadpool wakes up feeling pretty down; he’s not up to mercin’ today. The rest of the story follows him as he goes about his day in this sad haze. Seeing this usually upbeat, comedic character in a funk is actually pretty sobering. It adds depth to his character, and offers insight into who he really is beneath all the jokes. It’s also a realistic, relatable look into depression. Even people who don’t consider themselves “depressed” have days like this, where it’s a struggle just to get out of bed in the morning. The rest of the collection is a barrel of laughs, and then this issue comes along and punches you with emotions, but with a Deadpool twist.
It’s no secret that Deadpool is incredibly “in” right now; you can hardly escape him. It’d be really easy for Marvel to cash in on this popularity with a generic comic that just panders to the masses, but Deadpool by Skottie Young, Nic Klein, and company is a genuinely good series that will have you entertained on every page.
SEASONS BEATINGS is a one-shot series giving readers a holiday story with all the zany flavors of Deadpool. Corny and downright incoherent at times, SEASONS BEATINGS #1 nonetheless offers a hopeful message coated with the holidays’ spirit of giving.
STORY
Jason Latour’s story follows the fast-paced, zany style of classic Deadpool comics. The mercenary wakes up in a dumpster wearing a Santa suit, covered in blood. Deadpool’s fourth-wall breaking adds to the craziness of this predicament and sets the tone for the rest of the issue.
The story jumped around to various Marvel heroes and villains, showing us how they handle the holiday season. However, the tone’s constant switching often made the story lose its sense of coherence. One minute we empathize with Peter Parker’s depression during this season and just a little while later we’re watching Squirrel Girl crack jokes as she pounds Doombots.
Nevertheless, SEASONS BEATINGS #1 encourages us to embrace the spirit of giving in the midst of its many storylines. They (somewhat) converge in the end, but it was hard to tell what the point of the story was at the conclusion. It would have been good to see greater coherency between each of the characters’ individual stories.
ART
Marcos Martin’s cover art, coupled with the story art from Chris Brunner, Veronica Fish, and Irene Strychalski, fits well with the aforementioned classic Deadpool style. The characters were brightly colored to emphasize the happy-go-lucky aspect of Deadpool’s characterization. But the artists also used heavy shading in many of the panels to remind the reader of Wade Wilson’s darker side.
Travis Lanham’s lettering works well as it seems to capture each character’s voice accurately, and the reader won’t be confused as to who was speaking, even in the scenes with many characters.
CONCLUSION
This issue does a good job of crafting a wild Deadpool story that’s infused with holiday themes and morals. However, the lack of cohesion in the storyline failed to keep me engaged. This could have been a much more enjoyable story if Latour had focused more on tying each of the subplots together.
Did you think this was a fitting Deadpool holiday book? Let us know in the comments below!
TITANS #32 hits your local comic book store on January 2, but thanks to DC Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: While the Titans have spent months responding to Source Wall-related threats, Mother Blood and the Blood Cult have been studying that energy and learning to harness it for their own malevolent purposes. In this special villain-focused issue, discover what the Cult has been up to and why everything the Titans have done up to this point may have been for naught, and how they just might be playing into the ultimate trap!
TITANS #32 is written by Dan Abnett, with art by Clayton Henry, colors by Marcelo Maidlo, and letters by Dave Sharpe. Henry and Dean White worked on the main cover, and Philip Tan and Elmer Santos created the variant cover.
Check out the preview below:
Do you have TITANS on your pull list, what do you think of Abnett’s run? Comment below with your thoughts.
From Hungary, the indie science fiction film Jupiter’s Moon follows the story of Aryan, a Syrian refugee played by Zsombor Jéger who is shot to death but doesn’t die and instead discovers he has the incredible power of flight. The indie film, also produced via France and Germany, won Best Film at STIGES and best director at Fantastic Fest and with good reason. Read on!
Jupiter’s Moon: Man or Monster
Is Aryan an angel or a demon? There’s a bit of that debate at the heart of Jupiter’s Moon, a film that starts off big, discussing the many moons of Jupiter. It slowly narrows us down to one, Europa, a celestial body thought to house the potential for life. The film focuses in even more, on a rooster; perhaps a subtle joking wink, as if asking ‘what came first?’ And then we meet Aryan, his father, and a caravan of refugees seeking asylum in Europe. The opening sequence features a Cuaron-esque extended single take of immigrants running for their lives. It’s beautiful and immediately makes you take notice of director Kornél Mundruczó’s (White Dog) technical mastery.
As the story progresses, Jupiter’s Moon reminds us over and over of Aryan’s power. It gives us glimpses into how it plays into the lives of the people who witness the gravity-defying ascent of this super-human. The FX in each case are mind-bending and flawlessly executed in much the same ways as Nolan’s Inception. Aryan’s power is represented in a swim-like rise through the air and accompanied by a lovely theme from composer Jed Kurzel.
Matters are made far worse when …
Aryan is the “super-hero” here, but Jupiter’s Moon closely follows Doctor Gabor Stern (Merab Ninidze) who oversees healthcare at a refugee camp and lets a few escape for the right price. It’s an unspoken arrangement allowed to go on by local law enforcement lead by László (György Cserhalmi). However, when the good doctor witnesses the power of Aryan, his anti-religious nature sees the light and it’s made of money. Later, László sees Aryan hovering and will stop at nothing to get the young man back.
Doctor Stern helps Aryan escape the camp, and together they begin a life of blowing people’s minds for money. The doctor sells a possibility and Aryan makes people a believer by gliding up, like an angel. The arrangement is working well, but Aryan is conflicted. Matters are made far worse when one of the men is framed in a terrorist attack.
Those visuals, man …
The film consistently dazzles with how it uses Aryan’s power to fly. There is no shortage of creativity when it comes to how they show Aryan’s gliding power. One sequence takes us down from an apartment building rooftop. Aryan’s shadow is cast on the wall as we witness the day-to-day lives of random people who are unaware of the magic happening just outside.
From a visual point of view, Jupiter’s Moon is a must-see. The special effects are flawless and used to advance the story in each and every case. It’s not spectacle for the sake of it and for cinephiles, the sheer mastery of timing for some sequences is wonderful.
Jupiter’s Moon’s major problem lies in a story that’s a little unfocused at times. It gets bogged down by its snail pace and lack of bite when it comes to the things that could be questioned here. It feigns a more profound religious argument then backs away. Neither Stern or Aryan are particularly interesting and suffer from muddled motivations. However, as things start to get dull, those visuals, man, they just do something mesmerizing.
I can’t decide whether I’m lucky or unlucky to review The Life of Captain Marvel #5. I went in with high expectations for the conclusion to Margaret Stohl’s incredible run on the series. But, simply put, I don’t know if I—or any reviewer, for that matter—can really do it justice. This book is simply amazing.
The issue focuses on Carol and her mother’s climactic showdown against the Kree Kleaner. More than that, it delves into the depths of who Carol is as a character, providing a truly touching finale.
The Writing
Margaret Stohl is a true master storyteller. Setting out with the goal of reinventing an established character’s origin is ambitious on its own. However, to do so in such an emotionally powerful and satisfying way is nothing short of brilliance.
Over the course of the series Stohl demonstrates the value of strength in vulnerability. Carol faced the anxieties that first drew her back home, bringing her on a voyage through a lot of painful emotional baggage toward self-discovery over these last four issues. Throughout the series, we’ve seen the narrative split intermittently with flashbacks to Carol’s past (the literal “life of Captain Marvel”). These flashbacks gradually merge into the present, and with The Life of Captain Marvel #5, we see the culmination.
At the crux of this issue, though, is Carol’s relationship with her mother. It’s tough to talk about without getting into spoiler territory. However, suffice to say that Mari-Ell and Carol’s moments together here are heart-wrenching, yet ultimately affirming.
Even once the main conflict is resolved, the epilogue of The Life of Captain Marvel #5 retains a true poetic sensibility. It’s equal parts tragic and hopeful, and brilliantly set the stage for Captain Marvel’s next adventure. My only concern: how can they possibly top it?
The Artwork
The artwork is handled by Carlos Pacheco and Rafael Fonteriz in the present-day sequences, with colors by Marcio Menyz and Federico Blee. Marguerite Sauvage handles all art duties for the flashbacks. While clearly different, a sense of minimalism permeates both time streams. We get intricate and gorgeously-detailed character designs set against sparse backgrounds. This helps the artwork to flow seamlessly from page to page, eventually merging triumphantly at the book’s halfway point.
I really enjoy the softer, more muted look employed by Sauvage in the flashbacks. They have a unique, timeless look, helping sell the images as flashbacks throughout The Life of Captain Marvel #5.
Of course, that doesn’t undercut the work of the present-day crew. Images are sharp, dynamic, and dominated by warm, fiery colors to underscore the intensity of the battle.
Final Thoughts
Why are you still reading a review? Get out there and buy The Life of Captain Marvel #5 now.
The multiverse is full of possibilities for storytelling. This is seen in Grant Morrison’s Multiversity miniseries, which shows a collection of Earths. One of these Earths, Earth X, has Superman’s pod landing in Germany where he is adopted by Adolf Hitler. This leads to the Nazis winning World War II and taking over the world. While they marched on America, a team of metahuman rebels rose up to fight. The Freedom Fighters became the equivalent of the Justice League on that Earth. They now have a new maxi-series of their adventures in that world. Do the Freedom Fighters have a place in the modern world?
**Some Spoilers Below**
Story:
We open the comic in 1963, where Nazis have taken over America. The Freedom Fighters, consisting of Human Bomb, Doll Man, and Black Condor, are meeting with fellow rebels. Lead by Olympic athlete, Jesse Owens; the group prepares another attack against the regime. They are interrupted, however, by one of the Fuhrer’s meta forces, the Plasstic Men. While they put up the good fight, each of the members is quickly defeated. As Jesse is sent to a hard labor camp, the Freedom Fighters are publicly executed. Uncle Sam, the leader of the Fighters, watches this and vanishes into thin air. Decades pass, and while the Regime continues to lead, a new version of the Freedom Fighters is born.
This comic is an excellent example of how to start a maxi-series. The issue gives us the context of the world without too much exposition, cool characters, and sets up the story. It presents what happened to the original Freedom Fighters, but also gives us the ones we met in the Multiversity. It would have been easy to stick to the new team, but I do enjoy the past being included. It’s a way to keep the history of the characters connected and makes the world feel alive.
There is one major flaw in this story, however. While the characters look cool, we don’t know much about them. All we know is that they fight the Nazis to try and free America. There is still time to fix that, but it has to be in the next two issues. Any later, it could interfere with the story.
Art:
The art style can be summed up in one word: disturbing. From the creepy smiles of the Plasstic Men to the horrific public executions, each panel becomes more disturbing than the last. This does not mean that it’s a bad thing. This rule perfectly captures the themes of the Earth. There are also some creative designs for the Nazi soldiers. If this is the style we’ll be sticking with for the rest of the series, we’re in for a dark, entertaining ride.
Conclusion:
This is a solid opening for this maxi-series. It properly introduces readers to Earth X and its heroes. By the time I finished, I was hungry for the next chapter. If you haven’t heard of this team before now, I highly recommend you pick this up and join the Freedom Fighters’ fight.
She-Hulk By Soule & Pulido: The Complete Collection is finally out, and it’s probably the best $35 you’ll spend this week.
The paperback collects She-Hulk (2014) issues #1-12, as well as Wolverines #13 and material from Gwenpool Special #1. It’s written by Charles Soule and drawn mostly by Javier Pulido, with Muntsa Vicente on colors and Clayton Cowles on letters. Ron Wimberly drew issues 5 and 6, with Rico Renzi’s colors on issue 5.
This is a much beloved run on Jennifer Walters, and for very good reason. It doesn’t feel like a typical superhero book, even though it stars a character who’s been a member of both the Avengers and the Fantastic Four. It’s something special.
In issue one, Jen leaves her job at a big law firm and opens up her own shop. The rest of the series focuses on her trying to succeed and her various cases. And, of course, there’s plenty of superhero action mixed in (one of her first cases is helping Doctor Doom’s son receive asylum in the United States!). The overall story is about Jen finding a balance between her two lives, but her law career takes center stage.
Charles Soule is a practicing attorney, in addition to being one of the most prolific comic book writers working today (at one point, the man had something like seven titles out each month). He brings his knowledge to She-Hulk, making this one of the most honest looks at our legal system in comics. He shows readers the behind-the-scenes stuff, what a lawyer’s day-to-day life is actually like, and damn is it funny – because you know it’s all true. Soule seemingly vents all of his frustrations with this book, frustrations with the system, with difficult clients, and with other lawyers. She-Hulk shows the power of lawyers, both good and bad. It’s both cynical and optimistic, making this one of the most complex and intelligent comics of the past decade, as well as one of the most fun.
“Being a lawyer is like being strong. It’s a superpower. You can do what you want with it. Some people use their power to help, and other people…well, they’re like you. Ugly. Just…poison.” – Jen Walters
She-Hulk is a story about justice, and about helping those who can’t help themselves. It’s about compassion and friendship, and doing things the right way, no matter how hard that is. That all adds up to a powerful superhero comic, but told through a real world lens, which only makes it more powerful.
Perhaps the best example of these concepts is “The Good Old Days”, a three part story told between issues 8, 9, and 10, where Jen represents Steve Rodgers, Captain America, in a wrongful death suit. This arc is the heart of Soule and Pulido’s run. It embodies everything the team is trying to say, and if you only read these three issues, it’s still worth the price of the collection.
“I think the best super hero stories are aspirational. They aren’t just thrill rides – they’re mirrors, showing us what we might be, if we become our best selves. And the best super hero stories are the ones where the heroes themselves aspire to reach that same goal too…and every once in a while, after great sacrifice and incredible effort, they get there. That’s Jennifer Walters to a T, if you ask me.” – Charles Soule, in his farewell letter to the series
Javier Pulido and Muntsa Vicente’s art is like nothing you’ll see in traditional superhero comics. It’s pop art, full of bright, vibrant, flat colors, unique panel layouts and transitions, and whimsical lettering (I’m unsure if Clayton Cowles did 100% of the lettering, or if Pulido handled some of the sound effects himself, but they’re A+ either way). Take one look at this comic and you’ll know that you’re in for something special. Fans of Rich Tommaso’s style or the tone of David Aja’s Hawkeye will find a similar experience reading She-Hulk.
Pulido’s work is nothing short of artistic sorcery. He uses such simple techniques to add a sense of motion to the action. It feels like it shouldn’t work – that these images should just look stagnant, because again, they don’t utilize the techniques we’re accustomed to seeing in superhero comics – and yet it works so well that the characters seem to literally burst off of the page with energy. The art is what’s going to have you revisiting this book time and time again.
The best part about this series is that it’s completely self-contained. You can pick up these 12 issues and enjoy them on their own, without having to worry about tie-ins, crossovers, or the scope of the Marvel Universe at large. Stories like this come too few and far between in today’s superhero comics. The landscape has become more and more concerned with events, and tying everything together. There’s something peaceful and refreshing about being able to pick up a book and read a complete story. It’s fulfilling. If you’ve become jaded with the Big Two, and maybe even sworn off superhero comics as a whole, give She-Hulk a chance. It’s probably exactly what you’ve been looking for.
She-Hulk by Soule & Pulido is a perfect storm of comic book awesomeness. The story is complex and interesting, the art is unique and powerful, and it will leave you with a smile on your face. Great stories are ones that you want to revisit instead of reading once and then letting them collect dust on your shelf. As previously stated, you’ll be re-reading She-Hulk, guaranteed.
Batman #61 retells of perhaps the most thoroughly-covered event in comics history: the murders of Thomas and Martha Wayne. Only this time, the investigation gets some help from none other than Batman himself.
Of course, DC gives away the twist ending in their solicitation for the issue. However, I like to go into a story while knowing as little as possible beforehand. So without spoiling it, I’ll say Batman #61 reintroduces a surprise villain brought in earlier in King’s run on the series. It’s the beginning of a new story arc, Knightmares, the title of which makes sense by the issue’s end.
The Writing
King did a good job of catching me off guard in Batman #61. We have Batman investigating his own parents’ murders alongside the young Bruce Wayne. I thought at first we might be going in a more esoteric, supernatural direction, similar to what Kurt Busiek is doing with Batman: Creature of the Night.
That said, keeping your readers in the dark throughout most of an issue is a gamble. Maybe a more astute mind could pick up on hints of what’s going on throughout the book. I, however, was more just along for the ride, waiting for the story to make sense by its end. When we get to the story’s last three pages, though, I’m tempted to put on my best Shyamalan impression and shout “What a twist!”
Still, Batman #61 is an engaging read, and everything comes together coherently in the end, so I won’t complain about it too much.
The Artwork
Travis Moore’s artwork is detailed and expressive. Rather than opting for a shadowy, noir vibe in this old-school detective story, the scenery is surprisingly bright throughout the book. As a result, those more dark, stylized images jump out and seem to have more presence when they show up.
The page layout in Batman #61 is very straightforward. The panels are arrayed in evenly-spaced squares, so while it’s not the most exciting presentation, it gets the job done.
Finally, the colors by Tamra Bonvillain work in much the same way. They’re not the most inventive, but they are well-suited to the style of the book, and are expertly applied. There are enough moments where the ink and colors meld to create a truly striking image.
Final Thoughts
Batman #61 is an intriguing opener to the new story arc. I look forward to seeing where it’s headed, and I think most Batman fans will, too.
Spider-Geddon #5 presents the culmination of the year’s big Spider-event. The Inheritors and the Spider-army faceoff for a climactic battle, with ramifications that will impact—and spawn—multiple Marvel titles heading into 2019.
With Spider-Geddon, reading the tie-ins coming out each week has been pretty integral to the story. That is certainly true here, with the plot of Spider-Geddon #5 relying heavily on the Spider-Girls, Spider-Force, and Vault of Spiders limited series. Though the story wraps up neatly, it can feel overwhelming with with so much information flying at you.
The Writing
The writing in Spider-Geddon #5 is on-par with Christos Gage’s work on the series up to now. The first third of the book focuses on Octavius’s plan to sacrifice Scarlet Spider…and how that pans out for Jennix, who gets the pleasure of digesting years of convoluted Clone Saga continuity.
The bulk of the issue consists of the final battle sequence, in which Gage is just throwing everything at us. With so much story to wrap-up in a single issue, the pace is set to full-throttle throughout. That’s not necessarily a bad thing, but it does have its downsides. The finale can feel a bit anticlimactic with the pace at which it’s wrapped up. For an event pitched on the scope that Spider-Geddon was, the end seems to come with a lack of fanfare.
One of the more interesting points of Spider-Geddon #5, though, involves a member of the main spider-cast who ends up crossing a line you’d never expect. It’s hard to see how this could have ended any other way. However, there’s a clear sense of moral conflict in the act. It will be interesting to see how this impacts the character’s development going into post-event continuity.
The Artwork
No fewer than six different artists contributed pencil and ink work for Spider-Geddon #5. However, the team manages to pull together to produce a solidly cohesive look.
The work is kinetic throughout, clearly conveying the action in each sequence. With so much on the page, it could be easy to get lost in the chaos. You never feel like you’re unsure of what’s conveyed, though. Panels are arrayed in a dynamic manner, but they flow smoothly from page to page.
The colors provided by David Curiel are similarly on-point. Rather than sticking to a consistent palette, there’s a wide range of approaches and techniques on display in Spider-Geddon #5. We get gray and muted tones, vibrant, eye-catching pops of brightness, and everything in between. This helps underscore the vibrant line work and fast-paced storyline, without giving us a sense that tones are clashing.
Final Thoughts
Spider-Geddon #5 is a fitting send-off to the big event. While not perfect, I’m content with the finale. Plus, I look forward to how the ramifications play-out in ongoing series.
