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.
Ed Brisson sends the time displaced X-Men teens back to their own timeline for good. Extermination ends in an explosive and exciting fashion, marking the end of an era for X-Men comics.
***SPOILERS LIE AHEAD***
After making a huge mess and murdering his own future self, Young Cable completes his mission and sends the original X-Men teens home–avoiding Ahab’s mutant murder party of the future. As always, there are a few lingering elements going forward and a HUGE reveal at the end.
Ed Brisson did a wonderful job crafting a story to not only send the kids back home, but also put the modern X-Men in a good place to build on. Extermination succeeds as a hug X-Men crossover story where others have failed. This story leaned heavily on the Cable-timeline-surgery that has made X-Men comics great and frustrating for so many years.
Ahab’s plot to wipe out mutants, utilizing two powerful French kids, could’ve easily been stale. However, setting up the bare bones we needed to buy-in and just racing off into the fun made this a pleasure to read. Not being dragged done by bloated plot or trying to dress-up a simple antagonist plot made the story feel honest and wholesome.
Brisson had a task, send the teens home. He and the creative team turned that simple endgame into an exciting adventure. This was as an examination of the X-Men, Cable, mutants, hatred, and the idea that brought the kids here in the first place. It also helps that this didn’t just end up as a launching pad for a bunch of new X-Men titles that’ll be cancelled within a year.
Artist Pepe Larraz and colorist Marte Gracia were absolute rock stars throughout this story. Extermination #5 is an extremely satisfying finale for your eye balls. There’s so much to appreciate about every panel on every page.
You could get lost in the backgrounds of panels for hours, just admiring the action and showdowns. It’s not just a bunch of faceless mutant fodder blasting each other, each card-carrying X-Men is on display in the most glorious fashion. This action sequences are nerve-racking as they burst off of the page, keeping this from ever feeling generic or half-assed.
Letterer Joe Sabino gets to shine as well, there is a massive amount of texture and swagger to the lettering choices.
Going forward for X-Men comics, Young Cable is an interesting character to follow. This is uncharted territory for Nathan Summers, it’ll be a joy to see him develop in Ed Brisson’s upcoming Uncanny X-Force. Not to mention that HIS F*CKING DAD IS BACK.
It was the ultimate cliffhanger reveal to see Cyclops appear at the end of Extermination. Having Scott come back while his son is still at an impressionable age makes for some potentially great X-Men stories. That final page will make any dedicated X-Fan drool at the mouth despite having seen that Scott’s return was imminent from Marvel’s Previews.
Extermination #5 wraps up a quietly monumental X-Men event that will find itself among the “essential X-Men reading” lists in no time. Ed Brisson was the right man for the job, his X-Men credibility continues to grow. Larraz, Gracia and Sabino make this a comic book that you’ll not soon forget. It’s definitely worth a second read immediately for the art alone.
This story will make you want to read all the X-Men titles that follow, that’s a big win for Marvel and this stellar creative team.
Spider-Man and J. Jonah Jameson put their friendship and partnership to the test in AMAZING SPIDER-MAN #12. They’re in over their heads facing off against a parade of JJJ’s troubled past in the form of a death trap by Arcade.
***SPOILERS LIE AHEAD***
J. Jonah Jameson has been one of the most interesting characters in Spider-Man’s web over the last few years. He’s gone through some dramatic changes and developments, most of them leading to some unforgettable and enjoyable storytelling. Nick Spencer has picked up the thread and furthered JJJ’s growth as well.
Amazing Spider-Man #12 takes us through Jonah’s tragic history. A rare glimpse at the other side of the equation. We always see how Jonah makes Parker feel, but never get to see why exactly he’s prone to those activities. Any more time spent with Jonah is time well spent so this issue is loaded up.
There’s actually not a lot of Pete in this issue, outside of a few lines of banter and slick fighting moves. Ryan Ottley’s coming back from break didn’t exactly explode into our brains, but it’s still a damn good read. It’s easily the least Ottley has had to do so far on the series.
With a number of a blank, white backgrounds within Arcade’s JJJ History Death Trap, Ottley must’ve had an easy week. The pencils that we do get are flawless. Silly cartoon expressions blend perfectly with the sleek design and movement of action sequences. It’s nice to see Scorpion back in his classic, dull suit.
Story wise, there isn’t a lot of new information or development here. If you’re a decently well-read Spidey fan, the key moments covered here are common knowledge. The enjoyment comes from seeing Ottley illustrate the classic moments.
The writing may be on the wall for Jonah and Pete’s possible breakup of partnership. Amazing Spider-Man #12 is a major stress test for the two New Yorkers. How they come out of this death trap will either ruin or strengthen their relationship. Hopefully strengthen because I cannot stress enough how crucial JJJ has been to Spidey comics recently.
Outside of the few busy pages, colorist Laura Martin doesn’t have a whole lot to do either. The pages with Jonah’s past bursting out and chasing the two explode with color. Inker Cliff Rathburn might have been the busiest art team member given that JJJ is wearing a black tux the whole time.
In no way is the art lacking in this issue, there’s just a noticeably lesser amount of art being displayed. Our journey so far with Spencer & Ottley’s Amazing Spider-Man has been one fully loaded with gorgeous superhero art. After coming out that strong, issues like this will stand out, it’s not a big deal.
Nick Spencer does a great job briefly touching on all of the plot points here. All the many balls he’s currently juggling in the air, he doesn’t miss a beat as far as furthering a narrative. He also provides splendid commentary along the way, whether it be from Peter or the narration itself. He’s always got a way to poke fun at what’s happening without taking us out of the story.
There’s a lot to like about Amazing Spider-Man #12, this arc is all about Jonah and Peter’s relationship and history–and that’s fine with me!
