Amazing Spider-Man #17: I initially decided not to pin this issue with the Women in Refrigerator tag, given that Felicia threatens to gut Kraven herself if he somehow defeats Spider-Man. (Note to self: send Nick Spencer a muffin basket for returning Felicia to us.) But, then we had the Mary-Jane-as-Barbara-Gordon moment, and I decided it was appropriate after all. Beyond that, though, it's a solid start to what could really be a great event. Spencer leans heavily into characterization here, from Felicia's struggle to comfort Billy when they awaken as captives in the Plaza Hotel to Kraven's melancholy reflections on how this new world doesn't value his ethos. Spencer is also clearly having a great time; the twist that Kraven has everyone stashed at the Plaza is pretty great. But, Spencer is using enough foreshadowing to let us know that it isn't all fun and games. I applaud his decision to make Peter fight Kraven with the flu, because I feel like "Amazing Spider-Man" has always done the best job among comic-book series of showing how Peter's need to act as Spider-Man doesn't always happen at the most convenient times for Peter himself. (If I remember correctly, he also had the flu in "Kraven's Last Hunt.") Spencer doesn't just use the Mary-Jane-meet-coffee-table moment to show us how high the stakes are: Ramos does a spectacular (heh) job of really showing how Kraven's son beat Peter's ass something fierce. Then, he puts him in the black costume in a dome filled with his enemies, and you're like, "OK, game on, Spencer." Then, he introduces Kraven robots trying to kill everyone, and you're like "OK, maybe I can look past the Mary Jane problem..."
Spider-Gwen: Ghost Spider #6: Jackal working with Man-Wolf! McGuire does a good job here of introducing Gwen's new status quo, where she has to deal with the ramifications of outing herself. For reasons that aren't yet clear, we learn that Jackal and Man-Wolf are working together to take her down, sending a group of thugs to attack her so that they can learn her fighting style. But, they're not Gwen's only problem, as she suffers a series of headaches in the issue and is unaware that she appears to be shedding spiders. Are they going to form the real Venom eventually? I guess we'll see. Meanwhile, she's hiring out her services, and we know that's going to end well.
Star Wars: Han Solo - Imperial Cadet #5: This story's conclusion is pitch perfect. Han and his fellow cadets find Valance, only to discover a group of slaves seeking to escape the planet in the chaos of the Empire's attack. The cadets learn that the slaves mine farium, and Kanina is shaken to her core, as her boyfriend Weegee is a farium miner on her home planet in the Huru system. She realizes that the battalion heading to the Huru system means the Empire is going to enslave her people. Han convinces her to let the cadets and he fake her death so she can save her planet. If Marvel is looking for a good sequel to this story, Kanina leading a rebellion against the Empire on her home planet gets my vote. I've always liked Robbie Thompson, but he's been particularly impressive here, infusing Han's four fellow cadets with solid backstories and clear personalities in just five issues. Unfortunately, the emotional denouement -- Kanina arriving on her planet to fall into Weegee's arms as Han spends time in the stockade -- is ruined in part because of the art choices. Weegee looks identical to Han, and Prianto's use of a sepia tone makes it seem like Kanina is happy to see Han years later, after he leaves the Empire. I'm surprised the editors didn't catch that, particularly given how many editors the Star Wars line has at this point. But, overall, this mini-series was one of the strongest ones that we've had so far.
Transformers #1: As a child of the '80s, I was very excited about this comic. As often as I complain about reboots, I'll admit Dark Horse's universe of Transformers-related comics made it difficult to figure out where I could engage. In other words, I'm loathe to admit it, but this reboot was exactly for people like me; I apologize to long-time fans who just saw their continuity swept into the dustbin for us. But, I also think Ruckley does a great job of offering something for everyone, as this issue starts us at the time before the Autobots and Decepticons go to war.
The main story involves Bumblebee leading a newly sparked Transformer named Rubble to a transmission station to learn the wonders of "energon engineering" from a fellow Transformer named Brainstorm. In their journey they meet with a Transformer named Windblade. She works for Security Operations, and she asks to accompany Bumblebee and Rubble because she's also heading to the station after Brainstorm reported some "anomalies with the monitoring equipment." She hypothesizes that it's sabotage, leading Bumblebee to wonder if "the Rise" could be out this far. Along their journey to the station, we learn that Rubble is in a period of exploration that all newly sparked Transformers experience, as they journey to choose their alternate form. We also learn that they can later change their choice, as Bumblebee "left" Security Operations (where he met Windblade) to become a Search and Rescue worker. (Windblade implies that he didn't leave Security Operations so voluntarily.) Arriving at the station, Windblade senses something is wrong. While she and Bumblebee scout around a bit, Rubble stumbles upon a murdered Brainstorm.
The second story gives us context to this scene. We learn Megatron is the leader of a group called the Ascenticons. They're marching on a place called Tarm, which seems to have some sort of religious connotation to the Ascenticons. Concerned about safety, Orion Pax calls for a meeting with Megatron, as a fellow Senator and old friend. Ruckley doesn't give us much information here on the substance of Megatron's dissent. We only learn that his last rally left dozens injured, and he paints the Autobots as fascists seeking to restrict Transformers' freedoms. Moreover, Ruckley makes it clear that Orion uses "friend" a little too loosely here; Ruckley even mentions in his interview at the end of the issue that they aren't exactly "friends.'
In other words, Ruckley manages to make the comic feel familiar yet fresh at the same time. One of the most interesting developments is his introduction of an organic race of ape-like creatures called the Voin. Windblade dismisses them as scavengers, though it's unclear what they would be scavenging as Cybertron does seem entirely inorganic. Moreover, some of the Voin are connected to a floating aquarium containing a squid-like creature that speaks for the apes. In other words, we have a lot to explore.
Winter Soldier #4-#5: Issue #4 was so gripping that I just went ahead and read issue #5. Jesus fucking Christ. I've been following Higgins for a long time now, and he really takes his work on "Nightwing" to the next level here. He's gotten the tone of each issue exactly right. After all, RJ's cautious hope about his father, Richie, makes it clear that it's all going to end in tears, because it's a Bucky Barnes story and not a Steve Rogers story.
In both these issues, Higgins perfectly uses RJ as a mirror to Bucky's own feelings of doubt and mistrust. RJ desperately wants to believe Richie is trying to start a new life after he was released from prison. But, RJ is who HYDRA made him, so he's also suspicious. For example, he doesn't believe Richie's story that he recognized RJ on television, because RJ was only a year old when Richie went to jail. But, Richie shows him a picture that RJ's mother (allegedly) sent him, and he tells a moving story about how all he did for the time he was in prison was stare at that picture and imagine who his son was. It's enough for RJ.
But, it's not enough for Bucky. Higgins makes it clear that Bucky needs RJ. He needs to believe that he (and he alone) can save RJ from himself, because Bucky needs to believe that he can save himself. He learns that lesson hard in issue #5, but in issue #4 he still hasn't fully come to grips with his own motivations. The problem is that he's obviously not wrong in his suspicion of Richie. When RJ beats away some goons who came after Richie for money that he borrowed from them, it's the proof that Bucky needs that, at best, Richie is a small-time hood who can't go straight. After all, what kind of guy looking to go straight borrows money from a loan shark on his first day on the outside? But, RJ has faith in him, and he convinces Bucky to do for Richie what Bucky does for other people looking to leave "the life."
The problem is, Bucky is right. Sharon gets video of Colt paying Richie a visit, and it seems clear that Colt arranged his coincidental release to bring back in RJ. But, it's even worse than Bucky thought, as Richie is also using his old contacts to put together a job to rob a high-stakes poker game, figuring RJ's particular skill set would come in handy. But, Higgins goes one step further, in the other direction. When Bucky confronts Richie, telling him to leave town, Higgins has Richie full of fury over Bucky's sense of entitlement over RJ. Richie's right in this way: Bucky has decided he's better for RJ, and he's impatient to be rid of Richie. When Richie dies accidentally in their fight, Bucky struggles once again to come to grips with his lack of control.
Everything spirals into chaos in issue #5. Colt lays in wait for RJ at Richie's place, knowing he'll come looking for his father when he doesn't show for breakfast. He tells RJ the truth about what Bucky did, while Bucky calls Sharon for help as he plans on burying Richie's body in the woods. Higgins uses this scene perfectly to show how much Bucky is struggling to make his own good decisions. Sharon convinces him to tell RJ the truth, but his instinct not to do so calls into question his motivations. Higgins once again shows us that Bucky's need to save RJ is more about him than RJ. When RJ rejects his attempt to apologize, seeing how he heard from Colt first, Bucky is devastated. Sharon pulls in favors to get Richie buried in a proper cemetery, but she warns Bucky she's depleting that store of favors. Bucky tearfully admits to Sharon that he was trying to save RJ from the fate that he so clearly feels, from hating himself so much that he can't imagine someone not hating him. Sharon comforts him, reminding him that helping someone and saving them are different paths. She encourages him not to forget that, not to try for perfection. His hotline rings, and despite his misgivings he answers. Meanwhile, RJ takes out Colt dressed in his uniform and tearfully fades in to the night.
In other words, wow. This mini-series has been spectacular from start to finish, but it ends so fucking strongly. It's an amazing psychological study of Bucky, and I honestly don't understand why they aren't just handing Higgins the keys to this kingdom here. We rarely get an author explore the savior complex that runs through superheroes, and Higgins does it so perfectly here.
Also Read: Avengers: No Road Home #5
Showing posts with label Winter Soldier (2019). Show all posts
Showing posts with label Winter Soldier (2019). Show all posts
Thursday, May 23, 2019
Friday, April 5, 2019
Not-Very-New Comics: The February 13 Avengers Edition (HERE BE SPOILERS!)
Avengers: No Road Home #1: I really enjoyed "Avengers: No Surrender," so I was perfectly happy to return for this sequel. The authors do a really solid job of setting the stage for the event here. In fact, they might've done too good of a job. In the first series, the mystery of Valerie Vector kept us guessing for the first several issues. Here, we know right off the bat that Nyx has murdered the gods of Olympus and stolen all light in the Universe. Even if her motives aren't yet clear, I'm surprised by how quickly the authors revealed she's the culprit (at least, as far we know). Maybe it's a sign of just how much ground they plan on covering. (Rocket does seem to be plotting something...) Plus, Paco Medina takes on the art duties, giving it the true feel of event-dom. It wasn't quite the debut "Avengers: No Surrender" #1 was, but it was a solid start nonetheless. An Avengers story featuring the Olympic gods (dead though they may now be)? I'm definitely there.
Winter Soldier #3: Higgins does a great job here. Although I'm still not quite sure how exactly Bucky's souped-up arm helped him defeat The Spot, the requisite super-villain fight really takes a back seat to the psychological struggles both Bucky and RJ are having. Bucky throws himself full tilt into helping RJ start healing from his time under Hydra's care, and Higgins does a good job throughout the issue of foreshadowing how desperate Bucky is to believe RJ can be healed. When RJ reveals he's read Bucky's diary and knows he himself questions whether he himself can be healed, Higgins shows just how much he understands Bucky. Bucky admits to RJ that he's struggling with the idea that he can be redeemed, and this moment of authenticity breaks down some of RJ's walls as he tearfully admits to Bucky he doesn't want to be a killer anymore. As happy as I am with the script, the art just really doesn't fit for me. Reis' artistic use of watercolors certainly allows for whole new depths when it comes to depicting bruises, but it doesn't translate well for emotions. Given this issue is all about emotions, Reis' style spoiled certain moments, where I wound up more focused on the odd art choices than the emotions I was supposed to be feeling. (For example, the characters often have random white spots on their faces that aren't tears. For a while I thought they were laser pointers Reis forgot to color red.) At any rate, Higgins is at least doing a bang-up job and I can't wait to see where we go from here.
Also Read: Thor #10
Winter Soldier #3: Higgins does a great job here. Although I'm still not quite sure how exactly Bucky's souped-up arm helped him defeat The Spot, the requisite super-villain fight really takes a back seat to the psychological struggles both Bucky and RJ are having. Bucky throws himself full tilt into helping RJ start healing from his time under Hydra's care, and Higgins does a good job throughout the issue of foreshadowing how desperate Bucky is to believe RJ can be healed. When RJ reveals he's read Bucky's diary and knows he himself questions whether he himself can be healed, Higgins shows just how much he understands Bucky. Bucky admits to RJ that he's struggling with the idea that he can be redeemed, and this moment of authenticity breaks down some of RJ's walls as he tearfully admits to Bucky he doesn't want to be a killer anymore. As happy as I am with the script, the art just really doesn't fit for me. Reis' artistic use of watercolors certainly allows for whole new depths when it comes to depicting bruises, but it doesn't translate well for emotions. Given this issue is all about emotions, Reis' style spoiled certain moments, where I wound up more focused on the odd art choices than the emotions I was supposed to be feeling. (For example, the characters often have random white spots on their faces that aren't tears. For a while I thought they were laser pointers Reis forgot to color red.) At any rate, Higgins is at least doing a bang-up job and I can't wait to see where we go from here.
Also Read: Thor #10
Tuesday, February 19, 2019
Not-Very-New Comics: The January 2 Edition (HERE BE SPOILERS!)
Conan the Barbarian #1: In all my comic-collecting life, I've only read one issue of Conan. It was a "Savage Sword of Conan" issue that a friend of mine gave me when I was in the hospital. I remember it blowing my twelve-year-old mind: first, it was in black-and-white, and, second, it was adult. It had a sensibility that I didn't see in the Marvel superhero comics that I was collecting at the time; it was closer to, but still beyond, the types of stories that DC was telling. It was cool, but I never again dipped my toes into those waters.
When I heard Jason Aaron, of all people, was going to pen the new series, I was on board in a flash. That excitement wasn't misplaced. Aaron hits all the notes you expect to see in a Conan comic; it feels the way I expect a Conan comic to feel. But, it's Aaron, so it's not just Conan slaying some soldiers, drinking some ale, and bedding some wenches. I mean, he does bed a wench, but it turns out she's actually a witch! She poisons him with a scratch, and he awakens to find himself bound spread-eagle (sexy!) in an underground temple. She needs blood from the greatest warrior in the land to resurrect her demon lord, which she almost accomplishes before Conan manages to break free from his bonds and kill her. Aaron has more surprises in store when he flashes us forward decades later, as King Conan of Aquilonia reviews a battlefield littered with bodies. As he walks among his dead opponents, he's startled to find two children. They're not who they seem to be at first glance; they're minions of the dead witch, and it looks like they're going to fulfill her prophecy that Conan will die on this spot (just a few decades after she thought).
I've always been disappointed that we don't have more sword-and-sorcery comics. Comics seem to be a perfect vehicle for these sorts of stories. However, from DC's old-school "Forgotten Realms" series to the current "Dungeons and Dragons" and "Pathfinder" comics, they've always been sort of...joke-y. They've never brought the gravitas that I'm thrilled to see Aaron bring here. Plus, getting a chance to read Conan feels like reading the relaunched "Miracleman" series did, connecting with comics history in a way I didn't get to experience the first time. Color me excited.
Detective Comics #995: I like Tomasi, but this issue is just too much. Bruce barely sounds like himself as he tries to tell Leslie what she meant to him as he and Alfred try (and fail) to treat the Joker toxin. I'd expect some emotion from Bruce, but he's just too over the top here. The Bruce I know would've kept focused on the task at hand until he found the answer. Instead, he falls to pieces, a reflection of how Snyder's and King's interpretation of him as a hot-headed brawler (and not meticulously controlled detective) casts a long shadow. Moreover, it's hard to take Leslie's death seriously. I mean, how many times has she died? Tomasi even doubles down on this approach, as Leslie's body isn't even cold when someone dressed as Zorro stabs Alfred. (In an interesting note, this person somehow tricks the computer system into identifying him as Commissioner Gordon. It's starting to feel like an inside job.) It's here where it's unbelievable the editors weren't like, "Wait, wait, wait, we just almost offed Dick in 'Batman,' and Alfred also gets stabbed there, too! Maybe do something else?" Alfred survives here (shockingly, I know), and Bruce goes to Arkham to threaten the criminals there for information. Is he going to beat up Bane again while he's at it? Shouldn't he analyze the Joker toxin first, since it seems like a new strain? Maybe it would help inform the questions he asks the criminals while he beats them? After all, beating Bane senseless in "Batman" didn't help matters. Maybe he could even, I don't know, review security-camera footage to get a better sense of who the monster that attacked Leslie was? But, that would make him a detective, something he no longer seems to be. [Sigh.] Unfortunately, I also have to resurrect my "Women in Refrigerators" label here, since the only purpose Leslie's death seems to serve is to push Bruce over the edge. I wish I had something better to say here, after last issue seemed to be a return to form for the Bat-books. Now, I just feel like canceling them all and being done with it.
Uncanny X-Men #8: This issue starts off well. We learn Legion is keeping X-Man and the young X-Men in his mind; they're not physically in the reality that hosts the Age of Apocalypse. Bishop demands the X-Men rescue the young X-Men immediately, but a freed Kitty Pryde refuses to do so, saying they need to evaluate the situation while they have Legion and X-Man distracted. Apocalypse agrees, something that should be Kitty's first sign that she's wrong. Knowing first-hand how awful the world the young X-Men inhabit is, Bishop has Betsy send him into Legion's mind, Kitty be damned, where he prevents Hisako from killing X-Man just in the nick of time. The authors do a pretty solid job of showing how the year the kids spent in the Age of Apocalypse affected them, particularly when Bishop informs them they've only been gone for five minutes in the real world. But, everything spirals into chaos when Legion follows Bishop into his own mind, setting up a confrontation in which X-Man appears to take over Legion. It all at least makes sense, at least from a plot perspective. But, I'll admit I've lost track of the characters' motivations here. It seems weird that Bishop is the one advocating saving the kids and Kitty is the one telling them they should be focused on the larger threat. It's just starting to feel like you could swap in any character with any piece of dialogue, an unfortunate side effect of these sorts of multiple-character events. We'll see if it gets clearer soon.
The Winter Soldier #2: Giving Bucky a sidekick is a clever idea from the boot, but making it a kid with an even more fucked up childhood than Bucky had is brilliant. I'm intrigued where we go from here.
Also Read: Mr. and Mrs. X #7; Shatterstar #4
When I heard Jason Aaron, of all people, was going to pen the new series, I was on board in a flash. That excitement wasn't misplaced. Aaron hits all the notes you expect to see in a Conan comic; it feels the way I expect a Conan comic to feel. But, it's Aaron, so it's not just Conan slaying some soldiers, drinking some ale, and bedding some wenches. I mean, he does bed a wench, but it turns out she's actually a witch! She poisons him with a scratch, and he awakens to find himself bound spread-eagle (sexy!) in an underground temple. She needs blood from the greatest warrior in the land to resurrect her demon lord, which she almost accomplishes before Conan manages to break free from his bonds and kill her. Aaron has more surprises in store when he flashes us forward decades later, as King Conan of Aquilonia reviews a battlefield littered with bodies. As he walks among his dead opponents, he's startled to find two children. They're not who they seem to be at first glance; they're minions of the dead witch, and it looks like they're going to fulfill her prophecy that Conan will die on this spot (just a few decades after she thought).
I've always been disappointed that we don't have more sword-and-sorcery comics. Comics seem to be a perfect vehicle for these sorts of stories. However, from DC's old-school "Forgotten Realms" series to the current "Dungeons and Dragons" and "Pathfinder" comics, they've always been sort of...joke-y. They've never brought the gravitas that I'm thrilled to see Aaron bring here. Plus, getting a chance to read Conan feels like reading the relaunched "Miracleman" series did, connecting with comics history in a way I didn't get to experience the first time. Color me excited.
Detective Comics #995: I like Tomasi, but this issue is just too much. Bruce barely sounds like himself as he tries to tell Leslie what she meant to him as he and Alfred try (and fail) to treat the Joker toxin. I'd expect some emotion from Bruce, but he's just too over the top here. The Bruce I know would've kept focused on the task at hand until he found the answer. Instead, he falls to pieces, a reflection of how Snyder's and King's interpretation of him as a hot-headed brawler (and not meticulously controlled detective) casts a long shadow. Moreover, it's hard to take Leslie's death seriously. I mean, how many times has she died? Tomasi even doubles down on this approach, as Leslie's body isn't even cold when someone dressed as Zorro stabs Alfred. (In an interesting note, this person somehow tricks the computer system into identifying him as Commissioner Gordon. It's starting to feel like an inside job.) It's here where it's unbelievable the editors weren't like, "Wait, wait, wait, we just almost offed Dick in 'Batman,' and Alfred also gets stabbed there, too! Maybe do something else?" Alfred survives here (shockingly, I know), and Bruce goes to Arkham to threaten the criminals there for information. Is he going to beat up Bane again while he's at it? Shouldn't he analyze the Joker toxin first, since it seems like a new strain? Maybe it would help inform the questions he asks the criminals while he beats them? After all, beating Bane senseless in "Batman" didn't help matters. Maybe he could even, I don't know, review security-camera footage to get a better sense of who the monster that attacked Leslie was? But, that would make him a detective, something he no longer seems to be. [Sigh.] Unfortunately, I also have to resurrect my "Women in Refrigerators" label here, since the only purpose Leslie's death seems to serve is to push Bruce over the edge. I wish I had something better to say here, after last issue seemed to be a return to form for the Bat-books. Now, I just feel like canceling them all and being done with it.
Uncanny X-Men #8: This issue starts off well. We learn Legion is keeping X-Man and the young X-Men in his mind; they're not physically in the reality that hosts the Age of Apocalypse. Bishop demands the X-Men rescue the young X-Men immediately, but a freed Kitty Pryde refuses to do so, saying they need to evaluate the situation while they have Legion and X-Man distracted. Apocalypse agrees, something that should be Kitty's first sign that she's wrong. Knowing first-hand how awful the world the young X-Men inhabit is, Bishop has Betsy send him into Legion's mind, Kitty be damned, where he prevents Hisako from killing X-Man just in the nick of time. The authors do a pretty solid job of showing how the year the kids spent in the Age of Apocalypse affected them, particularly when Bishop informs them they've only been gone for five minutes in the real world. But, everything spirals into chaos when Legion follows Bishop into his own mind, setting up a confrontation in which X-Man appears to take over Legion. It all at least makes sense, at least from a plot perspective. But, I'll admit I've lost track of the characters' motivations here. It seems weird that Bishop is the one advocating saving the kids and Kitty is the one telling them they should be focused on the larger threat. It's just starting to feel like you could swap in any character with any piece of dialogue, an unfortunate side effect of these sorts of multiple-character events. We'll see if it gets clearer soon.
The Winter Soldier #2: Giving Bucky a sidekick is a clever idea from the boot, but making it a kid with an even more fucked up childhood than Bucky had is brilliant. I'm intrigued where we go from here.
Also Read: Mr. and Mrs. X #7; Shatterstar #4
Thursday, February 7, 2019
Not-Very-New Comics: The December 5 Edition (HERE BE SPOILERS!)
Batman #60: I may have to cancel this series soon. I just have no idea what King is doing here. It isn't so much the plot, whose direction I dislike but more or less understand. But, the words are strung together in ways that make little sense. It's almost like it was written in a foreign language and we're reading a poor translation. (Paging Jonathan Hickman.) King's obsession with non sequitur poems makes the situation even worse. Although I understand the plot, I still don't get why it's going in such a bizarre direction. It now turns out Bane wasn't the one pulling the strings in Arkham; it was Bruce's father from "Flashpoint." At least, I think? I can't even possibly imagine why he would be involved. Even if he was motivated to help Bane run Arkham, why would Bane accept his help? It also seems like he killed the Penguin's girlfriend, though I don't understand why he would do that, since it sounds like Oswald got his revenge by flagging Bane's actions for Bruce. But, do I care? I don't know if I do.
Die #1: Holy fucking shit, this issue is amazing. Right up front (or, in back, actually, in his note), Gillen admits the inspiration for this book is the question I've asked myself for decades: "Whatever happened to the D&D cartoon kids?" I can't believe my luck that I get to see Kieron Gillen answer that question.
First things first, Gillen does a great job of establishing our cast of characters. Our protagonist is Dominic. He and his friends are dedicated RPGers, and his best friend Sol has created a boutique game for Dominic's 16th birthday. Each player is given a die, and Sol explains it's the only one in the world where they're playing. Dom is the Dictator ("a diplomat with teeth") with a d4, his depressed friend Matthew is the Grief Knight ("a magical warrior" who turns "emotions into power") with a d8, his younger sister Ash is Neo ("a cyberpunk") with a d10, his edgy friend Isabelle is Godbinder ("some kind of atheist with gods for pets") with a d12, and his dumb friend Chuck is the Fool ("I kinda picked some random abilities") with a "entirely normal" d6. Sol keeps the d20 for himself.
Shortly after they start the game, they disappear. They reappear two years later, minus Sol and one of Ash's arms, inexplicably unable to talk about their experiences. We then flash forward twenty-five years later, as Dominic celebrates his 41st birthday. We learn his wife Sophie threw him a surprise party for his 40th birthday and he reacted badly, because parties and presents serve as reminders of his experience. Sol's mother appears on his doorstep and angrily presses Dom for information. Sophie threatens her, and we learn she frequently appears demanding information about Sol. Later that night, Dom meets his sister Ash for a drink and the bartender hands them a box someone left for them. It's the box that originally contained the dice -- with a blood-soaked d20.
Panicked, they assemble the party (except they can't call it a party, for reasons that become clear later) at Chuck's house. Chuck is wealthy based on a series of books he's written about their experience ("Portal of Pain"). Ash wonders how he can do so since the rest of them can't talk about it, and Dominic assumes it's part of his personality, that he can't take anything too seriously. Like Chuck, Isabelle has a few spouses in her past and she teaches high-school English. (We previously learned Ash left her husband for a woman who then left her.) Along with Dom, Matt is the most grounded, married with kids and a statistics professor. Dominic is surprised to learn it's been five years since they saw each other, since he's the closest to Matt. They start to talk about their experience, but it's difficult; for example, Chuck stumbles on the word "party," unable to say it. Isabelle apologizes to Dom for not being more "woke" when they were kids. I'm guessing it's an allusion to a relationship Dominic had with Sol in the Realm, given his character (the Dictator) was a woman. Isabelle wonders why Dominic didn't take the die to the police, but Dominic says he was afraid to lose control of it. As they stare at it, the die activates, dragging them all into the "Realm." As they transit spacetime, a voice announces the Grandmaster once again threatens the Realm and it needs a hero to rise, like the narration you'd hear at the start of an arcade game.
Returned to the Realm, Gillen reveals the group's inability to talk about the experience came from a geas Dominic put on them before they left. Matt presses Dom to lift the geas, which he (she, here) does. Isabelle immediately pounces on him, noting the geas and taking on the Grandmaster were his idea. But, Dominic retorts that it wasn't his idea to leave behind Sol, though we learn they never actually saw the Grandmaster kill him. He says he hoped Sol was alive when he saw the die, though Isabelle notes the blood on it probably implies the opposite. Suddenly, the die flies through the air to a now-grown Solomon's hand. We learn the Grandmaster trapped him and tried to steal his die. Solomon escaped and they fought "a long war" that he eventually won. He announces he's now the Grandmaster as he puts the die in his empty eye socket. (His other eye has a die in it, presumably the Grandmaster's d20 die?) He then announces the party has to complete the game.
In his note at the back, Gillen talks about this series exploring the consequences -- to him and his loved ones -- of him falling into a fantasy world at 16 years old. Part of the reason this intention feels so fully realized is that the art is beyond spectacular. Hans infuses both our world and the Realm with a dream-like quality that reflects the characters' emotions. It's the perfect complement to Gillen's vision. Gillen talks about this series as driven in part by a mid-life crisis of sorts, and, as someone roughly his age going through his own version, this book could be better than therapy!
Doomsday Clock #8: This issue is much more action-packed and straight-forward than previous ones, though I'm not entirely sure it's a good thing.
We begin with a brief scene of Ozymandias swiping a file from the Oval Office. But, the action shifts almost immediately to Moscow, where a hot-headed Firestorm is taking on the People's Heroes, accusing them of trying to ruin his life through the Superman Theory. One of the Heroes manages to disrupt his powers, forcing him to crash to the Earth into a group of protesters. They immediately attack him and, panicked, he explodes, turning the protesters to glass. Superman immediately flies from Metropolis to Khandaq amidst reports Firestorm fled there, but Black Adam informs Superman that Firestorm isn't there (though notes he's welcome). Clark resumes his search for Firestorm. Meanwhile, in Metropolis, Lois discovers a package with no return address on it that someone (Rorschach) sent directly to her at the "Planet." It contains a flashdrive with a reel of the Justice Society of America, something Lois doesn't recognize.
Meanwhile, Clark finds Firestorm hiding in a cave in Russia. He's trying to turn back one of the glass statues, of a child. He's irrationally distraught, in part because Dr. Stein keeps telling him it can't be done. But, Clark calms Firestorm down, and he's able to transmute the kid to flesh again. Clark then interrupts a rally the Russian President is giving and informs the crowd Firestorm can undo the damage. But, he then talks about his concern over the current anti-metahuman movement, saying Krypton was doomed to destruction because its council was too divided. Clark encourages people not to demonize metahumans. Watching the speech en route to Moscow, Bruce contacts Clark and tells him not to pick a side. The Russian President interrupts Superman, denouncing him for siding with the metahumans.
To make matters worse, Firestorm arrives just then, swearing he can help everyone. Unfortunately, the Russian army opens fire on him. Superman manages to save the boy Firestorm transmuted from the hail of bullets, but Firestorm is driven insane with guilt when the army's bullets destroy other statues. He attacks the army, forcing the Heroes to join the fray by trying to stop Superman, who they see as on Firestorm's side. Clark watches in horror as tanks crush statues, and he attacks one, sealing the public's view of him attacking the Russian army. Bruce warns Superman the problem isn't Firestorm just as an enormous (and suspiciously blue) explosion occurs, with Superman at its epicenter. Ozymandias watches on computer screens, muttering only, "It begins."
I'm glad to see something happening in this book, but it's still hard to tell how it's all going to end. I rolled my eyes at the idea that Firestorm could change back the boy, so I was glad to see Bruce inform us it was actually Dr. Manhattan manipulating the events. All that said, we seem to be getting farther and farther afield from where this series started. Snyder certainly has time to get back to the original drift, but I'll admit I'm feeling impatient.
Shatterstar #3: As I requested last issue, we get some more insight into Shatterstar's relationship with Gringrave, as they learn Mojo plans on mating him with Windsong, a fellow gladiator. Oddly, it's Gringrave who takes action to stop it, conspiring with Windsong's partner to end Shatterstar's reign (and, I'm assuming, his suitability as a match for Windsong in Mojo's eyes). Meanwhile, in the present, 'Star prioritizes saving Karl Sortenthau, since he's deemed too old to fight in the arena; he gets him just before he's eaten. But, it means he loses Tina, after she makes a deal with Grandmaster to get powers so she can be the hero in the arena who saves the tenants. (It ends...badly.) Seeley is really just getting his sea legs here, infusing this issue with the type of emotion we didn't see in the first two issues. I hope he keeps rolling with it as we come closer to the conclusion. At some point, it would be nice to see why Gringrave changed her mind about indulging in love. Right now, it seems more like 'Star fell for her sooner than she fell for him. By the time she realized she loved him, he had turned off that part of him, at her instruction. But, I'm connecting those dots for Seeley; it would be nice to see him doing it on his own.
Star Wars #58: This issue is great on all levels. Seeing a relaxed Han Solo uncharacteristically confess actual feelings to (though not for) Leia is great. Gillen really stresses how the atmosphere on Hubin drives him to this moment. Give a smuggler a minute to relax without worrying about making a buck and he apparently becomes the Dude. But Gillen also shows how Hubin's isolation drives Luke to the brink of madness, stuck on a planet exactly like Tatooine, just "greener." He's frantically working on building a transmitter to call for rescue, even though pretty much everyone warns him it could bring ruin to Hubin. But, it's Leia who's full of surprises as she leads an expectant Han to her room only to show him...her plans to destroy Shu-Torun entirely. Oh, Leia, you never disappoint. Gillen and Unzueta capture Han and Leia both so perfectly in this moment, with Han starting to take off his vest only for Leia to reveal her serial-killer den; it may be my favorite moment in the entire series. But, most importantly, it sets up a confrontation with Shu-Torun that I can't wait to see. Just like Aaron before him, Gillen is showing he's not in any rush, as this entire Shu-Torun saga shows the potential to unfold over dozens of issues, with a level of complexity that could be its own trilogy. Man, I love this series.
Uncanny X-Men #4: OK, now we're getting somewhere. First, the art is excellent. No photo-realism, just excellent drawing. Second, we see some decent characterization, at long lest! We get some Beast/Iceman banter, we get a hilariously unhinged Legion, we get a furious Hisako calling bullshit on the adults. It finally reads less like a pitch and more like a comic. (Legion's text bubble running off both sides of the panel to show how he's annoyingly rambling was awesome.) But, I'm also 100% Team Hisako. After Jean and Betsy use their powers to convince the Horsemen they're all dead, they almost immediately silence Legion as he's trying to explain his actions. Hisako points out it makes no sense to do that, because he's the only one who knows what's happening. Jean demands absolutely loyalty from her despite the fact, as Hisako also notes, she's the one who ignored or missed Legion's warnings, leading to the Mansion's destruction. But, Jean does Jean as she decides the X-Men don't need to investigate these new Horsemen, even though they're uniquely suited to do so. Instead, she wants them to join the other superhero teams in trying to address the chaos unfolding around the world. She inserts Storm's team into a civil war in Chernaya while she and her team take on Blob and Omega Red as they attack an oil platform. La la la. Maybe a little strategery, Jean? At any rate, we also learn Hank probably did something that led to the creation of the mutant "vaccine" we've previously seen, surprising no one. At this stage, it's finally starting to feel more like "Avengers: No Surrender" and less like Rob Liefeld was given the keys to the kingdom. That's obviously a good thing.
West Coast Avengers #5: West Coast, Best Coast, 'Nuff Said!
Winter Soldier #1: The premise of this mini-series is pretty clever. Bucky has dedicated himself to rescuing people who want to escape lives where they've made bad -- and dangerous -- decisions. For example, the issue starts with him helping a dirty cop escape right before he's supposed to drive a getaway car for some other dirty cops. In other words, his drive for redemption is pretty clear. Bucky's set up his base of operations in Indiana, where he's from, and he's getting help from Sharon Carter. (Higgins work in the sort of time-management joke we used to see when Wolverine was on 30 different teams.) Tony Stark even helps, motivated by Sharon's comment that they've all had help when they needed to start again. Bucky's also gotten into meditation as a way to deal with his demons, and he seems to be remembering a memory where one of the technicians working on his project tried to help him escape because the project was immoral. (Bucky, of course, killed him.) The issue ends when a Hydra assassin takes out one of Bucky's clients after he contacted his girlfriend still on the inside. The assassin? A teenager dressed like teenage Bucky! At this point, my only complaint here is that Higgins doesn't do a lot with Bucky as a character. He has time to do that, but one of my worries with Bucky is always that he's portrayed as bland instead of haunted. It's when he's portrayed as so emotionally dead that he's boring that series get canceled. I guess the stakes are low for a five-issue mini-series, but I'd really like to see Bucky emerge from the limbo in which Marvel has stashed him these last few years. Brubaker did such amazing things with him, and I really want him to be less shadow-y than he's been these last few years. Importantly, Higgins establishes the government pardoned him for his help against Hydra. Here's hoping it means we're going to get Brubaker's Bucky back.
Also Read: Death Orb #3; The Merry X-Men Holiday Special #1; Nightwing #54
Die #1: Holy fucking shit, this issue is amazing. Right up front (or, in back, actually, in his note), Gillen admits the inspiration for this book is the question I've asked myself for decades: "Whatever happened to the D&D cartoon kids?" I can't believe my luck that I get to see Kieron Gillen answer that question.
First things first, Gillen does a great job of establishing our cast of characters. Our protagonist is Dominic. He and his friends are dedicated RPGers, and his best friend Sol has created a boutique game for Dominic's 16th birthday. Each player is given a die, and Sol explains it's the only one in the world where they're playing. Dom is the Dictator ("a diplomat with teeth") with a d4, his depressed friend Matthew is the Grief Knight ("a magical warrior" who turns "emotions into power") with a d8, his younger sister Ash is Neo ("a cyberpunk") with a d10, his edgy friend Isabelle is Godbinder ("some kind of atheist with gods for pets") with a d12, and his dumb friend Chuck is the Fool ("I kinda picked some random abilities") with a "entirely normal" d6. Sol keeps the d20 for himself.
Shortly after they start the game, they disappear. They reappear two years later, minus Sol and one of Ash's arms, inexplicably unable to talk about their experiences. We then flash forward twenty-five years later, as Dominic celebrates his 41st birthday. We learn his wife Sophie threw him a surprise party for his 40th birthday and he reacted badly, because parties and presents serve as reminders of his experience. Sol's mother appears on his doorstep and angrily presses Dom for information. Sophie threatens her, and we learn she frequently appears demanding information about Sol. Later that night, Dom meets his sister Ash for a drink and the bartender hands them a box someone left for them. It's the box that originally contained the dice -- with a blood-soaked d20.
Panicked, they assemble the party (except they can't call it a party, for reasons that become clear later) at Chuck's house. Chuck is wealthy based on a series of books he's written about their experience ("Portal of Pain"). Ash wonders how he can do so since the rest of them can't talk about it, and Dominic assumes it's part of his personality, that he can't take anything too seriously. Like Chuck, Isabelle has a few spouses in her past and she teaches high-school English. (We previously learned Ash left her husband for a woman who then left her.) Along with Dom, Matt is the most grounded, married with kids and a statistics professor. Dominic is surprised to learn it's been five years since they saw each other, since he's the closest to Matt. They start to talk about their experience, but it's difficult; for example, Chuck stumbles on the word "party," unable to say it. Isabelle apologizes to Dom for not being more "woke" when they were kids. I'm guessing it's an allusion to a relationship Dominic had with Sol in the Realm, given his character (the Dictator) was a woman. Isabelle wonders why Dominic didn't take the die to the police, but Dominic says he was afraid to lose control of it. As they stare at it, the die activates, dragging them all into the "Realm." As they transit spacetime, a voice announces the Grandmaster once again threatens the Realm and it needs a hero to rise, like the narration you'd hear at the start of an arcade game.
Returned to the Realm, Gillen reveals the group's inability to talk about the experience came from a geas Dominic put on them before they left. Matt presses Dom to lift the geas, which he (she, here) does. Isabelle immediately pounces on him, noting the geas and taking on the Grandmaster were his idea. But, Dominic retorts that it wasn't his idea to leave behind Sol, though we learn they never actually saw the Grandmaster kill him. He says he hoped Sol was alive when he saw the die, though Isabelle notes the blood on it probably implies the opposite. Suddenly, the die flies through the air to a now-grown Solomon's hand. We learn the Grandmaster trapped him and tried to steal his die. Solomon escaped and they fought "a long war" that he eventually won. He announces he's now the Grandmaster as he puts the die in his empty eye socket. (His other eye has a die in it, presumably the Grandmaster's d20 die?) He then announces the party has to complete the game.
In his note at the back, Gillen talks about this series exploring the consequences -- to him and his loved ones -- of him falling into a fantasy world at 16 years old. Part of the reason this intention feels so fully realized is that the art is beyond spectacular. Hans infuses both our world and the Realm with a dream-like quality that reflects the characters' emotions. It's the perfect complement to Gillen's vision. Gillen talks about this series as driven in part by a mid-life crisis of sorts, and, as someone roughly his age going through his own version, this book could be better than therapy!
Doomsday Clock #8: This issue is much more action-packed and straight-forward than previous ones, though I'm not entirely sure it's a good thing.
We begin with a brief scene of Ozymandias swiping a file from the Oval Office. But, the action shifts almost immediately to Moscow, where a hot-headed Firestorm is taking on the People's Heroes, accusing them of trying to ruin his life through the Superman Theory. One of the Heroes manages to disrupt his powers, forcing him to crash to the Earth into a group of protesters. They immediately attack him and, panicked, he explodes, turning the protesters to glass. Superman immediately flies from Metropolis to Khandaq amidst reports Firestorm fled there, but Black Adam informs Superman that Firestorm isn't there (though notes he's welcome). Clark resumes his search for Firestorm. Meanwhile, in Metropolis, Lois discovers a package with no return address on it that someone (Rorschach) sent directly to her at the "Planet." It contains a flashdrive with a reel of the Justice Society of America, something Lois doesn't recognize.
Meanwhile, Clark finds Firestorm hiding in a cave in Russia. He's trying to turn back one of the glass statues, of a child. He's irrationally distraught, in part because Dr. Stein keeps telling him it can't be done. But, Clark calms Firestorm down, and he's able to transmute the kid to flesh again. Clark then interrupts a rally the Russian President is giving and informs the crowd Firestorm can undo the damage. But, he then talks about his concern over the current anti-metahuman movement, saying Krypton was doomed to destruction because its council was too divided. Clark encourages people not to demonize metahumans. Watching the speech en route to Moscow, Bruce contacts Clark and tells him not to pick a side. The Russian President interrupts Superman, denouncing him for siding with the metahumans.
To make matters worse, Firestorm arrives just then, swearing he can help everyone. Unfortunately, the Russian army opens fire on him. Superman manages to save the boy Firestorm transmuted from the hail of bullets, but Firestorm is driven insane with guilt when the army's bullets destroy other statues. He attacks the army, forcing the Heroes to join the fray by trying to stop Superman, who they see as on Firestorm's side. Clark watches in horror as tanks crush statues, and he attacks one, sealing the public's view of him attacking the Russian army. Bruce warns Superman the problem isn't Firestorm just as an enormous (and suspiciously blue) explosion occurs, with Superman at its epicenter. Ozymandias watches on computer screens, muttering only, "It begins."
I'm glad to see something happening in this book, but it's still hard to tell how it's all going to end. I rolled my eyes at the idea that Firestorm could change back the boy, so I was glad to see Bruce inform us it was actually Dr. Manhattan manipulating the events. All that said, we seem to be getting farther and farther afield from where this series started. Snyder certainly has time to get back to the original drift, but I'll admit I'm feeling impatient.
Shatterstar #3: As I requested last issue, we get some more insight into Shatterstar's relationship with Gringrave, as they learn Mojo plans on mating him with Windsong, a fellow gladiator. Oddly, it's Gringrave who takes action to stop it, conspiring with Windsong's partner to end Shatterstar's reign (and, I'm assuming, his suitability as a match for Windsong in Mojo's eyes). Meanwhile, in the present, 'Star prioritizes saving Karl Sortenthau, since he's deemed too old to fight in the arena; he gets him just before he's eaten. But, it means he loses Tina, after she makes a deal with Grandmaster to get powers so she can be the hero in the arena who saves the tenants. (It ends...badly.) Seeley is really just getting his sea legs here, infusing this issue with the type of emotion we didn't see in the first two issues. I hope he keeps rolling with it as we come closer to the conclusion. At some point, it would be nice to see why Gringrave changed her mind about indulging in love. Right now, it seems more like 'Star fell for her sooner than she fell for him. By the time she realized she loved him, he had turned off that part of him, at her instruction. But, I'm connecting those dots for Seeley; it would be nice to see him doing it on his own.
Star Wars #58: This issue is great on all levels. Seeing a relaxed Han Solo uncharacteristically confess actual feelings to (though not for) Leia is great. Gillen really stresses how the atmosphere on Hubin drives him to this moment. Give a smuggler a minute to relax without worrying about making a buck and he apparently becomes the Dude. But Gillen also shows how Hubin's isolation drives Luke to the brink of madness, stuck on a planet exactly like Tatooine, just "greener." He's frantically working on building a transmitter to call for rescue, even though pretty much everyone warns him it could bring ruin to Hubin. But, it's Leia who's full of surprises as she leads an expectant Han to her room only to show him...her plans to destroy Shu-Torun entirely. Oh, Leia, you never disappoint. Gillen and Unzueta capture Han and Leia both so perfectly in this moment, with Han starting to take off his vest only for Leia to reveal her serial-killer den; it may be my favorite moment in the entire series. But, most importantly, it sets up a confrontation with Shu-Torun that I can't wait to see. Just like Aaron before him, Gillen is showing he's not in any rush, as this entire Shu-Torun saga shows the potential to unfold over dozens of issues, with a level of complexity that could be its own trilogy. Man, I love this series.
Uncanny X-Men #4: OK, now we're getting somewhere. First, the art is excellent. No photo-realism, just excellent drawing. Second, we see some decent characterization, at long lest! We get some Beast/Iceman banter, we get a hilariously unhinged Legion, we get a furious Hisako calling bullshit on the adults. It finally reads less like a pitch and more like a comic. (Legion's text bubble running off both sides of the panel to show how he's annoyingly rambling was awesome.) But, I'm also 100% Team Hisako. After Jean and Betsy use their powers to convince the Horsemen they're all dead, they almost immediately silence Legion as he's trying to explain his actions. Hisako points out it makes no sense to do that, because he's the only one who knows what's happening. Jean demands absolutely loyalty from her despite the fact, as Hisako also notes, she's the one who ignored or missed Legion's warnings, leading to the Mansion's destruction. But, Jean does Jean as she decides the X-Men don't need to investigate these new Horsemen, even though they're uniquely suited to do so. Instead, she wants them to join the other superhero teams in trying to address the chaos unfolding around the world. She inserts Storm's team into a civil war in Chernaya while she and her team take on Blob and Omega Red as they attack an oil platform. La la la. Maybe a little strategery, Jean? At any rate, we also learn Hank probably did something that led to the creation of the mutant "vaccine" we've previously seen, surprising no one. At this stage, it's finally starting to feel more like "Avengers: No Surrender" and less like Rob Liefeld was given the keys to the kingdom. That's obviously a good thing.
West Coast Avengers #5: West Coast, Best Coast, 'Nuff Said!
Winter Soldier #1: The premise of this mini-series is pretty clever. Bucky has dedicated himself to rescuing people who want to escape lives where they've made bad -- and dangerous -- decisions. For example, the issue starts with him helping a dirty cop escape right before he's supposed to drive a getaway car for some other dirty cops. In other words, his drive for redemption is pretty clear. Bucky's set up his base of operations in Indiana, where he's from, and he's getting help from Sharon Carter. (Higgins work in the sort of time-management joke we used to see when Wolverine was on 30 different teams.) Tony Stark even helps, motivated by Sharon's comment that they've all had help when they needed to start again. Bucky's also gotten into meditation as a way to deal with his demons, and he seems to be remembering a memory where one of the technicians working on his project tried to help him escape because the project was immoral. (Bucky, of course, killed him.) The issue ends when a Hydra assassin takes out one of Bucky's clients after he contacted his girlfriend still on the inside. The assassin? A teenager dressed like teenage Bucky! At this point, my only complaint here is that Higgins doesn't do a lot with Bucky as a character. He has time to do that, but one of my worries with Bucky is always that he's portrayed as bland instead of haunted. It's when he's portrayed as so emotionally dead that he's boring that series get canceled. I guess the stakes are low for a five-issue mini-series, but I'd really like to see Bucky emerge from the limbo in which Marvel has stashed him these last few years. Brubaker did such amazing things with him, and I really want him to be less shadow-y than he's been these last few years. Importantly, Higgins establishes the government pardoned him for his help against Hydra. Here's hoping it means we're going to get Brubaker's Bucky back.
Also Read: Death Orb #3; The Merry X-Men Holiday Special #1; Nightwing #54
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