From Top to Bottom #19: The End?

by Matt

Welcome to the return (or is it the end?) of the long running and Tony award winning "From Top to Bottom" column! Every column, I will look at something within the comics industry and give you my opinion on what I think is the best and what I think ranks amongst the bottom-feeders.

I was in the middle of writing my new Shout Outs! and Scream Ats! column and I was looking at my set of Premiere hardcovers and I noticed that I have two of Marvel's The End series in that format. I was thinking of some of the other ones that Marvel published and thought about making a new Top/Bottom column based on Marvel's The End series. Especially since Iron Man: The End should be hitting shelves next month and we still have Daredevil: End of Days on the horizon. Hopefully these new End series will be more like my Top 3 picks than the Bottom 3.


3) Fantastic Four: The End
There are a couple of reasons why I really liked this series. The biggest reason was the art by my favorite artist, Alan Davis. The second reason why I liked this series was because it actually had a happy ending. The third reason is that this felt like the Fantastic Four, this is what I would imagine them doing in the future. It begins with the FF battling Dr. Doom which results in the death of Franklin Richards and Valeria Richards. The FF 'disband', Reed loses himself in his work, Susan leaves for an archaeological expedition underwater and eventually runs into Namor. Johnny, is leader of the Avengers, who now police much of the universe and Ben lives with his wife Alicia on Mars with their three children. The Fantastic Four, Reed in particular has helped Earth become a force in the Universe and has invented many things to improve life on Earth especially after the "Mutant Wars". Eventually they reunite when Sue contacts the team and they battle Dr. Doom again and we find out that Franklin and Valeria are alive and they are reunited with their family. A lot more happens than this. The only thing I didn't like was the last page, where basically it tells us that this wasn't really the end but just the beginning. The premise of these types of series was that this was the "End" or final story of the Fantastic Four. I don't mind the happy ending at all but it should just have ended there.



2) Hulk: The End
This is the first 'The End' that Marvel published and I feel that it was one of the best ones. Peter David and Dale Keown crafted a tale where hundreds of years later, the Hulk and Bruce Banner are still fighting for control. The world has ended with a nuclear war and the Hulk is the only survivor. Banner is devastated and tries to end his life but the Hulk manages to keep him alive. Finally, the Hulk and Banner reach a conclusion that results in both getting what they want. Not the happiest of endings but one that did end happy.



1) Punisher: The End
When I first read this I hated it. But each time I read it, I started to really like it and I think it is the strongest "End". Nuclear war (must be a trend here) has ended all life and the Punisher is in prison. A year later, Frank and another survivor trek to New York City to find a bomb shelter, which is hidden deep beneath the former site of the World Trade Centers. There he finds other survivors but deems that these survivors are ones that he would not run the world. So he kills them and then he kills the other guy that came with him because he was a criminal. Then he gets out and walks towards Central Park where we all know is where his family was killed and where the Punisher was born. Then he is consumed by fire. Garth Ennis really nails the Punisher here in this MAX End.


Not all "The End" series were great. Some of them could have been good but either were too long, not creative, or felt familiar.


3) Marvel Universe: The End
This really was not a terrible series but it felt like I had read it before somewhere. There were a couple of things that I did like. I enjoyed Thanos retelling how the Marvel Universe ended and I also liked how heroes kept being resurrected to keep evil in check. And they all the heroes were resurrected during the course of the story as well. What I didn't like was that it felt like the Infinity Gauntlet all over again, or was that Infinity War? It might have been Infinity Crusade, which is my point. I had read this before, the heroes get slaughtered until the strongest ones are left and then they do battle. Can you name them all? Hulk? Check. Warlock? Check. Dr. Strange, Silver Surfer, Dr. Doom? Check. Out of all the Bottom Ends (pun totally intended) this was the most enjoyable and most accessible.



2) X-Men: The End
You would think that the Father of the X-Men would have been the best one to end that franchise but I was wrong. First, this series lasted WAY too long. Three 6-issue series was way too much for me. Claremont had some neat moments in the series but they were few and far between. The majority of the comics just pandered to Claremont's favorites (WarSkulls, Slavers, Brood, Vargas, etc). If you didn't enjoy Chris's second and third run on the X-Men I would stay far away from this series. Most of the X-Men were featured which was nice but this didn't really feel like an X-Men story. I was expecting something along the lines of God Loves, Man Kills but I got something more like New Excalibur.



1) Wolverine: The End
At least this one didn't go beyond 6 issues. This was supposed to tie into Origin but I had a hard time following what was going on. Why did this series take #1? Wolverine (whom was an old fart by this time) was being stalked by the White Ghost who claimed that he could have killed him 200 years ago. Then why he just didn't kill him then? The White Ghost turns out to be John Howlett III, his brother from Origin. The White Ghost has this grand plan to put mutants on top and Wolverine and him wrestle and they fall out of a window and the White Ghost is killed when he is impaled on Logan's claws. Then the White Ghost whispers that he is sorry. That makes little sense to me. Why would he apologize when he said he could have killed him anytime? This horrible story was not helped by the cluttered artwork as well. I expected something like Wolverine's first miniseries but I got something completely opposite. Ugh.

This concludes another "Top/Bottom" column. Is this the "End" of these columns as well? I might have another one in me, I did just recently re-read Secret Wars II (in anticipation of the Omnibus) and I could post my Top/Bottom moments if you readers would like more. Read more!

From Top to Bottom #17: Gimmick Covers

by Matt

Welcome to the 17th edition of the long running and Grammy winning "From Top to Bottom" column! Every week I will look at something within the comics industry and give you my opinion on what I think is the best and what I think ranks amongst the bottom-feeders.

Last week, in celebration of Star Wars week, I looked at the Top and Bottom of Marvel's Star Wars comics. This week, after reading Brandon's fantastic Casualties of the 90's columns I decided it would be fun to look back at a trend that was so prevalent of the 90's. I do admit that I got sucked into the madness of gimmick covers. There was a time where I picked up almost every gimmick cover there was. In the 90's EVERY comic had a gimmick cover at some point, even Quasar. I brought out my longboxes and dug through them to unearth my Top and the Bottom Gimmick covers that I admit I picked up because of the covers.



I am a little embarrassed to find that I own a lot of gimmick covers. Well, kinda embarrassed. Some gimmick covers I thought were pretty cool and I guess they did make me try new books. I absolutely loved the Avengers series of gimmick covers that celebrates their anniversary and it also made some sense as well. They had foil-embossed covers of bronze, silver, gold and platinum. The glow-in-the-dark Ghost Rider cover (Ghost Rider #15) was also cool. My son and I tested it and it still glows in the dark. Some gimmick covers were not as imaginative and were quite boring. All of these books I owned because of the covers, Darkhawk #25, Dr. Strange #25, Secret Defenders #1 and the list goes on and on. It seemed for a time in the 90's that stories were made just so they can plaster a gimmick cover on them. We'll see an example of a cool gimmick cover that came out with no importance at all, it was just an excuse to slap a gimmick cover on it. And yes, I bought it anyway even though I don't collect the series.

3) X-O Manowar #0
Sometimes a good gimmick cover will make me pick up a book. I was never into the Valiant universe and this was my first book into that universe. Joe Quesada's art really helped and the gimmick enhanced the art. The vibrant colors of the foil really made this book stand out. Luckily for me, the story inside was pretty good as well.








2) Silver Surfer #50 and #75
These gimmicks made sense and were cool looking. The foil-embossed gimmick is one of my favorite gimmicks and seeing the Silver Surfer all shiny and silver was cool. I also liked that it was only the Silver Surfer that was enhanced and not the whole cover. It made it stand out a little more. I prefer Silver Surfer #50 but I couldn't find a good scan of it.








1) Uncanny X-Men #304
When Marvel first tried the hologram gimmick covers with Spider-Man I was not impressed. The hologram was weak and grainy but I liked the idea. When the X-Men Fatal Attractions crossover came out celebrating the 30th Anniversary of the X-Men, they tried the holograms out again but this time they were successful. The holograms were smaller and much more detailed. All of the holograms were cool, but I especially liked the Magneto hologram on this issue.





MIDDLE PICK: Fantastic Four #317 In the 90's, any excuse was good enough to get a comic to have a gimmick cover and Marvel's Fantastic Four was one of the worst offenders. Fantastic Four #371 is a perfect example. It was a cool gimmick cover but it was not an anniversary issue and it was not an important issue or anything. The Human Torch accidentally burns down Empire Start University and that's it. The gimmick cover was so popular that they had a 2nd printing complete with the same gimmick cover, only is was all red instead of all white. While the gimmick cover was neat, the reasoning was not. But I bought it anyway. And they had another gimmick cover (shown below) just a few issues later.



3) Punisher War Zone #1
Die-cut covers can be cool if they are used right. Wolverine #50 was kinda neat with the claw marks which made sense and it was a special issue as it revealed a little of his origin. This Punisher die-cut cover made little sense. The bullet holes I get and it would have been cool if that is all they did but they had this large piece cut out to show the skull in the background. They didn't need that, the logo had a skull and the Punisher himself had a skull. They only needed bullet holes and the Punisher with guns blazing. Again, I was lucky that the insides were so good.




2) Fantastic Four #375
The Fantastic Four had a ton of ugly gimmick covers. They have a name for these covers, prism-something I think but I just don't see the appeal. The gimmick does not enhance the art, it does the opposite. It makes the art muddled and ugly.












1) Guardians of the Galaxy #25
I love Valentino's run on Guardians of the Galaxy, probably one of my favorite runs of all-time. But this cover was hideous. I cannot tell what Marvel was trying to get with this cover. The people looked flat and pasted on and the Galactus was too dark and grainy. The gimmick looks dirty and not as clean and crisp as the other gimmick covers. I think I have seen this gimmick only on this cover.

Do gimmick covers still have a place in our industry? I still like gimmick covers but feel they should be used sparingly and only for real special occasions. I also liked the option that Marvel had where you had a choice of getting the gimmick cover or just the regular cover. I am glad that they are not all over like they were in the 90's but I wouldn't mind seeing one or two pop up on occasion.
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Secret Invasion #5: Now with 500% More Tie-Ins

by Liana

Marvel thought it would be a good idea to release Secret Invasion #5 at the same time as FOUR of its tie-ins. Apparently, the powers that be at Marvel believe their fans have an abundance of cash burning holes in their pockets and are doing everything they can to save the pants! A noble campaign, for sure. Well, I only got two of their tie-ins (Inhumans and X-Men), but I added three back-issues (Fantastic Four) to the pile. As we’re keeping score, that’s six skrullicious comics in one week. I have a feeling Marvel’s pockets are in better shape than mine right now.








Secret Invasion #5 was much better than last month’s borefest. Lots happens and most of it makes sense, despite Leinil Yu’s muddled artwork (seriously, has this guy always been so….not great?). Apparently, the ship that landed in the Savage Land really was full of Skrulls, though it seems the Skrulls themselves didn’t realize they were actually Skrulls. There’s some kind of secret agent/hypnotism angle working here (see the X-Men tie-in review below). In fact, it’s starting to look like some of these Skrulls aren’t really on board with what they’re doing. Take the case of Captain Marvel. He was definitely identified as a Skrull last issue, right? Because he’s not too happy about that now and it looks like he’s going to do something about it. Also not very happy about how things are going down? HawkeyeRonin. He thought he wife was back from the dead, but it turned out she was just another damn dirty Skrull. But, if one man has cornered the market on pissed-off retribution, it’s Reed Richards. Agent Brand (turns out she totally kicks ass) rescued his strecthiness, and now he’s shooting some fantastic gizmo to determine the pink from the green. This is how we find out Tony Stark isn’t a Skrull after all. Bummer. Not a bummer? Agent Hill (turns out she also kicks ass) teaching SkrullJarvis a lesson, despite his best efforts to not learn it. There were a few problems with this issue, but they’re hardly worth focusing on. Secret Invasion is back to being fun, so I’m just going to enjoy it. B+


Secret Invasion: Fantastic Four #1-3 was sitting on the shelf, the “compleat” run, when I went to the comic shop. I decided I wasn’t really interested, but then Dan pointed out it was drawn by Barry Kitson. I swooned for a moment as I flashed back to the happiness that was Kitson and Waid’s Legion of Super-Heroes, then had Dan grab all three issues, despite having not loved Roberto Aguirre-Sacasa’s writing in the past. So, what have Johnny and Ben (and the kids) been up to while Reed’s been stretched to capacity (I forget where Sue’s been)? They’ve been hanging out in the Negative Zone, thanks to Johnny’s ex-skrullover, Lyja. Giant bugs yadda yadda yadda lover’s spat blah blah blah Lyja is going to stay in the Negative Zone ho hum. Franklin has the son-of-a-genius idea to raid his dad’s prison to find someone to fix the transporter back to the real world, so they end up forming an alliance with the Tinkerer, who is now apparently a harmless old grandpa. Okay, sure. This mini-series was okay, but nothing special unless you’ve been screaming inside wondering where in the green hell Lyja has been all this time. I haven’t. B-


Secret Invasion: X-Men #1 is here to remind you that Nightcrawler can be rendered semi-retarded by simply questioning his faith. The Skrulls invade San Francisco and are shocked to be confronted by our merry mutants. Somebody did some bad recon, but don’t worry, he got shot in the head for his shoddy work. It’s in the shadow of the Golden Gate Bridge that we learn of a mysterious purple orb that is here to save our souls (and may be controlling the Skrulls; perhaps it is how He of “He loves you” fame is pushing his agenda?). And, when it comes to souls, no one is more tortured and confused than Nightcrawler, whose IQ drops to seventeen as soon as he comes in contact with the clearly evil ball of trickery. I hate the way Cary Nord draws the X-Men, but I love the way he draws the Skrulls, so the art’s a toss up. I like how Mike Carey writes Cyclops (totally badass), but everyone else is kind of just there, doing exactly what you expect of them. I can’t believe this is going to be four issues, or that I’ll actually get them all. C+


Secret Invasion: Inhumans #1 is the best thing to come out of this event so far. Tom Raney’s boobtacular handling of Crystal aside, the art is really good and the writing by Joe Pokaski (what’s this guy done that I would know?) is spot on. The Inhumans are as wonderfully inbred and angry as you expect. Maximus makes a scary and bored king and Medusa is coming into her own as one of my favorite women in all of comics. The Skrulls are planning to use Black Bolt as the “greatest weapon the Empire has ever unleashed.” I’m thinking this desire to use all of Earth’s heroes as weapons against Earth’s forces isn’t going to work out in the end. Just a hunch. I don’t want to tell you too much about this issue because, if you’re going to read anything Secret Invasion related, I want it to be this. A- Read more!

Remembering Mike Wieringo

by Liana

If you're reading this blog, the reason for today's posts needs no explanation. Today, the Bad Genious takes a break from celebrating Star Wars Week to remember artist Mike Wieringo, who died one year ago. For my part, this means taking a look at his work with Mark Waid on Fantastic Four, which many (myself included) consider one of the best runs on any comic book ever.

It's pretty hard for me to talk about a comic book and not focus on the writing. Art has always been secondary to me. Usually, I only really notice it when it's going all wrong (Greg Land, Humberto Ramos). When it's all right (Gary Frank, Steve Epting), it just blends seamlessly into the story and appreciation comes second to enjoyment. 'Ringo changed that for me. Well, he didn't change it, because I still do it. But his work on Fantastic Four did not go unnoticed or unappreciated by me, not then and certainly not now.

And still, I find it hard to talk about this without focusing on the writing. I mean, Mark Waid told amazing stories. His grasp on the characters was incredible. Indeed, he brought the fantastic back to our four favorite imaginauts. So if Waid did all this, what exactly did 'Ringo do?

He brought it all to a level rarely reached in comics. He took what was bound to be a classic run and made it legendary. How do I know this? Because those issues that used fill-in artists just weren't the same. No offense to the other artists, but there was always a little sigh of disappointment when you picked up that month's issue and didn't see 'Ringo's name on the cover. They were all capable artists, but none of them could match the style, the energy, the life 'Ringo brought to the book.


I don't know how you determine what an artist comes up with on his own and what a writer instructs him to draw without seeing the scripts, but I feel comfortable giving credit to 'Ringo for imaginative details like Franklin casually blowing square bubbles (FF60) and the Thing wearing a lame Human Torch costume for Halloween (FF517). Sure, maybe Waid had the ideas, but 'Ringo put them on the page with such conviction, such wonder, that you can't help but smile.

But he didn't just do awe. 'Ringo was so great with all kids of expression. Be it shock and creepiness, like Doom presenting Reed with a freaky bugged out vision of Valeria (just before the FF's trip to H-e-double-hockey-sticks; FF61), or profound sadness, when Johnny reminds Reed (while in Heaven! FF510) that he misses Ben too.

One of 'Ringo's most amazing spreads also comes in the "Unthinkable" arc, when Doom locks Reed in an infinite library, books about magic stacked high and forever, and tells him, "This door can be opened by an enchantment a four-year-old could learn. Whenever you think you're ready to face me, come find me. Take your time. Though were it my child burning in the fires of Hell....I'd hurry." Now, I know from the extra bits at the back of the hardcovers that Waid requested Reed standing "inside a staircased, torchlit library of near-infinite size that seems to go on forever in all directions, filled to the hilt with moldering books and scrolls, dwarfing Reed in its enormity." My scanning skills (and my scanner) leave much to be desired, but I think you can get the idea from this image (FF70), even though I couldn't get the full two-page spread and had to resort the mini-image in the back of the hardcover.


Could anyone else but 'Ringo have met Waid's request? Probably. But how many of them would have done it this well? Not many.

There's one image, or sequence of images, that has stuck with me from the time I first read it years ago until today. In fact, as Dan was reading the run for the first time over the weekend, I tried to describe it to him so he could flag it for me when he came across it. It was so powerful to me that even though I can't remember what I had for lunch yesterday, I can never forget the impact those panels had on me, a girl who barely knew at the time that comic books had things like writers and artists. For me, these images capture so much of what made 'Ringo one of The Greats. The sorrow, the confusion and despair on Reed's face is so....I don't have the words to finish that sentence. I'm trying, but nothing's coming. The Thing has a hole the size of Gibraltar blown into his chest. He's dead. Reed is trying frantically to revive him.


Others (cheap Bendis joke here) try the repeating panels thing, often to no effect. But here, well, it still blows me away. You can feel Reed's devastation sink in. It's powerful, and it's my favorite 'Ringo panel ever. Who else can grab a pencil and show you that? Mike Wieringo is in a very small club. And he is missed. Read more!

Raiders of the Last Shipment: Something to Cry About

by Liana

Dan's shipment this month contained neither Fables nor Jack of Fables. This realization made me cry. Real, actual, wet tears. Honestly. What was even the point of reading anything at all this month? There wasn't any! I mean, I'm forever behind on Captain America and all the X-titles, so all that just got added to my ever-increasing pile. Luckliy for me, the new issue of House of Mystery was also in the box and we picked up Madame Xanadu at the shop, so my tears dried up and I got reading. Then I found What if This Was the Fantastic Four? and the tears started flowing again.


House of Mystery #2 – Hey, it makes sense now! Last month, I reviewed the premiere issue of this new series from Matthew Sturges and Luca Rossi and I said that I liked it, even though I had no idea what was going on. In this second issue, they explain pretty much exactly what we readers need to know, and they make us want to keep reading. Our protagonist, Fig, has been dreaming of a house for years and become so obsessed with it she’s even drawn blueprints. She’s shocked to learn that her dream house and the house she’s currently visiting are one in the same. We’re less surprised, but then we readers are a bit savvier than poor Fig. As snappy waitress Cress explains to Fig, the house is “a mystical place located at a supernatural crossroads between many worlds.” The currency is storytelling, and that’s where Bill Willingham comes in, this month aided by artist Jill Thompson. A process server bar patron tells of the time he had to travel to the bottom of the sea to serve King Krakenheart a summons for $3.57 in unpaid parking fines. These little stories are cute and a nice addition to the book, though I found the art a bit hard to follow this time. Back to Fig, we find out the mysterious people from the first issue just appeared in her bedroom and told her to come to this house or else she’d be in “terrible danger.” Ooh, I love it when there’s going to be terrible danger! She’s then informed by bartender Harry that while some people can come and go, a small group of patrons (including Cress, Harry, the Scary Pirate Lady are stuck and now Fig) are stuck there permanently. Again Fig is surprised. The issue ends with Fig laying in bed, a Disembodied Voice and Fig’s shocking lack of surprise. This book gets another B+ and I’m definitely onboard for the foreseeable future.


Madame Xanadu #1 – When I read it, I liked the preview (featured in the back of several Vertigo books last month) of this new series from Matt Wagner and Amy Reeder Hadley enough to head to the comic shop and give it a chance. But the shop I went to last week didn’t have it (poor guy seemed kind of confused when I asked him about it) so you did not get a post featuring this new #1 exclusively. Fortunately I was able to score it at another shop last night, but that means it’s being lumped into this batch review, which is kind of shame because I think I could have said a lot about it. Avalon? Camelot? I had no idea from the preview that this is where the series takes place. I love this stuff! And if I’d been using my brain at all, I would have put it together in about four seconds. But apparently I was saving up my brainpower to show up Fig. Anyway, in this series, Nimue is younger sister to Vivienne and Morgana, who you’ll remember as mother of Mordred, King Arthur’s son. She is of the forest, as Vivienne is of the lake and Morgana is of, um, evildoing, I guess. Also, true to legend, she’s sleeping with Merlin, who may not exactly be on the up-and-up. Plus, she’s being stalked by some doom-and-gloom (and kinda sexy) Stranger. The art is fantastic and perfect (and bonus! done by a chick!) and then ending is surprisingly bloody. This first issue is an A- if I ever saw one, and I cannot wait until #2.


Air free preview - Since it was in the back of the two books I just read, I thought I’d mention that nothing about the preview caught my interest, and the little interview between the creators at the end made me want to read it even less. That was harsh for no good reason, but there you have it.


What if This Was the Fantastic Four? - The much-missed Mike Wieringo was in the middle of drawing this What If…? issue when he passed away from sudden heart failure nearly a year ago (more on that this August). In tribute, writer Jeff Parker and Marvel teamed up with the Hero Initiative to have a group of other artists complete the issue. The story is a standard What If…? tale brought to you by the Watcher (I really hate that guy). Here, instead of the FF being temporarily incapacitated by Skrull agent D’Lilah, they are killed (except for the de-powered Ben Grimm, who ends up leaving NYC to care for young Franklin) and replaced permanently by Spider-Man, Wolverine, grey Joe Fix-it Hulk and Ghost Rider. At first, people don’t like the group; they’re unfriendly and too mean. But when they save the city from Doom’s new Frightful Four (featuring the Abomination and his new catchphrase “I’m going to Kill you, Hulk”) everyone warms to them and their newfound love helps defeat Mephisto. The list of artists who contributed to this issue is as long as it is distinguished: Art Adams, Paul Renaud, Stuart Immonen, Cully Hamner, Alan Davis, Casey Jones, David Williams, Sanford Greene, Humberto Ramos, Skottie Young, Mike Allred and Barry Kitson. Most of them worked “at a drastically reduced rate, many as low as one dollar per page….out of their love and respect for Mike, and to help maximize benefit for The Hero Initiative.” As wrong as it seems to criticize this issue, I do have one complaint, and it’s a doozy. Ghost Rider did not scream “VENGEANCE!” Not even once. But he did have some awesome lines, so I guess I can learn to forgive. Eventually. I leave you with Jeff Parker’s perfectly written last words and (most of) Barry Kitson’s flaming Ghost Rider skull.

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General Reviews 5/21: "There's a good story in here somewhere."

by the General

That's what I kept thinking to myself while reading last weeks comics. All of them had moments or ideas worth mentioning, but inevitably the execution seemed to be fumbled. Either the art was slightly off, or the writing was stilted or - in the case of Ultimate X-men - it just seemed like the Marvel editorial department was asleep at the wheel. Still, these are the comics I read last week, and there were a lot of them. So, let's take a look at X-Men: Divided We Stand, X-Factor, Fantastic Four, Captain America, Ultimate X-men and Hercules.

X-Men: Divided We Stand #2 (by a whole mess of creators) - Last month, when I reviewed this title, it became a mini-magnum opus as I tried to summarize the five short tales that appeared in it. This month, I'm going to sidestep that unreadable train wreck and just mentioned the two that caught my fancy. The first, by Mike Carey and his X-men Legacy buddy, Scott Eaton, involves the Beast returning to the ruins of the mansion and cleaning up a bit. That's pretty much it. He wanders the grounds, gathers some keepsakes and disposes of some dangerous technology that has been left behind. But despite this basic premise, it is a surprisingly effective because not only does it allow for some nice Beast characterization, but it also help show how important the Mansion is to the X-men's status quo and - finally - it helps successfully shut the door on this chapter of their mythology as they move forward. Presumably to their new digs in San Fransisco.

The other story that I enjoyed was the Havok tale that appeared halfway through the book. The whole Havok vs. Vulcan storyline pretty much tops my "I have no idea why I care about this story, but I do" list. This is a fine chapter. Vulcan reveals to an imprisoned and beaten Havok the events that took place during the Messiah CompleX, in an attempt to further torment him. Surprisingly, Havok finds strength in the story and redoubles his defiance of Vulcan. It's a seemingly straight-forward little number, but it works on a couple of levels. Not only does it get new readers up to speed(with both Havok and the entire X-line in general), but also help further define the dynamic that exists between the two warring brothers. The painterly art usually wouldn't be my thing, but actually sort of works here. I look forward to seeing this storyline move forward someday.

The rest of the stories are pretty forgettable... to the point that I honestly barely remember them a week after reading them. So, while I enjoyed the two tales above, I can't give the entire issue more than a bare-bones B.

X-Factor #31 (David and Raimondi) - This issue should have been dramatic. But, for a number of reasons, it just fell short. First and foremost reason, while I think Raimondi is a fine artist, he failed to convey the drama and inferno of having M-Town (or the Middle Eastside) burn to the ground. Instead of the raging inferno I'm sure Peter David had in mind, we get scene after scene of what looks like the characters dealing with isolated burning buildings. But, to be fair, I think that David's storytelling is a little uneven here too. Few of the events within really carry any dramatic punch, plus we see another example of David's weird malicious streak in a scene where firemen watch a half dozen people burn to death on the other side of the energy dome that surrounds the neighborhood. Overall, I just wasn't feeling this issue, a crabby C.

Fantastic Four #557 (Millar and Hitch) - Here's another title I'm just not feeling. In fact, I'm fairly sure this is my last issue. I can see what Millar and Hitch are going for, but the execution is sort of bungled. The resolution of the CAP menace just struck me as too easy. I mean, it literally plays out like this: "Oh my god! No one can stop this menace! It's destroying everything! ... oh, except we just happen to have this piece of technology lying around, and there happens to be a loop-hole in CAP's programming that allows us to take it down in one punch!" Wait, what? Between this, and my inability to get into the Nu Earth idea, I'm obviously struggling with this title. So, maybe it's just time to let it go.

Which is a shame because there is a great couple of moments with Reed and Sue towards the end that shows that Millar actually gets at least those two characters. I just wish he got the entire title the same way. Still a credibility-straining C.

Captain America #38 (Brubaker and Epting) - Nothing happens. But, I enjoyed it. Still, I'm not going to give it more than a standard Brubaker B.

I'm not overly familiar with the particulars of Captain America's past, but there seems to be a neat little retooling of his history in this issue. Or, at least, the retooling of a character from his past. It's the sort of reworking that I'm sure has certain Captain America fans rubbing their hands together with glee. And, to Brubaker's credit, he managed to get me up to date with the back story in such a way that I felt like I knew what was going on, but didn't feel like it was getting bogged down by history lessons. Still, my holding my ground on that B.

Ultimate X-men #94 (Coleite and Brooks) - Meanwhile, over in Ultimate X-men I honestly felt like I missed an issue. In fact, after reading the first couple of pages, I checked the cover to make sure an issue hadn't been released that I missed. I mean, someone must have really screwed the pooch on this issue. I can literally see Aron Coleite proudly turning in his first script only to have the editor go: "oh... um.. .we forget to tell you but Kirkman wrote Phoenix out of the title at the end of his final arc. That was the big dramatic event that ended that arc."

To which Coleite responded; "Hmmm, let me just get out my pen here and...." then he writes a single panel where Scott asks Jean why she's back, and she says they'll talk about it later. The whole thing comes off as really amateurish, and I think it shows that Marvel has pretty much lost interest in its Ultimate line.

In a way though, it's sort of a shame that the issue has such a rocky start and that the writing is uneven, because I do feel like there is are some interesting ideas driving this title. It's about time that someone explored Colossus' mafia ties a little more. And, the reveal on the final page proves the storyline might be fun overall. Still, this issue gets a drop-the-ball D.

The Incredible Hercules #117 (Pak and Van Lente) - I'm still not in love with this title in the same way that a lot of people are. But, at the same time, the very idea that seems to be under-pinning this next storyline has me interested, and I think it's a great twist on the events of Secret Invasion. In short, since the skrulls are invading Earth, their gods are also effectively invading the Earth gods' turf. To combat this, Athena has called the gods of the world together to assemble a team to make sure their alien gods don't get a foothold. This team is, of course, led by Hercules. Now, I'm not entirely sure why, but I like the idea of Earth's gods wanting to stave off the advances of alien gods fairly interesting. It's a unique take on the typical alien invasion storyline. And, the motley crew they've assembled under Hercules seems to have promise, as does the idea of Hercules being forced into leadership.

Still, while I liked the issue overall, there are actually a number of confusing panels toward the end which left me going "Wait, what?" So, while I was pleased with the issue, I'm just giving it a better than average B.
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Number Ones: Batman, Captain Britain, Fantastic Four

by Bill

They’re brand spankin’ new series and number one first issues! But are they any good? Worth spending money to buy and time to read?

Included in this round:


How good are these? Decent? Maybe even genius (er...I mean genious)? Read and find out...



• Batman #676 (DC Comics) – by Grant Morrison and Tony Daniel

• Captain Britain and MI13 #1 (Marvel Comics) – by Paul Cornell
and Leonard Kirk

• Secret Invasion Fantastic Four #1 (Marvel Comics) – by Roberto Aguirre-Sacasa and Barry Kitson

Batman #676 (DC Comics) – by Grant Morrison and Tony Daniel

Not a number one, but it is the first part of DC Comics’ months-long campaign promoting Batman R.I.P. so worth the look to whether Part One delivers on the hype.

In general, yes. The issue is jammed with quiet character moments, subtle intrigues to likely serve in subsequent acts, and a few not at all subtle scenes establishing more immediate menace.

Part One also delivers substance for a complaint: readers having not read recent events in Batman will be lost at two points in this.

#1- who is the woman? She was introduced in a scene with no name mention. But as she knows Bruce Wayne is Batman and is in a deep kiss with him, presumably she’s a major character. It would have been nice to have had a name to work with.

As bit of a digression…sequential storytelling tends to penalize the uninitiated. For routine stories a brief recap might serve to remind and give some high-level orientation, and that minimally should suffice. For a major new story to launch and seemingly not care about new participants lacks vision and editorial responsibility. Readers have complained time and again DC Comics’ failures in making their stories accessible to new readers; sadly Batman R.I.P. part one continues this unfortunate trend.

#2- scene setting in the final sequence. Regular Batman readers *may* recognize the setting as Arkham, unfortunately this never confirmed. This is another example of DC penalizing the uninitiated. More egregious is the perspective of the scene: it starts with a omni-present perspective as if walking into the unconfirmed Arkham Asylum, but shifts to another persepctive without explanation to how the introductory could really exist. As conveyed, the opening sequence creates a false tension. Visually it is glorious, Daniel does some exceptional work with each page. Storywise it culminates in something of a cheat.

On the very positive, the Joker as presented is terrifying. Visually he is menacing and truly villainous. His dialogue and demeanor establishes he’s the Crown-Prince of insane. This Joker is unlike any Joker seen before, and worth the cost of this comic to see.

Aside from this terrifying portrayal of the Joker, the double page spread of the Black Glove and Danse Macabre (whomever these characters are – are they new? Recurring?) is a visual treat. Finally, the interaction between Robin and Alfred is brilliantly done. The conversation and tenor is pitch perfect for both characters. Well done.

“Well done” is nothing unusual for Grant Morrison. He sweats ideas. Every blink of his eye generates an idea. The man is a creative force. It is obvious even to one not having read Batman for a few years that Morrison is tapping into something primal with the character’s myth. Any criticism of a reader becoming lost among the story is more attributed to final touch editing than to failure of the story. With the forces in play, this Batman title demands full-time creative support to ensure the little details are not lost among the major. Hopefully subsequent issues will have the DC team bringing their A-game just as Morrison and Daniel and the creative team clearly have done.

As masterful as the storytelling is Tony Daniel’s artistry. Simply: he’s done fantastic work. Hopefully he will be able to maintain the regular schedule for the arc, since he’s really established the visual cue of the characters, notably the villains. Another hand may get the characters drawn well, but not necessarily portrayed correctly. Batman R.I.P. could be the storyline that catapults Daniel to the “next level” of acclaim in much the same manner as Perez (Judas Contract), Giffen (Great Darkness Saga), Quesada (Azrael), Adams (Longshot) among others handling key story-arcs. Nevertheless, it is one thing to write how terrifying the Joker or imposing the Danse Macabre is to be and quite another to deliver that to the page. For anyone who thought that Brian Bolland or Frank Miller portrayed the quintessential Joker, the final four pages of Batman #676 raises the bar.

This is a solid start even with the lack of information provided to new readers. It would have been astonishing if every reader coming aboard had an equal opportunity to understand the environment the story was working around.

$2.99. B+/Brilliant (A+/Astonishing for the art)


Captain Britain and MI13 #1 (Marvel Comics) – by Paul Cornell
and Leonard Kirk

So much was against Captain Britain and MI13 – a book stemming from Marvel’s Secret Invasion major event, a character having gone through multiple incarnations and book launches, a group of relative B-list heroes loosely banding under a (British) Government mandate – among several other hurdles to overcome.

Nevertheless, Captain Britain and MI13 quickly and effectively hits stride. Captain Britain indirectly acknowledged his prior roles and dismissed them without insult with his new intention as being Britain’s Captain America. It is a return to his roots not really seen since American readers were first introduced to the character in Marvel Team-Up. It is an honest and direct approach, easy to accept while returning character credibility. The more convoluted dimensions layered onto Captain Britain in the years since Team-Up offered entertainment but never seemed to adequately build from the foundation of English-myth and national hero. In but a few pages it seemed Captain Britain was finally home.

Equally impressive is the presentation of The Black Knight. The Knight commands some of the best dialogue exchanges with a touch of humor and a dose of self-depravation. More importantly, the character retains a nod to the legacy but a step toward new reign.

Paul Cornell manages these Captain Britain, The Black Knight and several other characters with capability, respect and innovation. It’s impressive to read and ultimately sense a consideration for characters. It will be interesting to learn what is in store with some of the other characters in MI13.

The big star of the book is Leonard Kirk. Kirk pours detail and attention to each panel, with pages loaded with depth and artistry. Kirk skimped on nothing, and even panels with no “all-out” action are loaded with “all-out” activity. Jesse Delperdang had to have gone nuts with what was presented, and no doubt relished the work and contributed to even more eye-dazzling detail. Kirk and Delperdang define what it means to be graphic artists.

The last page is an effective cliffhanger, and the teaser page for issue #2 very effective to entice readers’ return. Captain Britain and MI13 had everything to lose and be a mere footnote in the Secret Invasion mega-crossover. Fortunately and most surprisingly, issue #1 is a fantastic super hero adventure book, with much to look forward to.

$2.99. B+/Brilliant



Secret Invasion Fantastic Four #1 (Marvel Comics) – by Roberto Aguirre-Sacasa
and Barry Kitson

Roberto Aguirre-Sacasa is at his best when he’s allowed to write the Fantastic Four as a family, as more human than super-human or super-hero. His previous work in MK4 presented some of the most touching, human and entertaining scenes between the Family Four of any writer of the characters. As in MK4, Secret Invasion Fantastic Four contains similarly powerful and entertaining scenes.

Ben’s stating “I’m making Coq au Vin for Franklin and Val, Flamebrain, you want some?” followed by Johnny’s “Sue. Dinner. Ben. Cooking. Must. Stop.” is wondrously layered humor based on familiarity of the characters and their own familiarity to fans. Aguiire-Sacasa holds literate command over the Fantastic Four, most specifically for Ben and Johnny, so his return to the characters is welcome and entertaining.

Where Secret Invasion Fantastic Four doesn’t work so well is the involvement of that Secret Invasion and the Skrull conflict. The book is missing half the quartet, a noticeable absence. Aguirra-Sacasa is working with what Bendis left from the primary Secret Invasion series and although he does a capable job with these remnant pieces, the story nevertheless falters a bit while trying to tie into the event.

Kitson appears in step with Aguirra-Sacasa, with their best being the same Ben-Johnny character focused scenes. Every panel with Ben is a treat (both regards the story-scene and with how Kitson draws The Thing), while those with the Skrulls less effective or compelling. There is one exception: the last page. It’s not a shock ending, and in many respects was expected at some point due with the Secret Invasion premise, but having it revealed and out there allows for the story to continue without the distracting questions of “when will…?”

Overall, Secret Invasion Fantastic Four offers fans of the mega-crossover more substance on the Sue/Reed scenes from the Bendis/Yu Secret Invasion, gives fans of Aguirra-Sacasa’s Fantastic Four a refill dose, and provides for an entertaining setup for issue #2.

$2.99. Grade: B/Brainy

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