Wednesday's Stack

Week of April 11th, 2012: Secret 1 by Jonathan Hickman and Ryan Bodenheim.

The Secret is out! Sorry, I had to make that terrible joke. To start my week off, I decided to give Secret a try. The latest series from Jonathan Hickman, I knew nothing about secret before I opened it. In fact, the only reason I decided to buy it was because the art by Ryan Bodenheim looked incredible when I flipped through. After reading it, I can say that I still have no idea what this book is going to be about, but it’s a good series and a nice slow start to a mystery/action/thriller that I’m sure is going to be worth watching every month.

Best Part: The opening scene to this book is really well done. A home invasion is something I’ve seen done time and time again, but to see it done so precisely is a different thing altogether. The use of color enhances the scene, making it very bold and very distinct, so you are drawn into the action.

Worst Part: I don’t really care about any of these characters yet. It’s only the first issue, but I don’t feel sympathetic towards any of them and don’t see much reason too. Should I root for the rich businessmen who don’t seem to care about anything, or the criminal who tortures them for information? Only time will tell.

Side Note: There are like no women in this book. Aside from our one character, who basically serves as a plot point, we don’t have any women and for that matter, no cultural diversity. Due to the coloring techniques used, it looks like this is a book about white men fighting rich white men.

Writing: Jonathan Hickman is a writer whom I very much enjoy. His work on Secret Warriors, Fantastic Four, and FF has been incredible so I felt that going out on a limb to read his indy work would be worth it. Sure enough, I still don’t quite know what the over-arching story is, but I am enjoying it. Hickman crafts undeniably tight scenes in this book, but leaves plenty of space for the readers to be curious. It’s an approach he’s taken before and it continues to work.

Art: This is the first time I’ve seen the art of Ryan Bodenheim. His work is really quite great and I bought this book mostly for his art. It is impossible to mention his art without mentioning the colors of Michael Garland, whose minimalist approach makes the art very bold. The stylistic choices of these two also cause issue with the art, as I know in future installments I will want more than two colors a page. In addition, the character designs blend together at times and when certain characters fill similar roles, this can be troublesome. I like the art though, I just wish it were more distinct.

Overall: 8 out of 10. It’s well done, even if I don’t know what it’s doing.

Week of April 4th, 2012: Fanboys Vs. Zombies 1 by Sam Humphries and Jerry Gaylord.

With the mass of zombie related media available in every form imaginable, it can often be hard to choose what is worth your time. In my quest to expand my comic horizons, I figured I would venture out into non-Walking Dead zombie comics and read Fanboys Vs. Zombies. I did not know what to expect from the quality of the book or the tone of the story. Sure enough, it is a decent read that didn’t leave much of an impression on me, as I expected. It fails to go past it’s premise in it’s premiere issue, but hopefully in the coming months it will impress me, because I plan on sticking around for the time being.

Best Part: I love the premise behind this book. Whenever I’ve encounter zombie stories I’m presented with the old cliche that nobody knows what to do. Here, the opposite is true, they just lack the tools to do so properly, which I’m sure will lead to an interesting story in the coming issues.

Worst Part: The characters in this book are incredibly hollow. Since it’s a first issue, I’m willing to excuse some of it, but nobody has a distinct voice because they’re all, well, Fanboys. I truly hope Humphries gives the characters some unique character traits to make them stand out as individuals.

Side Note: This issue has a crazy ton of references in the art. I can’t remember the last time I’ve seen this many Easter Eggs in one place, and it was Easter just a couple of days ago.

Writing: This is my first time that I have encountered the writings of Sam Humphries. He doesn’t really wow me though, which is quite disappointing. I know that he will be writing the Ultimates soon, but his major flaw in this issue is something that carries over to any property. The book never really goes past it’s premise. The premise is great mind you, but in order for this book to succeed it needs to provide more depth that it has in it’s introduction. The characters are also extremely stereotypical and very flat. I have seen these roles performed before and I don’t need to see them again, so I hope that Humphries can expand on the characters and make them more unique.

Art: The art in this book, handled by Jerry Gaylord, is much like a less extreme Humberto Ramos. Crowd shots look great and there are many easter eggs hidden in panels. Unfortunately, the art suffers when it’s just dialogue, because the characters are not subtle in the slightest. Gaylord just applies the same giant grins or overwhelming grimaces to different characters. That being said, the characters are decently unique aesthetically, but the issue really shines when the zombies come out. Jerry Gaylord can draw some guts and gore. But more on that next issue.

Overall: 7 out of 10.

Week of April 4th, 2012: Animal Man 8 by Jeff Lemire, Steve Pugh, and Travel Foreman.

Alright, listen. This book has been out for eight issues now and never before have I been disgusted. People have commented on how horrifying some of the imagery is, or how disgusting it is, or just how wrong it is. Not I. In the eight months since it began, I have enjoyed every issue of Animal Man with a straight face, and the occasional smile. No longer. This issue made my face contort in disgust as I watched something indescribably nasty happen to a little girl. And it made for an incredible issue.

Best Part: Of course, the best part of this issue is the opening scene where we learn about one of Maxine’s new powers. It is possibly the most disgusting thing I’ve ever seen and the way it is portrayed, plus Maxine’s reaction, is what completely sells it. I couldn’t imagine a better way to make me want to vomit everywhere.

Worst Part: The ending of this issue does not really interest me. It isn’t bad, but it is cliche and I’ve seen it done so many times that it just doesn’t interest me. Maybe next issue will prove me wrong, but it’s a plot point that doesn’t live up to the rest of the issue.

Side Note: When Buddy flies off, why doesn’t he put a shirt on? It’s been eight issues and Animal Man has been fighting in half of his costume almost every time. He has a cool design when it’s in full, and I want to see him wear it at least every now and then. Oh well.

Writing: Jeff Lemire is one of my favorite writers and this issue shows why. He has made a career out of the surreal and I for one appreciate it. What he has done with the Red is particularly cool and consistently outpaces the work of the Green in Swamp Thing. This issue is a testament to what makes this series so great, but suffers from filler. I don’t feel like this stuff is really that necessary, but I’m sure in the coming months I’ll be shown otherwise.

Art: Steve Pugh does the majority of the art in this issue. While Travel Foreman does the lead in, it is actually quite disappointing given the high caliber art he gave us for the first few issues. Once Pugh steps in, it is very consistent and the art doesn’t miss a beat. However, he does this weird thing where he draws a bunch of shaded squares around the action which makes it more “intense” and fills empty space. This is an odd technique that looks cool but is also hollow. The last page in particular was really weak and left me wanting an actual cliffhanger.

Overall: 8.5 out of 10.

Week of April 4th, 2012: Ultimate Comics Spider-Man 9 by Brian Michael Bendis and David Marquez.

Ultimate Spider-Man is a fantastic book. Each week it comes out, it is the first book I reach for. While it is not often my favorite, it is consistently one of the best books out each month (Or however often it comes out). With a rotating team of artists, Brian Michael Bendis has managed to make the world of Miles Morales feel well developed and full of possibilities in a time of only nine issues. As this series continues I hope Bendis continues this trend because it’s great having this book to rely on when all else fails.

Best Part: The Prowler and Scorpion have a throw down in the remnants of the Tinkerers headquarters and it’s pretty darn awesome. Prowler uses tons of gadgets to take out Scorpion and it shows his resourcefulness, to an extent. Plus, it shows that Scorpion isn’t someone to be taken lightly.

Worst Part: There isn’t a whole lot of Miles in this issue. Even the opening scene doesn’t really focus on Miles. I want to see more of this kid because he’s taking my money every month so I expect to see a little bit more than I’m getting.

Side Note: One of my favorite parts of the Ultimate Universe is the wide array of Easter eggs from the mainstream Marvel Universe. Take for instance, the costumes placed behind Scorpion in the Tinkerer’s workshop. Marvel fans will instantly know where those goofy get-ups are from and I appreciate the fun in that.

Writing: Brian Michael Bendis consistently knocks it out of the park with this series. From the opening scene where Miles is questioned by the police to the closing scene in the school, the dialogue is slick, fun, and perfect for these characters. My one complaint is that Bendis isn’t making me feel anything where Uncle Aaron is concerned. I still like him, and though I worry for Miles I worry more for Aaron, and that is a problem.

Art: David Marquez joins the Ultimate Spider-Man art team this issue, right off of his amazing job on Fantastic Four: Season One. His art is incredible in this issue and frankly, I’m ashamed to admit I’m surprised. Yes, I was excited and expected greatness, but the closing pages where Miles resurfaces at his school are truly incredible, showcasing the best of his abilities. In addition, the fight between Prowler and Scorpion looks so good because he works so hard to make it so and it’s exactly the kind of strong start Marquez needed to make an impact in this book.

Overall: 8 out of 10. Make mine Miles!

Week of April 4th, 2012: Action Comics 8 by Grant Morrison, Rags Morales, Brad Walker, Rick Bryant, and Bob McLeod.

Well it’s about time. After eight long issues, Grant Morrison concludes his opening story for Action Comics. For those who have been along for the entire ride, the issue is a satisfying end that falls victim to all of the trappings of Morrison writing. Dialogue is clunky, there are often too many things going through a characters head (Literally), and the concepts barely get a chance to breath before the next is introduced. It’s a huge step up from the last four issues but it is still a far cry from the strong start this series had early on.

Best Part: The issue has a great little twist thrown in towards the end that has me very curious. It creates a dynamic I haven’t seen in the comics before and it makes me curious about what will come from it. It has me more excited than anything else in this issue.

Worst Part: John Corben is pretty darn annoying in this issue. I like him as a character and his struggle is very real despite his circumstance, but my God is it annoying to read. I couldn’t tell what was going on and what was him talking or Brainiac taking over and it was very annoying.

Side Note: I nominate Brainiac for worst design post reboot. He is just so unintimidating and lacks all of what has made him cool in previous incarnations. He’s a great Superman villain but this design does not do him any favors.

Writing: Grant Morrison has a pretty decent plot here, but it’s nothing amazing. The issue is better than the last couple, but that’s like saying a regular turd is better than diarrhea. It’s still not good. Grant Morrison has made Action comics feel incredibly slow and it is only when he leaves behind Brainiac and returns to Metropolis that the issue finds it’s footing. If Morrison can just write Superman’s adventures on Earth I think this book will succeed but until then it won’t satisfy me.

Art: Wow. I knew that Rags Morales was slow but there are in fact four different pencilers on this issue. What that does is make the book incredibly inconsistent. It is easy to see where Bob McLeod comes in, easy to see where Rick Bryant comes in, and even easier to see where Brad Walker comes in. In fact, it is so easy to see where Brad Walker comes in that it is distracting from what happens. Now, none of these artists are bad in any way, but when it is so easy to tell everybody apart from one another it takes away from what is being depicted. Oh yea, and Brainiac looks stupid.

Overall: 6.5 out of 10. I want this book to be better than it is.

Week of April 4th, 2012: Avengers vs. X-Men 1 by Brian Michael Bendis and John Romita Jr.

No longer is it coming, IT’S HERE! The biggest event for Marvel this year has finally arrived. Avengers vs. X-Men is not an event I want but it’s what we have to deal with. Luckily, the book isn’t too bad. The first shot is fired, so don’t worry if you’re expecting Marvel to drag it out in the slightest, and we get all the necessary story you would expect, but at the same time we get a pretty decent set-up. Bendis handles all the characters quite well and with John Romita Jr. on art, you know that you’re pretty well off, even at his worst. If the series can maintain this level of quality, it just might be the first good Marvel event we’ve had in a while.

Best Part: The first shot is fired in this book. I knew it had to happen but the way that Bendis writes the scene is perfectly done and you genuinely believe the reason for it to happen. It was an incredibly tense scene and handled as well as you could want.

Worst Part: Drill sergeant Cyclops is a bit intense. He is showing shades of his son, Cable, but it’s not the shades that I want to see in his character. It is uncharacteristic for him and I’m not sure if I like it.

Side Note: Did anybody else laugh when the saw Wolverine relaxing in a lounge chair by a warm fire. He seemed like the wise old veteran and though it was a cool scene and showed him contemplating his role, but it was slightly humorous.

Writing: Brian Michael Bendis does half of this issue well and half of the issue moderately. The opening of the issue is really jumbled and leaves a weird taste in my mouth, but everything after the arrival of Nova is good stuff. The X-Men are all well written and the dynamic between Scott and Emma is great. Why Bendis doesn’t write X-Men, I don’t know.

Art: John Romita Jr. is a great artist for a book like this. He can handle massive crowds and does a good job of distinguishing every character as their own entity. Emma Frost in particular looks absolutely stunning, and Magneto looks appropriate for a man of his age and disposition. Hope varies a bit at times though and some of the action early in the issue looks less than clear, so that holds back the issue from being superb. Add to that the highly divisive styling of JR Jr. and this issue may not be for everybody.

Overall: 8 out of 10. A solid start that has me intrigued for more.

Week of March 28th, 2012: Bloodstrike 26 by Tim Seeley and Franchesco Gaston.

Yea! Deadpool! I love Deadpool! Wait, that’s not Deadpool. That’s Bloodstrike. He’s totally different… All joking aside, I am excited for this continuation of Bloodstrike, a Rob Liefeld creation straight out of the 1990’s. With writing by Tim Seeley and art by Franchesco Gaston, this book is a very strong relaunch of this forgotten property. It is instantly accessible for new readers and will send you on a nostalgia trip like no other, as you find yourself thick in concepts so EXTREME that only the 90’s could have produced them. Have fun!

Best Part: At one point, Cabbott has his intestines ripped out of his body and since he is a on a com system with his HQ, he tells them that he’s going to need a few extra feet of intestines when he gets back. It’s such an odd moment that is perfectly captured by both the art and layout.

Worst Part: I didn’t care for having the nice boss die. It was done well, sure, but I would like to see somebody in a terrible position who doesn’t have to deal with crazy superiors.

Side Note: I’m curious to see what Cabbott’s new teammates are like and how he reacts to the reappearance of his father. I feel this way after one issue. If Seeley and Gaston were able to do that after one issue I’m very excited to see where it goes down the line.

Writing: Tim Seeley writes this book and manages to add a lot more depth to the character of Cabbott Stone than you would expect. Through Cabbott’s meeting with a therapist, we find out all the information about the character that we could possibly need. As somebody who has never read Bloodstrike before this issue, I already feel at home with the character and none of it felt forced. Now all we need to do is escape the cliched villains and we’ll be set.

Art: Half of the reason you pick up a book is for the art but for me, I read this book solely because of the art from Franchesco Gaston. His art is reminiscent of Stefano Caselli, but with lighter shading and thinner inking. It is very accessible and Gaston handles all aspects of the issues incredibly well, particularly the dialogue heavy scenes where his expressions are particularly strong.

Overall: 8 out of 10. A strong relaunch of an odd character.

Week of March 28th, 2012: Avengers Vs. X-Men 0 by Brian Michael Bendis, Jason Aaron, and Frank Cho.

It’s coming. In one week, Avengers Vs. X-Men will be on us in full force and there will be no escaping the endless array of tie-ins and crossovers into other titles. To begin the onslaught, we have a zero issue that leads into the upcoming story by focusing on a couple of key characters, one from each side. Having a story with the Scarlet Witch is a treat given her lack of a presence for the better part of a decade, but Hope falls short by going through the motions and filling pages more than providing story. The book as a whole is not necessary in any sense, but if you are one of the few actually excited for the event, you won’t be disappointed.

Best Part: I think it’s great that Ms. Marvel and Spider-Woman are there to give their support to Wanda. They fly all the way to Washington D.C. just so they can lend a hand and it’s great to see this acceptance and forgiveness from the second stringers. (However, this is partially undermined by this weeks Avengers).

Worst Part: I still don’t want this event. In fact, I’m sure that most readers don’t really want another event right after Fear Itself. Many of Marvel’s books went from having Fear Itself banners to Shattered Heroes to Avengers Vs. X-Men. Event fatigue is really setting in.

Side Note: I think that Vision had a perfectly acceptable reaction. I hope that ultimately he and Wanda can fix their marriage but for the time being I think that this is some interesting ground to cover. He is hurt and in a way this is him being truly human, cybernetic components notwithstanding.

Writing: The writing in this issue is split between Brian Michael Bendis and Jason Aaron. Bendis focuses on the Scarlet Witch and Vision, while Aaron handles Hope and the X-Men. Of the two, Bendis looks much stronger, with his character interactions truly showcased and his characterizations in top form. Aaron is lackluster. He doesn’t have much experience writing these X-Men so he wouldn’t have been my first choice for a feature on Hope. Add to that the story that lacks any form of purpose at all and it’s subpar. At least Bendis reintroduced Scarlet Witch and Vision to each other.

Art: Frank Cho handles art for the entire issue. He is notorious for his cheesecake drawings and in many cases, I am glad to have it. He draws on of the best Ms. Marvel’s that I have ever seen. However, the Scarlet Witch looks awkward. The number of reasons her costume shouldn’t fit like it does under his pen is astronomical. In addition, his Cyclops is anorexic and Hope looks like a 25 year old instead of a teen. This book is not really the best fit for him, given the range of women and costumes.

Overall: 7 out of 10. Just wait until next week.

Week of March 21st, 2012: Catwoman 7 by Judd Winick and Adriana Melo.

Catwoman is a character who has always stuck close to the spotlight. Something about a beautiful woman in skintight leather has managed to work pretty well over the years. With the Dark Knight Rises hitting this summer, many may turn to the Catwoman comics to check out what she’s up to and while many have been critical of Winick’s run so far, I think that this is a pretty decent book that has a great long-game in it’s future.

Best Part: In this issue, Catwoman steals cars. By adding this to her repertoire, Winick helps keep thievery fresh. One of the reasons I have been hesitant towards anti-hero or villain books is that it gets muddled down in routine, but this book shows that it is willing to stretch it’s legs a bit for more diversity.

Worst Part: So a couple of prostitutes get kidnapped in this issue, leading towards a bigger villain down the line. I’m sick of this storyline. I’ve seen it in Huntress, Scarlet Spider, and now this in the last few months. I’m growing sick of this quick.

Side Note: I like the character of Spark. Even though he’s only in the book for a few pages he has a good presence and adds a cool new presence to the book. Plus, he’s Asian and comics can always benefit from more diversity.

Writing: The writing in this book is good. I think that Judd Winick has a good take on Selina and though it may not be the popular opinion, he is handling her well. It seems as though he has a clear end point in mind for her character and is putting her through her paces in order to get her there. So far, so good.

Art: Guillem March is replaced this issue by Adriana Melo. Melo is a welcome change to go along with the subject. March, while fantastic, has been criticized in the past for images in which characters are hyper sexualized. Melo is great in her own right and nowhere near as sexual in her depiction of Selina, so I think that it will help ease the nerves of those on edge with March’s art.

Overall: 8 out of 10. This book might have gotten the Spark it needed.

Week of March 21st, 2012: Amazing Spider-Man 682 by Dan Slott and Stefano Caselli.

Amazing Spider-Man 600 was one of the best single issues I’ve ever read. It was a done in one story about Spider-Man and the Human Torch teaming up to take on Doctor Octopus, who decided to take Manhattan as his own to revolutionize. The issue was fantastic but it set the stage for something grander to come. Finally, 82 issues later, we see that come to a head in the latest epic from Dan Slott, Ends of the Earth. If the quality holds, which I foresee it will, Slott has another masterpiece on his hands.

Best Part: Dan Slott has really emphasized the importance of Peter Parker and not just Spider-Man throughout his run. This has been instrumental in elevating the character and making him feel like he belongs on the Avengers. Having Slott once again touch upon that really makes me happy.

Worst Part: Marvel has the dumbest populace of all time. It drives me crazy to see them flip flop from hating something to loving it on a dime. While they’ve always been written this way, so it is technically consistent, I do wish that we weren’t reminded of how stupid they are every issue. It doesn’t add tension or make us question our heroes, it just frustrates.

Side Note: Since Big Time, all of Spider-Man’s new suits have had practical applications. It is for that reason that I’ve actually enjoyed seeing the new suits because they never felt forced, they felt like they fit Peter’s current predicament. That being said, I can’t wait to see the applications his new suit holds.

Writing: Dan Slott is back in full command and you notice the difference. Things get right back on track where Doc Ock is concerned and it results in a good story. The threat, while very legitimate and menacing, doesn’t feel all that incredible. If it happened, everybody would freak out, but it feels a little preachy, especially given recent discoveries on global warming.

Art: Stefano Caselli is a great artist. I’ve been a fan of his work for years, dating back to the original Avengers: The Initiative, written by Slott. Since then, he has maintained a level of quality that few others can match. While I don’t think Spider-Man is the best fit for him, there’s no denying his talent. The city shot of Chicago when everybody is dying is evidence of his attention to detail and knack for layouts. My one complaint is I don’t like the new Spidey suit that much, but I’m sure it’ll grow on me when I see it better.

Overall: 8 out of 10. I’m really excited for this story.

Week of March 21st, 2012: Red Hood and the Outlaws 7 by Scott Lobdell and Kenneth Rocafort.

Red Hood and the Outlaws is Scott Lobdell doing everything in his power to fix the new continuity of DC Comics. Whether it be his glances at Teen Titans past or his new back-stories for characters, every issue hints at a better DCnU. Unfortunately, this issue is not like that. Dragged down by focusing on a character nobody is going to care about, Red Hood and the Outlaws disappointed me for the first time and left me wanting for a better book.

Best Part: I dug the scene where Jason and Essence are arguing, but only Jason can see her. The reactions from Kori and Roy were perfect, as they just did their best to ignore their teammate’s insanity.

Worst Part: I don’t care about this storyline at all. It’s extremely vague and quite cliche, leaving me uninterested. I don’t think Jason’s realm of expertise should be with the occult and I’m pretty sure this book shows why.

Side Note: Roy Harper is the best part of this book. He’s the sarcastic guy that you want to punch but he actually knows what he’s doing. I mean, how could you not at least chuckle when Roy started looking for the auto-pilot once Kori said she was bored. I hope we see more of him in future arcs.

Writing: The writing in this issue is solid, but Lobdell fails to wow me like he has in past issues. I think that the main issue is that he spends too much time dealing with Essence and the Untitled, two things I just don’t care about. This book works well independently but I think that bringing the series to Gotham in a couple of issues is going to do it a world of good by distancing it from the storylines currently bringing it down.

Art: Kenneth Rocafort hands in great work, yet again, but something is different this time. I’m not as wowed as I once was. Maybe his magic is starting to fade or maybe it’s because he’s given the same five things to draw. More diversity on his part is required to keep this book as great as it has been. Once again, I think that focusing on Kori and Roy more in his art would help, as well as maybe putting them in their civvies every now and then.

Overall: 7.5 out of 10. I still like it, don’t get me wrong, but it needs improvement.

Week of March 21st, 2012: Supercrooks 1 by Mark Millar and Leinil Yu.

Mark Millar is has written some of my favorite comics of all time. His work in the Ultimate Universe was groundbreaking and completely reworked Marvel in a way that to this day they are trying to replicate. In recent years, Millar has broken away from mainstream comics to pursue his own books. Now Millar finds himself doing the same thing Marvel is, trying to replicate his earlier success from Kick-Ass. With Supercrooks, he just might have it.

Best Part: Our lead, supervillain Johnny Bolt, is remarkably likable. From the second he appears on the page he had me convinced that he could be the smooth talking guy to pull this whole thing together. Plus, he has electric powers and I’ve always been a big fan of that.

Worst Part: Since this is only issue one, the characters are still really simplistic. I’m willing to excuse it this issue, but I hope that the characters break away from merely being archetypes.

Side Note: Wow, that’s an interesting way to kill a man. In an effort to show that the threat these guys face is a legitimate one, we see a box of cigars teleported into a mans head. Talk about a waste of a good cigar.

Writing: Mark Millar has a very distinct style. His characters are generally pretty sleazy but you tend to like them anyways. I’m somewhat sick of seeing that though. This is a book about supervillains trying to pull off a major heist in a foreign country, so it’s essentially a superpowered Ocean’s 11. There’s enough in that well that Millar doesn’t have to throw in “fuck” and “shit” to spice it up.

Art: I’ve never been a huge fan of Leinil Yu. His art has just never wowed me, despite some remarkable projects. My main issue is that I feel he doesn’t do enough with his art to make it distinct. This issue didn’t do much to change my mind in that regard, but he does make more of an impact than he has in a while. A couple of panels show more stylistic flair than he normally does, like when Johnny gets punched through a plane of glass. If we get more of that type of art I will be happily on board.

Overall: 8.5 out of 10. A solid start to the latest Millarworld creation.

Week of March 21st, 2012: Birds of Prey 7 by Duane Swierczynski and Jesus Saiz.

Birds of Prey is an overlooked book in comics. Know primarily for being an all female team, I feel that many don’t give it much of a chance beyond that. What is key to realize about Birds of Prey is that it wouldn’t succeed if it wasn’t a good book, regardless of it’s premise. Luckily, the book is incredibly good. Taking “lesser” superheroes and telling stories to rival those of Superman and the top guns is really quite the feat and this book makes it look easy.

Best Part: Thus far, Batgirl hasn’t really felt like part of the team. She has felt shoehorned in by editorial so that the book would have a connection to a larger universe. This issue changed that, focusing on the relationship of Dinah and Batgirl. It completely changes my stance on Batgirl in this book and is much better than anything in Batgirl right now.

Worst Part: I don’t like the in-fighting amongst the team. Starling just completely leaves because she doesn’t agree with what Black Canary says? Really? And Black Canary doesn’t believe Batgirl, who has a BULLET HOLE IN HER ARM? Really? Ugh.

Side Note: Where does Poison Ivy go? Why does nobody try to help her? You do realize that even if you don’t like her, she is going to die? Right? Anybody?

Writing: Duane Swierczynski, the man with the hardest name to spell this side of Schwarzenegger, has done a good job of establishing his team over the last six issues, but he takes issue seven to dismantle them. I know they will reunite, stronger than ever, but it’s frustrating to see something so formulaic in a book that has defied the cliche the last few issues. It’s a good book and it’s well written, but Swierczynski needs to get back on track.

Art: Jesus Saiz is back on art this issue, taking the book back from Javier Pina. Really, it doesn’t make much difference. The styles are so similar that I bet people didn’t even notice that Saiz missed the last couple of issues. Saiz does return with a bang though, making every panel count and showing the beauty of his cast. The alley sequence is so great I could just hang it on my wall and I don’t think it’s fair to say these things without acknowledging the stunning colors of June Chung.

Overall: 7.5 out of 10. This is where I go to get my Batgirl fix.

Week of March 21st, 2012: Avengers: X-Sanction 3 by Jeph Loeb and Ed McGuinness.

As the prelude to Avengers Vs. X-Men drew to a close I realized something. This book did not need to exist. Sure, I knew that when I started reading it but Marvel kept saying that it would directly lead into AvX. It doesn’t. This book doesn’t do anything we haven’t seen done already, and done better, in books of the past. There is literally one moment that gives us something we haven’t seen before, but the rest of the issue is basically retreaded old ground and calling it new. It’s not.

Best Part: I will say, I’m intrigued by what happens to Cable in this issue. I won’t spoil it for you, but this does open up new grounds for him and it serves as the one thing I haven’t seen done before. Whether or not Marvel properly capitalizes on it or decides to do something stupid and make it a plot point down the line remains to be seen, but for now, I am mildly excited.

Worst Part: So Cable had all these bombs hooked up to the Avengers and all they needed to do was rip out the wiring? Or in Red Hulk’s case, sweat intensely? Talk about underwhelming.

Side Note: Well this book does give us a pretty clear idea of where Wolverine’s loyalties lie. It’s a shame that he’s turning his back on his race, but I’m sure that by the end of AvX he’ll choose to be an X-Man because otherwise Marvel would have to cancel their brand new best seller (Wolverine and the X-Men).

Writing: Jeph Loeb is meh on this book. It’s not abysmal but there are a lot of logical gaps in this books. Why doesn’t Cable just talk to the Avengers? What did he really gain by doing this? If he wanted them dead, why not just shoot them once he had them captured? These are the kinds of things that stick out, no matter how good the ending of your mini-series is.

Art: Ed McGuinness draws gigantic muscular dudes and voluptuous women. This isn’t really a critique, but the truth. His art is well suited to this style over substance story and he is well aware of it. After all, why else would he give Hope a gun that’s bigger than her? It’s a very silly style in many ways but I dig it and it works for this story that never seems to take itself seriously.

Overall: 8 out of 10. A good ending saves this forgettable mini.

Collected Editions: X-Men: Season One by Dennis Hopeless and Jamie McKelvie (Original Graphic Novel)

The X-Men have been around for a lot longer than most people realize. Created waaaaay back in 1963, they’re going to be turning fifty before you know it. While they may be a massive success these days, they weren’t in those early times. In fact, the book got canceled for a while because nobody knew what to do with these strange youths. Hoping to fix that problem and bring in a new generation of fans, X-Men: Season One is a jumping on point for anybody who missed out on the last 48 and a half years. In the same vein as Fantastic Four: Season One and even X-Men Evolution, it’s a brand new spin on a classic tale.

$elling Point: What works best in this graphic novel is the interaction between all of the X-Men themselves. I know I said the same thing in my review of Fantastic Four: Season One but there is a reason these characters have been around for so long and it’s in how they work together. I personally enjoyed the friendship between Beast and Iceman while I also felt the love triangle between Cyclops, Jean Grey, and Angel was tastefully done.

Writing: The writing in this book is pretty good for the most part. Dennis Hopeless does a really good job of making this read like a group of teenage superheroes. My issue with his writing comes in the story itself. The team doesn’t ever really have a great battle and the ending is terrible. In addition, I felt that Hopeless barely touched upon elements that could have really used more time, like the creation of the Brotherhood of Mutants. I know that in the classic tales they kind of popped out of nowhere but this book might have done an even worse job of establishing them as a threat.

Art: Jamie McKelvie is a fantastic artist. If you don’t believe me, just head over to his tumblr and check it out for yourself. Every time this book succeeds it is because of his contributions. He is incredibly smooth and well-suited to a book about youths. His redesigned costumes are also well done, playing homage while feeling modern, almost similar to those in X-Men: First Class. In addition, each of the X-Men and the extended cast have their own distinct visual personalities, attire aside. Iceman looks like a trendy kid, Angel looks rich and well groomed, Hank looks like he’s chiseled out of stone. I think that above all, these things make the book great.

Bonus Content: This collection includes the first issue of the latest volume of Uncanny X-Men. I think that this was a terrible choice because the reader will be completely lost. Sure, the inclusion of a modern age comic is a brilliant idea, but I can only imagine how lost a new reader would be when they read that. Only two characters from the main story even carry over and their characters have changed so much over the years that it would be terrifying to try and jump in like that. Then again, that’s basically what it’s like trying to get into a modern X-Men book in general.

Overall: 7 out of 10. Standout art and terrible stories don’t quite add up.