Comics this week

Hey all my buddies, it's the start to another new comics week so it's time to highlight the five I'm anticipating most. There are eighteen new books out this week and more than a QUARTER of them start with the worlds "ALL-NEW," as the list on the right would indicate (unless you're looking at this post sometime after the week of this post, in which case there are hopefully different comics there). Though I am interested to see how ALL-NEW GHOST RIDER 2 is after a pretty strong debut issue, I refuse to put it on this list because there are FIVE "ALL-NEW" TITLES and I kind of hate the "ALL-NEW" designation. The tiniest protest aside, there are still more than enough books to choose from this week.

Avengers Undercover 2
A strong opener from Dennis Hopeless and company put the survivors of AVENGERS ARENA back on the map and now they're reunited to try to save the revenge-fueled Cullen Bloodstone from destruction or worse at the hands of bigger villains than even Arcade because, you know, Arcade isn't that big of a villain outside of his island. The tone and the focus on characters drove the initial series and I'd look for it to drive this one too.

Captain Marvel 2
Carol Danvers has gone to space hoping that the time off Earth gets her in a new headspace. It's a whole new start for Carol Danvers and one that will shake things up a bit for our hero. She's taken on a role for the Avengers as a sort of space warning system, fighting off or alerting the Avengers to threats to Earth coming from space. She's also set to join up with the Guardians of the Galaxy as they continue to gain popularity. Could lead to interesting stuff.

Daredevil 1.50
This is one I'm not a hundred percent sure of as it launches. To celebrate the fiftieth year of Daredevil, this 1.50 issue is a standalone issue that will purportedly give us a glimpse into DD's 2014 from the creators of his current series as well as a few stories from DD's past from past creators. By "not sure of it," I mostly mean that I tend not to put in standalone stories or retrospective stories to this list but I really like Daredevil and I think this one will still matter in the long run. Plus, I'm sure it'll still be good.

Iron Fist: The Living Weapon 1
Everyone's favorite K'un-Lun chosen one returns to the forefront of Marvel comics as IRON FIST: THE LIVING WEAPON takes off. Writer/artist Kaare Andrews will lead Daniel Rand through all sorts of new and, given Andrews' work with Iron Fist before, presumably beautiful places in this all-new (but pointedly not ALL-NEW) series. I love Iron Fist; he's somewhere up pretty high in my pantheon of superheroes. I'm really excited to see where this series goes.

Nightcrawler 1
With the return of beloved mutant Nightcrawler comes the return of beloved X-Men legend Chris Claremont. I'm very intrigued to see how Claremont comes at this new series. He was always a little wordy for my tastes but that was also certainly a product of the times. Now, in a world where comics are more accepted and understood and the artists are able to do more storytelling with a page, we'll see how Claremont handles a brand new series. I'm interested enough that I'm not even going to mention how much I miss X-MEN LEGACY, the book this one is replacing (kind of, anyway. Originally Nightcrawler was just going to take over LEGACY but then they were like "well hey, let's just title the book NIGHTCRAWLER." Regardless, I think Spurrier's LEGACY would have been over anyway).

This week's picks

A lot of strong books out this week that landed probably somewhere in that above average to great line but a limited number of truly great books and a fair amount of "I'm finding it hard to get through this one" books. Good thing we don't highlight the latter here over at Marvels so LET'S FIND THOSE GOOD'UNS.

Daredevil 1

How much will change for everyone's favorite blind lawyer/superhero in the wake of his major identity reveal and subsequent move to San Francisco? Well probably a lot. We just don't have the time or the desire to see it all here because that would be crappy writing. What we do see is a clear shift in some of Daredevil's normal actions as he adjusts to his new life, including acting almost as more of a detective with the police, able to reveal how he knows as much as he does about certain situations, and his getting acclimated to a vastly different San Francisco skyline. There's a lot to like in this first issue and I think there's a lot to build on for Waid and Samnee as they move forward with this new new look for DAREDEVIL (their new look was already with the last DAREDEVIL launch so this is new new).

Thunderbolts 23

This one narrowly won out this week over other titles like IRON MAN, SUPERIOR SPIDER-MAN ANNUAL, and AVENGERS WORLD, in part because I think this one was just about the most fun book to read this week, on top of giving a level of depth to our much loved team. Obviously it's a somewhat big issue on its own as Venom leaves the team but there are also revelations about how the team views one another (though we've seen a good amount of that already) and how the team works as a team (or, perhaps, specifically how it doesn't). It also continues to be one of the best books at infusing humor into whatever dark (or light) scene. It's not heavy-handed, it's not a joke for a joke's sake, it's just there, in the words or actions of characters from whom you believe the humor. THUNDERBOLTS continues to be both fun and exciting while altogether maintaining a complete comic book.

Winter Soldier: Bitter March 2

I'm very impressed with the workmanship of this book. Remender is threading plot lines back and forth between this not-quite-prequel to the current events of CAPTAIN AMERICA and CAPTAIN AMERICA and he's making it look easy. We're getting a taste of everything here, between Ran Shen's history with SHIELD and his blossoming thoughts on how the world should work (thoughts that would eventually lead him to his new persona as the Iron Nail), Horace Littleton and his work (that would eventually lead him to his new persona as Dr. Mindbubble), and a taste of the hatred between SHIELD and Hydra/other factions of the world. It's doing all of that, which is neat enough on its own, but more than that it's a really interesting WINTER SOLDIER story by itself. I feel confident that if you weren't reading CAPTAIN AMERICA right now and you picked this up because you were like "oh hey, that Winter Soldier seems like a pretty cool cat and by golly he's the star of an upcoming movie I take it," you'd still be reading a book that you can completely understand and one that still holds your interest. Great stuff. And look at that cover. Just really cool.

This weeks picks

Kind of a slow week this week. Not a lot of standouts and not many that'll really stick with me but surely enough to fill this list out, right? Right?

Daredevil 36

It's a little hard to add too much weight to this finale as the book will pick up again next month with the same creative team. Fortunately, that's not really why it stands out this week. The fight and the court case are all good, particularly as Matt realizes just why he's protected his identity for so long and just what that protection has meant. There are a couple of really nice pages in the issue but the real driving force is the opening scene between Matt and Foggy. They have one of the best relationships in comics and one of the most unique and it's come through pretty well here as they've repaired their friendship pretty solidly (though it still had its bumps this volume) and the series ends with Foggy, despite the pressure it'll bring on him and the health care it will take away, urging Matt to reveal himself as Daredevil. Very nice stuff.

New Warriors 1

I don't think this was a perfect first issue by any means. I wasn't blown away by it in the same sort of way I was by NEW AVENGERS or BLACK WIDOW or HAWKEYE though, if I compare every book to those, most books will lose. What I really liked about this book, though, is it was a very confident set-up book. Sometimes writers on a new book will try to cram too much in or try to introduce too many storylines all at once. What makes this number one even better is that, looking back at it, it feels like this book very much could have had those problems as it showed a bunch of our new heroes and showed them all up against a new enemy but it never felt overloaded or slow. It moved well, it had a good tone, and I think it's planting seeds that will work pretty well. Very interested to see where this one goes.

Punisher 2

I don't know that this was really the best book out there this week and it certainly makes this list as a benefit of the slow week but all of these qualifications don't mean that this book isn't still worthy of consideration or of checking out. One of the things that this book is already doing really well is one of the intangibles of any sort of literature or media, creating a tone. It's still pretty early and so there's not really a way to even guarantee what that tone is but it's certainly establishing a unique and consistent feel for the series. A lot of that tone is built with Mitch Gerards' art and colors but I think Edmondson has also shown between this book and BLACK WIDOW that he understands the worlds that his characters inhabit. Time will still tell if this is a really top-notch book, more than just a top-notch Punisher book, even, but there are certainly hints of a greater world and greater character development and plot here, all helped by the established tone.

Best Marvel comics of 2013 (part four of five): 6-10

Here we are, the official TOP TEN for the Marvels blog. Okay, well the official bottom part of the top ten but STILL really impressive comics. Let's find out what they were, shall we?

10. Iron Man

I hinted yesterday (okay, probably more than hinted) that SUPERIOR SPIDER-MAN got bumped into 12-spot by some rabble-rousing book that had leapt clean over AVENGERS and into the top ten and, you guys, this was that very book. I think Iron Man has a lot of interesting foibles (fun fact: foible is also the name of the weaker part of a fencing sword!) as a character but his books don't really tend to hold my interest. I wish I'd paid a bit more attention to Fraction's run because I think he probably did a remarkable job on the character and did a lot more than I gave him credit for at the time (though I think I'm in the camp that tends to find Larroca's art somewhat boring). Regardless, Kieron Gillen has taken a lot of those aspects of Tony and really focused in on them while also telling a story that is quite probably more engaging than any other single Iron Man story I've read in a long time. "The Secret Origin of Tony Stark" was a phenomenal story and one that really changed the way I viewed the character (I'm still a little sour on Tony after all the CIVIL WAR stuff). Also, Gillen created one of the most complex and interesting villains I've seen recently in 451. There were twists and turns and retcons and re-retcons and just everything and, here's the thing, it all worked for me. Really brilliant stuff and now it seems to be giving way to Tony the futurist and the guy obsessed with fixing things working on a way to fix the future. Excited to see what this year holds in store for Tony both in this book and in the AVENGERS titles.

9. Daredevil

I struggled on this number a WHOLE LOT you guys and I think it's only going to get harder from here on out. I feel as though I've talked a lot about DAREDEVIL in the past few weeks so regular readers will probably know my feelings on this series. I think that Mark Waid has done a tremendous job turning Daredevil around as a character. This was someone who spent the majority of the last thirty years (since Frank Miller's run on the character) brooding and being dark after a start as a fairly fun (if overly similar to Spider-Man) somewhat unique (again, a little overly similar to Spider-Man) character. Not to say I didn't like aspects of Daredevil over the last few decades (okay, I liked him plenty, but bear with me, alright?) but that just made Waid's run with Daredevil all the more likable. If this run had been anything less than perfect, it would have been thrown out immediately. A new and cheery, NAY, CHIPPER feel to Daredevil? This is coming directly on the heels of Andy Diggle showing Daredevil snapping and killing Bullseye and taking over a criminal empire in Hell's Kitchen. So it's a drastic change of pace for the character but one that seems, in retrospect, ultimately necessary. Between Mark Waid's crisp and fun writing and Chris Samnee's similarly crisp and fun art (with the occasional pleasant interlude from Javier Rodriguez), Matt Murdock has been brought nicely into the folds of the Marvel Universe again. Looking forward to the way this series ends and then, promptly thereafter, the new one begins.

8. Uncanny Avengers

Rick Remender has been doing a spectacular job and, frankly, a rather underrated job in the Marvel Universe. I've enjoyed every book he's touched over the last couple years. He jumped on my radar with UNCANNY X-FORCE and made a real impact before kicking off VENOM (which ended up on this top list, even after he'd left it) and taking over on SECRET AVENGERS following Ed Brubaker and doing a stellar job of it before landing himself this year on CAPTAIN AMERICA and UNCANNY AVENGERS, both of which deserve to make the top ten (and both of which, spoilers, will). UNCANNY AVENGERS seems on the outside like a can't-fail book; a team that is specifically comprised of Avengers and X-Men fighting foes that may threaten each? Neat! However, you dig a little deeper into that and you realize just how tenuous the arrangement is and just how bad this book COULD have been. Instead, it's been a really thought-provoking and very challenging book. At times, it's been remarkably hard to read. At other times, it's illustrated the Marvel Universe better than almost any other book. Overall, it's been an always engaging and worthwhile read with a sharp story and solid dialogue to match the consistently incredible art. The intricacies of the Marvel Universe are best shown here and Remender is clearly the best man for the job.

7. Avengers Arena

It's possible that AVENGERS ARENA skipped a few spots up on the chart by sheer defied expectations. Following the example set by Christos Gage's AVENGERS ACADEMY, Dennis Hopeless gave us a roster of untested teen superheroes and made sure we cared about them. Unlike with Gage in ACADEMY, though, he then proceeded to kill the majority of them. Also unlike Gage, Hopeless had an initial cast of 14 and only 18 issues to show them off and still tell a worthwhile story. He succeeded on all counts and gave us a book that was simultaneously well-written, enjoyable, and tense all the way through. Even though I (sort of reluctantly) liked AVENGERS ACADEMY, I came into this book thinking of it as a sort of stunt, something where the kids would have to band together in order to defeat Arcade, a supervillain hardly worth the time of real heroes in the universe. Not only was it immediately proven not to be a stunt (thanks to the explosion of fan-favorite Mettle in the first issue), the kids never really banded together to stop Arcade. Instead, they turned on each other when the cards were all down, just as Arcade had wanted, and those who eventually survived only did so because the most innocent of them killed the most cold-blooded of them. Guys, it was a really good book, is what I'm saying. Even as I'm recounting it, I'm a little jealous of people who have yet to read it but who plan to (also, I'm sorry if I just spoiled most of the story for you). Solid work by Dennis Hopeless and I'm excited to see where he moves next (including the upcoming AVENGERS UNDERCOVER, which will pick up the reins from this book next year).

6. Captain Marvel

Yeesh, this was another tough one to place. I knew from the get-go that Captain Marvel was in the top ten and, honestly, had it in the top five in my preliminary thoughts but then there were a LOT of good books out there this year. I always liked Carol Danvers, even when she did some pretty nasty things for what I considered to be the wrong side in CIVIL WAR, there was always a character there who, while maybe a little boring in her own books, was a real character, a woman who was both competent and extremely powerful. Kelly Sue DeConnick has taken that same character and turned the camera JUST A BIT to give us a character who is both the same one who was created all those decades ago but who was completely her own and unique at the same time. My girlfriend and I talk about this series a lot in terms of a book that has maybe changed the tone of the character (for the better) while still sticking to her roots. One of the things I like best about comics is that these are characters who have existed for as long as they've existed and still find ways to surprise while ultimately remaining those characters. Usually this is accomplished by a new creative team deciding to take a chance on the character. DeConnick has shown herself adept at exactly this while also managing to create new characters and stories that stand out. One of my favorite aspects of CAPTAIN MARVEL over the year and a half or so it's been coming out has been her cast of supporting characters, something I almost NEVER point to as a bonus of a series. DeConnick created a cast and showed us tiny glimpses every issue, never so much that we lost track of Carol or the main story but just enough to establish that character when his or her number was called for a bigger role. Great writing, some outstanding Filipe Andrade art this year, and a wonderful character; I couldn't have asked for better from Captain Marvel.

Daredevil 33, Fantastic Four 14, Indestructible Hulk 15

Daredevil 33
Waid and Samnee (s) and Copland (a) and J. Rodriguez (c)

Daredevil, slipping away from reality as he suffers from a severe gunshot wound, dreams of himself and Foggy (or his representation of Foggy, having never seen him before) at the ocean, talking about things, when Foggy walks into the sea with Matt helpless to stop him, unable to move. He awakens to find himself surrounded by the gang of monsters from last issue, wrapping him up tight with the mummy's bandages to stop the bleeding while Satana and Jack attempt to use their magic to close the wound. They manage it, despite Matt's misgivings, and he's quickly back on his feet asking Jack about the Darkhold. Jack reluctantly tells Matt about the book, which is in his possession, and about missing pages from the book, which he believes are in the possession of a man in town named Lucien Sinclair, who seems tied to the Sons of the Serpent. They've attempted in the past to get the pages back but found themselves driven nearly mad by the hallucinatory sights and sounds on the way to Sinclair's home. Daredevil takes off for it instantly and finds himself in a similar predicament, though he need not see what they've seen. The gauntlet he has to run through is one made up almost entirely of the suffering of other races (particularly African-Americans) and the message that whites and the Serpents are the true rulers of the world. It nearly breaks Matt but he's able to push through and, as he reaches a doorway, he begins to worry that more horrors that he won't be able to cope with lie ahead. He realizes, though, that this isn't a torture mechanism; it's a test. True Sons of the Serpent would have no problem traversing the hallucinations, they'd revel in it. Enraged, he bursts through the door and sets the entire house ablaze, grabbing the pages he needs (and keeping them hidden from the monsters) and tossing Sinclair to the others waiting outside.

Guys, this was my summary after I cut things OUT. Anyway, it's a really powerful issue and one that covers a lot of ground. The Sons of the Serpent are an oft-seen hate group in the Marvel Universe and I think it's easy to kind of push them aside; we've all seen hate in real life and we've all seen prejudice and the KKK and things like that, so sometimes it's easy enough to wave these guys away as just another sect of that, a villain group that is 100% villains with no subtext to them and one that should be and typically is dispatched by our stalwart and righteous heroes. The true extent of their hatred rarely really comes across with the vitriol and power that it does here. Pretty tough one to get through and Daredevil's pain is real, even if it's mental anguish over physical, which makes his rage palpable when he finally breaks into Sinclair's. Good book and solid fill-in art from Jason Copland with ever-perfect colors from Javier Rodriguez.

Fantastic Four 14
Fraction and Kesel (s) and Kesel (w) and Ienco (a) and Mounts (c)

Old John Storm isn't exactly Old John Storm, as it turns out, he's Alternate-Universe John Storm. He tells the F4 that he's afraid that his F4 was partly responsible for the degenerative disease afflicting the F4 now and that they can definitely cure it, though it will require going to his universe, one ruled by Doom, Kang, and Annihilus. With no other options available, they travel to the other universe and find themselves greeted by a barrage of missiles and a distinct inability to properly control their powers. Sue manages to protect them with forcefields for as long as she can but it drains her immensely. Other John Storm goes out to distract Doom and his team, leaving Johnny behind because  activating his powers will leave him stuck in flame form. An electromagnetic barrage hits the ship and knocks out all the mechanics, leaving them hurtling towards Earth and defenseless to the missiles coming at them. Sue pulls out her last trick, a whistle given to her by Medusa that brings Lockjaw to them, who transports them to the ground before taking Val and Franklin back home to their own dimension. All is not well, though, as Johnny was still hit by shrapnel from the exploding ship and needs to activate his flame powers to burn the metal out. He's bleeding and the team needs to stitch up the wound to save him, using the last of Sue's powers to create a needle and some thread from the unstable molecules in their uniforms. She manages it then passes out herself as Reed and Ben realize that Johnny will die of dehydration within a day if they don't get him help. Meanwhile, Kang betrays Doom (who was, of course, planning to betray him) and takes a device meant to control the Negative Zone, making him the ruler of time and space.

Geez, another long summary. This iteration of the series is winding down and the action is stepping up as a result. Things are clearing up as we see the alternate dimension Johnny is from with a little more clarity and we get to see the two F4 teams meeting up at the end of the issue. Big things in store for the next couple of issues. There's not a ton of room, though, for characterization in these last couple issues, which comes as both a bit of a surprise and a bit of a let-down. These are big things that are happening and they're somewhat unprecedented in F4 history. I'd like to see exactly how they're weighing on the team. Granted, this whole series has done an awful lot of character work and now feels like the time to focus on story, but the voices are starting to blend together a little bit. There's another argument to be made that the F4 is the oldest and most consistent team in the Marvel Universe and that they don't really need a ton more by way of characterization. However, I'd say that the start of this volume saw a lot of big character moments that changed the way I viewed these characters in a couple ways. It's a little sad that they'll have to shift over to plot to end the series. Also, did Doom really not see Kang betraying him coming?

Indestructible Hulk 15
Waid (w) and Jacinto (a) and Staples and Loughridge (c)

Banner is separated from Hulk who has just received a double dose of gamma making him Hulk-squared, an even stronger and more uncontrollable force. Banner is excited for a moment, realizing that he's suddenly separated from Hulk, everything he'd wished for, but quickly understands that he might be the only thing capable of stopping this Hulk, as they're in the time before the Avengers, the Defenders, Thor, whoever else. He's the best chance at righting history, and he's given extra motivation when he learns that all of this meddling as erased Betty Ross from time. He attacks the Chronarchist, who reveals to him that this is all Zarrko's doing, and manages to push them back just far enough in time to link him with Hulk again and to reach through time to stop Zarrko. It's...it's confusing and extremely timey-wimey. Everything is set mostly right and Betty herself, in Red She-Hulk form, reaches through to pull him back out and bring him back to the present. Everything is right again but Banner can't help feeling like there's something very slightly different in his past but he can't zero in on what it is, though it certainly seems big enough for someone to be curious about it, as we see a file stolen at the end of the issue with the test results for Project Gamma.

There was a fair amount of cool stuff through this Agent of TIME arc and it was a story that I would say was mostly worth telling. It harkens back to the Stan Lee days of "everything changes, everything stays the same," where all of the crazy convoluted soft-science and timeline crossing is ultimately pretty ignorable because everything returns to the way it was again at the end. Obviously it's setting up a bigger game here with something in Banner's history changed enough to make an impact somewhere down the line but BOY if this wasn't the windiest road we could have taken to get there. Not a bad arc overall and not a bad story to wind it up, with a couple of nice character moments sprinkled throughout (Banner gets to unabashedly yell at General Ross, Banner attempts to leave the Hulk to someone else, Banner expresses his love for Betty, etc.), but it's hard to feel as if this wasn't just a little bit unnecessary. A story that ends more or less the same as it started with a big twist likely planned somewhere in the future but ultimately distracting us a bit from the goings-on prior to this; Banner's science team is just about the only non-powered superhero assist team I've found myself wondering about when they're not appearing (sorry Deadpool and Wolverine's teams).

Secret Avengers 10, Iron Man 17, Indestructible Hulk 14

Secret Avengers 10
Brisson (w) and Ross (a) and Wilson (c)

Infinity tie-in as one of SHIELD's own, a computer tech named Sarah Garza, turns out to be an Inhuman, accidentally destroying her own apartment building as her energy-based powers manifest. Fortunately, there were no casualties as the apartment had already been evacuated in the midst of Thanos' attack. Maria Hill decides to immediately deputize Sarah, who has no real training for this, and send her into New York's battlefield in desperate need of backup. With a modified Stark suit and minutes of training from James Rhodes, Sarah is deployed and instantly makes an impact, helping Rhodey, Fury, and Coulson hold back the aliens. Before they can celebrate too long, though, the small group is besieged by what appears to be another new Inhuman who blames Sarah for destroying their neighborhood.

Not a bad tie-in issue, to be sure. I'm a little annoyed with the timing of it, as I kind of stated in my pre-game this week if only because I think Secret Avengers has hit a nice little patch for itself and it's tough to see it interrupted right as it starts to get going (also when Bucky appears). Still, don't want to judge this book by the book it could have been so, looking at this issue by itself, it certainly stands up alright. Pretty solid writing and characterization with the creation of an interesting new character and an immediate threat presenting itself against that character specifically. It also seems to me a fairly tricky book to write, one that requires its protagonist not to be too skilled to start but to be able to learn quickly. If she's too skilled, you lose the character you've built and a semblance of (bear with me) realism. If she can't pick it up quickly, you don't have much of a book, considering this is a two-issue arc. I think Brisson did a nice job combating that by making her adapt fairly well and also putting her in a Stark suit. The suit allows for an explanation on how she is able to harness he powers so quickly; Tony Stark was ready for her. Easy enough! Good art by the talented Luke Ross and, as ever, great Matt Wilson colors, kind of evocative of Bettie Breitweiser, who excels in these war-torn colors.


Iron Man 17
Gillen (w) and Pagulayan and Hanna (a) and Guru eFX (c)

There was one more secret that the Starks were keeping, even from 451, at the time of their son's birth. Not trusting 451, Howard had kept a watchful eye over the birth of the boy and realized that 451 had implanted another piece to his DNA, a sort of genetic clock that would expire when the boy turned 30 or so. Howard created a cocktail in the hopes of stopping that clock, something he injected into Maria but that they kept secret successfully from 451. However, it ended up introducing a degenerative disease to their son, one that was barely kept at bay by medicine. Now, decades later, Tony has learned this secret and figured it out; he was always a decoy to show 451 that the child he'd masterminded was still alive while the real child he'd masterminded was hidden away, kept alive by science. Tony works it out and, at the Maria Stark Foundation Hospice, he finds his brother Arno. Tony was adopted, Arno is the child that 451 created, there are two Starks, Arno and the world are safe with 451 out of the picture, so on and so forth. Mic-drop from Kieron Gillen (coincidentally, the name of Gillen and McKelvie's third Young Avengers trade is set to be "Mic-Drop at the Edge of Time and Space").

Lots of stuff to get into here and, well, I'm not quite sure how to take it. I really liked the Secret Origin of Tony Stark; it was bold, it was inventive, it was creative, it was a little crazy but it also fit the history of the character extremely well, giving us a big, bold change without sacrificing continuity, a rare feat. Now there's a big, bold change that, I would say again, doesn't really sacrifice continuity, but, somehow, it feels less strong. Tony's adopted. The upside of this is, of course, the one downside that Secret Origin had had before, which is that it reinstates Tony as a self-made genius, someone who grew under his father's tutelage and who excelled at being everything we've come to expect from Tony. That was kind of tainted under the Secret Origin explanation and now it's back, which I'd say is good for Tony as a character. Still, I liked the Secret Origin plot and I'm a little ambivalent to the secret addition of a second Stark. Mostly I'm holding off judgment. I immediately lauded Secret Origin for its boldness and its creativity but I'd rather hold judgment here as things get a little weirder. Still a good story and one that has potential to yield really interesting results but I'm not totally willing just yet to call it a masterstroke. I'm most interested to see where the addition of Arno Stark puts Tony. As great as it is to be back in a place where we know Tony has raised himself up to his current standing, Arno really is the masterpiece 451 created (minus the ability to physically do much of anything and the kill-switch). We already have hints that maybe Arno is more intelligent than Tony (though we have only Arno's word for that) while being, perhaps, a bit more down-to-earth as well (he's actually surprisingly tender with Tony). It'll be interesting to see where this lands everyone after the dust settles.

Indestructible Hulk 14
Waid (w) and Jacinto and Asrar (a) and Staples (c)

The last remaining Chronarchist is messing with Hulk's personal timeline, sending him to fit big enemies in various times and places all through history all while switching back and forth between Hulk personas. Regular Hulk, Mr. Fixit, Gladiator Hulk, they all appear. Banner, stuck in his bot, knows that they're quickly running out of time and that the fights, though Hulk is excited by them, are just distractions. The more time they take, the less chance Banner has of stopping the Chronarchist from changing Hulk's origin story. We find out at this point, of course, that Chronarchist is working on behalf of someone else, the god-you-really-should-have-seen-this-coming Zarrko. Banner manages to steer them to the Gamma Bomb site just in time. He transfers his consciousness into the actual Bruce Banner (albeit years too early) right as the bot itself breaks down. However, Hulk interferes, knocking Banner aside from the blast and getting hit with it himself. Banner isn't Hulk, but Hulk is now extra Hulk.

This is going to be a tricky one to talk about and to recover from. Time travel is always always always tricky. Because it doesn't exist and there aren't real rules but that didn't stop us (that's the collective us, nerds) from making multitudes of rules about it. Are we seeing a butterfly effect situation? Are we seeing divergent timelines? Are we seeing Looper-like time travel rules? Well, I just saw Looper yesterday and it seems like they might be our best chance to explain this. Joseph Gordon-Levitt shoots his future self who is sent back to the past (as all Loopers eventually do) then lives out the rest of his life on the Looper retirement plan. Eventually his life gets better and he falls in love (when he becomes Bruce Willis) and, as the mob come in to kidnap him and send him back to the past to be shot by JGL, they shoot his wife. He manages to then get sent back in time and stop JGL from shooting him, creating a new timeline based on the events of an old timeline. LOOK, it's very complicated and WHY did I just spend half a paragraph talking about Looper? Anyway, it was pretty good and maybe you should watch it if you like science fiction stuff in that realm (you're here, I know you do) and this is all my way of saying that it's hard to review this book because it continues to be good as an individual issue progressing the story but it's hard to judge it without the end of the story to look at. Okay? Okay.

This week's picks

Kind of a tough week to narrow down to three picks, for which I could not be happier. So, uh, here it goes?

Avengers Assemble 18

I think sometimes events lose characters a little because they're so clearly plot-driven that the characters themselves (unless it's an event in a single character's book) get a little lost in the shuffle. Not always a bad thing but I love these characters and I want to learn more about them just about every time out. Like with Age of Ultron's crossover events, these already seem more dedicated to how the action impacts the people. First up, in fact, shows the impact of both this event and recent events as Spider-Woman's life is now changed by her deteriorating relationship with Hawkeye and the drama of Enemy Within has changed the way Captain Marvel interacts with people. It's a great issue to show the intricacies of the relationships between superheroes and a really phenomenal issue for Spider-Woman. I said in my review this week that DeConnick has changed my view of the character entirely and this just adds to it. She's not perfect but she's also not perfectly flawed, in such a cookie-cutter way that she could only be a comic book character. She feels real and that really comes across here.

Daredevil 30

Anyone who didn't see this coming hasn't been reading my blog enough. I love this book, I love Samnee's art and Waid's writing, I love the new feel of Matt Murdock, and guys, I really love Silver Surfer. Both characters are written extremely well and the plot gives a chance for each to shine as well as allowing Samnee and Rodriguez to shine. It's also really just a ton of fun, with great beats like Daredevil driving the surfboard and navigating the world of being Matt Murdock and Daredevil. This issue has an emotional weight to it, though, as Matt has to come to terms with possibly working with an ex-girlfriend and knowing that, if Ru'ach wasn't lying, he doesn't have a shot with her. Matt Murdock not having a shot with a woman? That's a pretty new concept and it'll take him some time to come to grips there. Great issue, always happy with this book.

X-Men Legacy 15

I really love this book but I'm a little disappointed it's in my top three this week. My Saturday reviews gushed about how impressed I was with the turn that the three books have taken and how delightful each was to read this week, despite initial fears in each book/arc. So, in my head, I was debating which to pick to add to my top three this week. Would it be Ultimates for its fast-action and really quick and fun pacing? Would it be Nova for its turn to make Nova into a believable 15 year old and its examination of how novice superheroes get into the game? Or would it be Thunderbolts for that one panel I posted with Deadpool talking to Punisher? Oh right, none of them because X-Men Legacy is just too great every time it's released. Okay, I'm not that disappointed it's up here because I really love this book and the emotions this one brought out really gave a great feel to this issue. I've liked when emotion has permeated this book but none of it was quite so palpable as here, as David has to cope with his abandonment issues from both parents and lingering feelings about his parents as, very suddenly, now both of them are dead. Tough stuff for anyone to deal with, let alone an omega-level mutant with hundreds of omega-level personalities inside his head. Cyclops should probably be worried, given the control David's found over his powers.


Sorry guys, not going to do an extra feature this week. I would do best cover but it would probably be Daredevil and you've already heard me gush about that all week. I would do best panel but, despite my girlfriend's protests that it should be this one:

it would probably just be the Deadpool one I posted this past week from Thunderbolts. Hilarious. I would do best character but no one really featured in more than one book this week. Weird, right? Oh well, I tried.

This week's picks

Not too too many books out this week and a handful of those were right out of the picks selection (What If...AvX ended up further out than Uncanny X-Men in a surprise move, considering how little weight What If carried). There were two right in and one kind of toss up but really, it was always going to come down to the same three that always make it. Such is the flaw of this system but, on the other hand, I know it works because there are no books I'd recommend you read more this week.

Captain Marvel 14

A really wonderful issue ends the Avengers: The Enemy Within storyline with an emotional punch. I've badmouthed events a fair amount on this blog but I don't object to the idea of events (and, as I said this week, this wasn't an event in the way Marvel doesn't events now; it's just a crossover, really). Events are just stories that may be a little grander in scale and that may require more than just the characters at hand. It's bound to come up occasionally because Marvel has made a universe that is interconnected so tightly that 90% of its characters live in one city. If there weren't events, it would be weird. Events are stories and the reason that they work, when they do, is that they're presenting a story worth telling. DeConnick has done that masterfully and this conclusion is equal parts inspiring and heart-breaking. Can't recommend it any more than that.



Daredevil 29

Really stunning book with a couple of nice ideas. One of the things that's really stood out about Daredevil since Waid took over is that, amidst all of the tension and the dramatic storylines, the book has been fun. There's not really a better issue to highlight for that than this one. The last issue ended with a man being shot and the reveal that the Serpent Society, a racist hate group, has infiltrated the city's institutions and yet this book finds the appropriate times to show Matt as a real person with real thoughts. Is he nervous and stressed about what all of this means? Sure, and it comes across perfectly. However, that doesn't stop him from breaking the tension a few times (for the audience, mainly, the people in the comic aren't privy to the joke), including the panels at left and his accusing a black paramedic of being associated with the racist Serpent Society based on his elevated heartbeat. The art is gorgeous, the story is engaging, the colors of this book continue to be perfect, and the writing is top-notch. What I'm trying to say, you guys, is that this book is pretty darn good.

X-Men Legacy 14

Another great issue of X-Men Legacy as Pete Wisdom takes narrative reins again to keep us playfully in the dark about David's plans for mutaphobic Britain. It continues to be a brilliant decision to keep Pete in the driver's seat as his change-of-pace narration is both engaging and entertaining all while keeping us wondering about David's motives. It's a great device and it's well-executed. Spurrier chose a character who is right in his writing wheelhouse here and who comes across perfectly. Pete Wisdom has now appeared twice in both Gambit and in X-Men Legacy and he's characterized far more completely in Legacy. Sure, he has the advantage here because he's the narrator instead of a character our hero comes up against, but it's worth noting that we get all sorts of dimensions to his character in just two issues. If you came in not knowing anything about Pete Wisdom, I think you'd get it. We take a trip inside David's mind that is awfully fun (as it has been throughout the series) and we're left with a cliffhanger that wouldn't be a cliffhanger in most other books but, since Spurrier's developed his characters so well, it is here. Great issue. I like Tan Eng Huat's art more and more each issue I see. Solid book.

This week's picks!

Like I said in my pregame this week, 22 books in a week means there's a good pile of great books, a reasonable amount of mediocre books, and a couple of unfortunate books. However, it's rare that all three books that I choose in my pull list post come from the same review. Where do we find ourselves this week, you may ask? IN THAT VERY POSITION.

Captain America 8

This book, though starring my personal favorite character, was the closest to not making this list. I don't think what happened here was predictable, though I did pick up on the possibility of it about halfway through the issue, nor do I think it was written purely to shock. I think this is a real story that has a real place to go and real consequences for its characters but it's hard to shake the shock of it. In that way, it was almost edged out by Young Avengers, which I found delightful and full of character and story, despite only have twenty pages or so to introduce and establish two brand new (to this series) characters. However, Cap edged it out as a perfect culmination of everything Remender's worked for. The story isn't as palpable and crushing as it ended up being if Remender doesn't put in the proper amount of set-up time throughout the series. We know what Ian means to Steve and what Steve knows about situations like this and Remender forces us to ask if Steve did the right thing, taking Ian away from Zola. That's right; Rick Remender makes an argument worth listening to wherein we ask ourselves if Captain America, the pinnacle of morality, should have taken a child from notorious madman and Nazi Arnim Zola and raised it as his own. No brainer, right? Maybe not.

Daredevil 27

This is another book that makes the list as much for this issue as for the time dedicating to setting it up. Not only is it enough of a wait from Daredevil snapping and killing Bullseye to go back and pull Bullseye as the villain and give him a viable enough story to set him up as the mastermind behind all this, Waid and Samnee perfectly created tension and fear in Daredevil before this issue, making Ikari a real threat and giving the audience the sense of dread that permeates through the scenes that show Murdock's friends and associates with unseen and quite possibly psychopathic agents. Then we get the perfect twist for someone dubbed "the man without fear;" he's overcome his mental blocks in this case and has prepared wonderfully for this moment, enlisting Daredevil's friends to keep watch over Matt's friends and fighting Ikari in smart (if lucky) ways. It's a wonderful book and the perfect finish to this story. Each part feels like it needs the next as much as anything. No space went to waste in this arc and it all comes together in the end. Truly an issue worth reading of a series worth reading.

Hawkeye 11

Ever since this issue was announced I knew it was going to end up here. First and foremost, I'm a sucker for dogs. Most dogs but particularly good sized ones. I've been sold on this series since Arrow/Pizza Dog/Lucky joined the cast. Even putting that aside, though, this book is gorgeous. There's a real story that comes through with a beautiful idea of the way that dogs think. It's not condescending, it's not cutesy, and it's not a waste issue. It respects the subject matter, the narrator, and the audience by not treating this as if it was just an idea they had and it didn't matter beyond that. There was care and purpose put into this issue. When I was in school, many times when I had the chance to pick my own subject matter for an essay or a presentation, I chose something that I could be entertained writing about. It often came down to Sonic the Hedgehog or comics. Despite the first instinct that would say these papers would be garbage, I know that I poured more into them and made them far better papers because I'd need to convince the reader that it was even more legitimate than maybe more serious subject matter. This issue kind of rings of that; they knew from the start this was an uphill battle to prove this issue was going to be worth reading and paying for. So they did it. Great issue.

Best cover

GUYS, I know, I'm picking the same thing as one of these books. I know, I know. But sometimes covers are just amazing and even if I've seen them for weeks before they were released I have to pull myself out and say "BOY this is a really good cover." So this is a great cover and it deserves to be here even if this post SEEMS super lazy because they're all pulled from the same day of posting comics but guys, I can't help it if I wanted to read all three of these books real bad. So you're going to have to deal with it and also be thankful that I'm not also choosing a best panel because, hey guys, it would be from one of these three books.

This week's picks

There are five or six books I'm trying to narrow down to three for this week's picks and it seems like, at any moment, any three books could take the spots. It can be frustrating trying to whittle that many books down to three, but the upside, of course, is that I got to read a bunch of really good comics this week. Never going to be upset about that.

Daredevil 26

Daredevil has long been billed "the man without fear" and he almost always lives up to that title. Even if he's losing a fight, he tends to appear unafraid, just angry or depressed. His lack of fear often pushes him to keep fighting. However, here, in Daredevil 26, he is flat out terrified of what's going to happen next. After being soundly defeated by Ikari last issue and told that he'll be killed at some point, Daredevil is seeing threats everywhere. The really great thing, though, is that he's not necessarily wrong. Yes the people he's accusing could be completely innocent and appear to be after he attacks them, but each time something additional happens to show that he wasn't wrong. The issue culminates in a nice Matt/Foggy scene and in the reveal that Bullseye is behind everything. Daredevil gets back on track and finds Bullseye, taking out Lady Bullseye in the process. It's a great examination of everything Matt tries to be and what it takes to make him break. Great issue for comic fans and extra great for Daredevil fans.

X-Men Legacy 11

Like seeing Matt's resolve weaken under all his pressure and strengthen again after Foggy's pep talk, we get a chance to watch David tested over and over, by his own father's brain, by his own feelings about himself, and by the Red Skull. Instead of Matt, whose strength makes him aim to take down the villains he's facing, David's strength means giving up against Red Skull and sacrificing himself to save the world from the future he causes. The writing continues to be tight and David continues to be a perfectly broken protagonist. One of the great things about this issue is that it turns the expectations about comics on its head. As David keeps getting opportunities to turn tail or to discover that the facility he wants to use is, in fact, evil, his resolve continues not to break and he continues to want the chance to take his powers out. In every other comic that Marvel puts out, the hero MIGHT have made it this far, but then would have fought Red Skull and tried to think of another way or something. In this case, everything that piles up makes David say "I don't care, someone will deal with you eventually, the pill works, I want it." It's really brilliant and such a twist if simply because it's what he had wanted all along and he stuck to it. It's a twist without a twist. Fantastic.

Young Avengers 5

I like everything that happened in this issue. There's a lot of really fun stuff and anything that could be construed as cheesy is pointed out to be cheesy right away, before the reader can do it himself. What really boosts this book over other books this week like Avengers or Fantastic Four or Journey into Mystery or Superior Spider-Man is the Loki discussion that it generates. Loki finally reveals himself to the audience to be the original Loki posing as the much more lovable and kind of trustworthy kid Loki but there's a twist; kid Loki is still there as Loki's conscience of sorts (he points out that he's not real, of course, but he's still in there). For anyone who loved Gillen's run on Journey into Mystery (if you didn't, maybe go read all of it this instant), there's tons to be excited about going forward. There are lots of directions to go with this series and with these kids and with Loki. The book jumped right in and clearly intends to keep at this level even as the first arc winds down. This is a near perfect book for anyone. I would recommend this title to any comic reader and to a whole lot of non-comic readers.


Best Cover

Again, a lot of good ones out there. Superior Spider-Man had a weirdly haunting cover, Daredevil's cover is more beautiful Samnee art and Young Avengers is a really neat concept well executed by McKelvie. However, this run of X-Men Legacy covers have kind of blown me away one after another and manages to continue to do so here. It's a great image of David sliding on a bunch of pills, a bit out of control, as the pills form up to make the Red Skull. It highlights everything that needs to be highlighted that will come in the story and that the character is going through without giving the whole book away. Also, the art is solid on it and the very basic color scheme makes the image stand out even more.

Eisner Awards

I was out of state last week (as I said pretty often) which meant that I had to push reviews through Mondays, which is usually my free day. As a result, I didn't have a chance to really talk about Eisner Award nominees in Marvel. I don't have a ton to add, but let's go over it as it pertains to Marvel, which is what pertains to this blog.

Best Continuing Series
Hawkeye, by Matt Fraction and David Aja

Since this blog is called "Marvels" and its URL is readmarvel, I can only really offer my input on Eisner nominees from Marvel. That leaves us pretty limited in terms of what I can talk about here, as there are only a handful of Marvel titles sprinkled through the awards. Hawkeye cleaned up nominations, as far as cleaning up goes with the big two right now (DC had nothing nominated). Hawkeye has been an absolutely phenomenal series and has changed the way that superhero comics can act. I read a blurb in the Nerdist newsletter saying that Hawkeye is one of the heroes who should get a movie in Marvel's Phase III. They cited Fraction and Aja's series as how to make the movie. I have a little trouble seeing that, at least in the tone that the Marvel movies are coming out now. It reads more like an indie movie than anything else. It would be hard to make it a major blockbuster. That doesn't matter for this though, I just found it interesting and it's an example of how different this series is as a whole.
(I feel it's important to note that both Ed Brubaker's Fatale series and Jonathan Hickman's The Manhattan Projects were nominated for this category. Though Brubaker doesn't have a spot in Marvel any more, it's hard for me to separate him out, and obviously Hickman is doing great stuff with Marvel right now)

Best New Series
Hawkeye, by Matt Fraction and David Aja

Not much more to add here. Great series. I wouldn't be surprised to see more Marvel titles pop up on this list next year with the strength of their books right now. Indies rule the Eisners though, so we'll have to see. I'm admittedly disappointed by how little mention of books like Captain Marvel there is right now. This was a weird year for Marvel, with Marvel NOW! starting in the middle/end of the year, so a transition year finds fewer nominees, I would say. However, Captain Marvel and Hawkeye have both been around about the same amount of time. Both are great (Fraction and Kelly Sue DeConnick are totally Marvel's power couple right now, I think they could do anything they wanted and the fans would love it).
(Brubaker's Fatale was also nominated for this category, as was Ryan North's Adventure Time series. I'm not a big Adventure Time fan as far as the cartoon goes. I haven't read the comic but I am all for Ryan North being nominated for stuff, largely because of his fantastic Dinosaur Comics webcomic. He's one of my favorite people)

Best Publication for Kids (age 8-12)
Road to Oz, by L. Frank Baum, adapted by Eric Shanower and Skottie Young

I pretty much only review main Marvel superhero stuff on this blog because that's where my heart's at. As a result, I've left out a few books like Road to Oz and Powers and things like that. I've only read a couple issues of Road to Oz but it seems really compelling. An adaptation of The Wizard of Oz series, obviously, it reads well and, most importantly, features Skottie Young's incredible art. One of the things that's saddest about only reviewing mainstream Marvel is that Skottie Young so infrequently comes up. His baby variants throughout Marvel NOW! have been phenomenal and he's just an incredibly talented guy.









Best Adaptation from Another Medium
Road to Oz, by L. Frank Baum, adapted by Eric Shanower and Skottie Young

Road to Oz appears again on the nominee list and again is deserving. Another thing I like about it, especially as it appears in best publication for kids, is that it doesn't ever seem to talk down to its audience. The best children's material seems to be the type that respects its audience enough to give them a chance to get behind it. I always loved Lemony Snicket's Series of Unfortunate Events books for exactly that reason. It defines words for kids (sometimes a little too specifically for the situation) but it never comes across as talking down to children. From what I've read of this series, it's much the same way.
(A Wrinkle in Time, by Madeleine L'Engle, adapted by Hope Larson is also on this list. I always liked that book when I was younger and I like Hope Larson and her husband Bryan Lee O'Malley a lot. Just a note there)





Best Writer
Matt Fraction, Hawkeye; Casanova: Avaritia

Fraction again comes up and he totally deserves to be on this list. Hawkeye is a great book and, as I've said before in reviews, is a character who almost never sustains a book. Everybody likes Hawkeye as a character (he graces many "favorite Avengers" lists) but nobody wants to read about what he's doing on his days off. Almost as if that was a challenge, Fraction has written a book that touts itself as what Clint is doing on his days off. Casanova's another fun title (published under Marvel's creator-owned wing Icon) that is...well, it's hard to define. I'm not willing to try. It's worth checking in on, but don't necessarily be surprised if it's not to your liking. I think, as with most creator-owned works, it's more a niche comic than a superhero book is. Still, Fraction is clearly a great writer and he understands the medium and what he can do with it like few others.
(Also on this list are Brubaker and Hickman, which continues to be worth noting for the purposes of this blog)

Best Penciller/Inker
David Aja, Hawkeye

I've already talked at length about how great Hawkeye is, but I guess I'll say some more. Aja's art on this book make it what it is. There's no other way around it. The art is gorgeous but deceptively simplistic. It matches the tone of the book perfectly in that respect. It's hard not to look at this book and instantly fall in love with it. I think that Aja has revolutionized the way Clint Barton will be portrayed for years to come. He's also already clearly had an effect on the look of Kate Bishop, as she carries something more similar to her Hawkeye look into McKelvie's portrayal in Young Avengers. Their art styles are completely different but she looks exactly right in both. It's incredible to watch.








Chris Samnee, Daredevil

Samnee, who switched from Captain America and Bucky over to Daredevil, seemed a perfect fit. I remember when they were teasing a new artist for Daredevil (hard to try to figure out, as Paolo Rivera and company had done such a great job when Waid initially took the book over) and then revealed it would be Samnee. I had been reading Cap and Bucky and loving the art and understood what a good fit it could be. Samnee has been everything fans could have asked for Daredevil. Good choices here.











Best Cover Artist
David Aja, Hawkeye

Not a lot more to say (not that I won't still say it). The Hawkeye covers are phenomenal. Again, deceptively simplistic and they lay out a perfect feel for the book before you even dive in. Aja has such a feel for Fraction's writing and what this book should be and he seemed to have it from page one (cover one, even). It makes such a difference to have that understanding of what the book will be. Fantastic.













So that's all of the nominees directly linked to Marvel this year. It would seem, also, that that's all the blabbing I can do about Hawkeye right now, but I'm sure I'll find an excuse to talk about the series more (especially as Hawkeye 10 comes out this week). GOOD TALK, GUYS.

This week's picks!

Bit of a hectic week, what with my vacation and all. Still got it in just under the wire though and now, to complete the week (the morning that I start the new week), let's delve into my overall picks. I think I want to add a couple things to the "this week's picks" posts. Not a hundred percent sure what that's going to be yet. I'm thinking at least of highlighting favorite covers or art or something. I don't know. Maybe favorite scene. Maybe a favorite panel. I don't know. Maybe I'll do a few things. Or maybe I'll pick three comics and I'll be done. I guess we'll all have to wait and see, hm?

Captain America 6

This was a tricky pick for me. Obviously I'm biased where ever Cap is concerned but even with that, it's hard for me to point to this issue and say it was the best issue I've read of this series. I don't know that it is (not that that would mean it's undeserving of this list) and I'm not sure it beats out some of the other strong books this week. However, it stuck with me more than any other book this week and it was the one that I most constantly looked back on. Actually, all three books I've chosen this week are ones that, after I finished reading (and I read each of them twice), I found myself thinking back to at any given moment. For this book, it was the angry Cap characterization I talked about at length in my review. I've talked about how much I like this book and how I appreciate the desire to look at Cap from different angles. He's been around for seventy years, it's not easy to come up with no approaches to the character. However, it's strange that simply "being angry" counts as a new approach. Make no mistake though, it definitely does. And it comes off strongly but appropriately in this issue. I think the next issue will be more on that lines with Cap angrier than ever and possibly crossing a few lines here. It's exciting territory for Remender to enter with Steve. And this book might stick with me more than it sticks with others simply because I like Cap over most other heroes but the fact is it still stuck.

Daredevil 25

Like with Captain America, this book stuck with me because it featured the lead character feeling something new. Not necessarily entirely new for his long history (as with Captain America) but new enough and one that's not typically seen out of the main character. Cap got angry. Daredevil gets scared. This is the issue we've been building up to for a long time now. In fact, we're not all the way there even yet, but we've gotten right to the breaking point. Now Matt has to deal with a mysterious figure in the shadows who knows everything about him and knows everything about his powers. On top of that, he's created Ikari, a near-clone of Daredevil but with sight on top of all his other enhanced senses. It begs the question of whether or not Ikari's sight is also enhanced. Maybe it doesn't. Maybe it just begged me that question. I don't know. Anyway, it's interesting to see Matt paired up against someone who matches him so completely. It's not like Bullseye, who is as obsessive as Daredevil and maybe just a hair more unhinged. Ikari's powers are exactly like Matt's because they are Matt's, only Matt didn't anticipate how good he'd be with them. On top of that, the art continues to be fantastic and the colors match the book perfectly. It's particularly impressive because I didn't feel, reading it, that Matt was conveniently toned down in his abilities or anything of that nature, or that Ikari was getting impossibly lucky. It felt like Matt came in strong and was just outmanuevered. Maybe he would have been more successful if he didn't start off as confident, but that's how Matt would have entered the fight. It's another great issue and it's another great demonstration of how Waid understands the character.

X-Men Legacy 9

Another great entry for X-Men Legacy that proves what Spurrier and this book are capable of. It starts with a reference to Watchmen, a fitting reference that connects David to Dr. Manhattan and asks a well-informed comic audience what it would take for David and his power to disconnect from humanity in the same sorts of way that Jon Osterman did. The book then promptly goes on to ask if killing a once-hero to possibly save hundreds of mutants IF David's visions are accurate. We tend to believe David, as he's our focal point for this book and we know he's capable of powers that would allow him to accurately see the future, but it's worth questioning. Even if it IS true, is Ruth wrong in saying that they can't stop Aarkus before he comes to Earth? Is there no other way? You could start trying to get into it a little deeper, asking if maybe David couldn't have tried a little harder. Yes, he needs to stop Aarkus from destroying mutants. Yes, if all else fails, maybe it's worth incapacitating him to do it. And yes, it does seem Aarkus has gone a bit mad without any sort of filter, anyone to bounce his ideas off of and talk to. But he's not so far removed that David couldn't have maybe brought this to Wolverine and Wolverine couldn't have simply checked in with Cap and said "hey, your old bud the first Vision? We're not totally sure on this, but we think he might hate mutants. Could you maybe check with him and see? Maybe stop him from genocide, if you could? Thanks." But, at the same time as I say that, there's a voice in me screaming that David wouldn't think like that, that he wouldn't bring the X-Men or Captain America into it. It's entirely possible that he wouldn't dig into Aarkus' history beyond the basics. So now he's the judge and it's definitely worth Ruth asking how he could think himself worthy of that weight. Another great issue.

Best cover:

This was actually a really tough one. I went in thinking it was going to be one book, then remembered a handful of other worthy covers (including both X-Men Legacy, which always deserves mention for its cover, and Daredevil) and then ULTIMATELY decided to go against even my first thought (Venom), only to settle on this one. I've really liked the Thunderbolts covers so far and I've loved the color scheme of the team. This matchup of the brutality and tension between Deadpool and Punisher while also perfectly fitting in with this line of covers and the colors the book has centered on. Making the background the standard T-bolts red too was an interesting choice but it worked really well. Deadpool is still defined well enough and both his belt-buckle logo and Punisher's bloody shirt stand apart enough to draw attention to the images. On top of that, it definitely draws the eye to the cover and gives people an idea of what's to come. For those not reading the book, there's still not really a way for this cover to attract attention. Exciting cover.

Daredevil 25, Daredevil: End of Days 7

Daredevil 25
Waid (w) and Samnee (a) and Rodriguez (c)

I want to start quickly by saying that I like the idea in some Marvel books to christen the writer and artist as, like in this book, "storytellers" instead of "writer" and "artist." This book does it and Hawkeye does it (they don't really say "storytellers," they just present Fraction and Aja's names together in the credits) in the Marvel books (there might be more but I can't think of them) and I would bet more indie comics do it. It just feels like a nice touch and a nice response to the question of who drives a book. They're both necessary. This book has a killer team-up too, with Eisner award winning Mark Waid teamed with this year's Eisner award nominee Chris Samnee (totally deserving). Anyway, onwards we go.
Last issue ended with someone who had been experimented on turning up at Matt's doorstep (well, Foggy's hospital room doorstep). Matt has this guy, Larry, lead him to the place where the experiments were done, though he reveals as they touch down that he knows it's a trap. Larry didn't seem to know, just like he didn't know that the people trying to trap Matt gave Larry a defective pacemaker. Larry dies on the spot and leaves Matt waiting for an attack. He falls into the building below him as the glass on the rooftop breaks. There he's soliloquy'd to by a new villain, who reveals that the experiments were just the test subjects, weak and enfeebled already. They figured out the correct concoction and used it on someone more capable. Enter this guy, dubbed Ikari (Japanese for "fury") who comes in wearing Matt's father's boxing robe and wielding two Kusurigama blades (they're like baby scythes). Matt gets overconfident, feeling that he's mastered his own powers and there's no way a guy who has only just gotten them could be as prepared as he is. He's wrong, though, as he finds himself pretty evenly matched against Ikari. They do pretty equal amounts of damage to one another before Matt realizes the need to wrap it up. He flees momentarily from Ikari, disappearing into a closed sporting goods store. The store is confusing to a radar sense, with many different objects and smells, and Matt lights a match near a smoke alarm to set off a sprinkler system. Matt hides out, waiting for Ikari to get close enough and revealing to the audience that his radar sense is maybe 5% of what it normally is in rain but he anticipates that Ikari, without long training and experience, won't even be up to that. As Ikari inches closer to Matt's hiding place, Matt starts to grab at a bat. Ikari, next to him now, suggests he grab the red one. In a moment of nearly unprecedented fear and horror, Matt realizes Ikari isn't blind and Ikari beats him to within an inch of his life, allowing him to leave but warning him that the person who sent him will kill Daredevil, somehow and when he least expects it, but sometime soon.
It's another great issue with fantastic art and a lot of really fascinating ideas. Whoever is behind this (there is certainly speculation to be had on that front) knows how to scare Matt and how to enrage him. He also knows how his powers work and how Matt is trained to use them. We also get to learn a bit more ourselves about how Matt's powers work and how he uses them. It's always a fun part in Daredevil books when we reach a point where Matt explains the best places for him to fight and we can kind of see how his environment shapes the way he fights. In this case, learning about the sprinkler system (and Matt's own worry that someone would use that against him) is pretty interesting and, another bonus, negates what Daredevil, the 2003 really bad superhero movie, said on the subject, which was that his radar sense was enhanced in rain. Any separation you can get from that movie the better. This series continues to be one of Marvel's best and this issue is no different. Wonderfully done.

Daredevil: End of Days 7
Bendis and Mack (w) and Janson and Sienkiewicz (a) and Hollingsworth (c)

I am not against reading. In fact, I am very pro-reading. I also love reading comic books. I appreciate that comic books have moved away from the "block of text" style of narration because it breaks up flow. Comics are, by their nature, an incredibly visual medium. There has to be something of a balance between art and word or else you're pretty much just writing a book. Or a script. Maybe script is a more apt description for where I'm going with this. Where I'm going with this is that the first page of this issue has 22 different boxes of narration over four-ish panels of art. I say "ish" because there's one drawing on the background that goes across the entire page and focuses as one to two panels and there are three actual panels on top of it. Don't get me wrong, I like the art in this book. I like both Janson and Sienkiewicz and I continue to think that the series has done a good job spanning Daredevil art styles and even artists. The first half of the book or so, though, is like the first page, with dialogue and narration just cluttering the page like crazy. And not particularly worthwhile dialogue. This is the problem with Bendis' need for snappy back-and-forth writing. It might work in television or movies because those are inherently different. You can see the scene under the words. The words might only take a few seconds to throw out. In this, the same conversation covers up the drawings and distracts from the scene while taking pages to get through. Also, one character who talks through a bunch of the first half, a secretary at the Daily Bugle, is super obnoxious and unpleasant to read. That doesn't help anything. So the question, then, is "is all of this dialogue/narration necessary?" I'd say some of it is. Certainly not all of it. The bonus of having an inherently visual medium is that you can allow your artist to do some work for you. You want to see Urich struggling with the things he's found out and the questions that remain? Look at the pictures. And Janson and Sienkiewicz show him that way. Throw in a couple lines about how frustrated he is, sure. You don't need to cloud a page with it all. It gets to a point where you're forced to start wondering what the level of trust in the artist is. Most of these problems disappear midway through the issue or so, as Ben Urich is attacked by the Hand and the narration and dialogue gives way to action. Here we actually start to get to new information, as Urich enters the apartment Melvin Potter said he'd sent plenty of costumes to before. On the computer, he sees all sorts of files, including one labelled "Map" and one labelled "One." Don't think that this is going to bring us to the secret of "Mapone" because apparently we'd rather save that for the LAST issue, as Urich views the files and we get to see his horror. It's weird to follow a character as our main narrator and see what he sees through the series only to, at the biggest reveal, not get to see what he sees. ANYWAY, the Hand finds Urich there and attacks, but he's saved again by the new Daredevil and Punisher. The new Daredevil rushes Ben to safety before going back to try to help fight the Hand with Punisher, who is mowing the ninjas down. When Daredevil returns to Urich, the reporter has an arrow through his gut. Daredevil rips off the mask to reveal Urich's adopted son Timmy as the new Daredevil. I have some problems with this, but I'd like to see where the last issue goes before airing them. I think I've said enough already.