Leftovers 8-20-14

Okay, let's try this again, hm? Fortunately it was a more laid-back week for comics than we've had in a while so I have fewer to deal with here! And they're mostly pretty alright! Let's get it started.

All-New Ghost Rider 6
F. Smith (w) and D. Scott (p) and Campanella (i) and Staples and Sobreiro (c) and Caramagna (l)

Zabo's defeat has improved the community already and the locals are talking about the community's protector, though they know very little about the new Ghost Rider. Meanwhile, Robbie has stopped listening to Eli for the time being about vengeance and punishment and so on, to the chagrin of the spirit, and has instead focused on improving life for him and brother Gabe. It's working wonderfully as Robbie has been making good money winning street races and has been able to spend more time with Gabe, which has led to great strides in his education, but may be short-lived as Zabo prepares Guero for the next step. Bit of a rest issue here, which makes the change in art less jarring than it might be otherwise (strange that I'm calling something "less jarring" than Tradd Moore's kinetic and exciting style. It's another good issue and sets us up for a few big upcoming arcs, including things to do with Eli, a mysterious visitor, and Guero/Zabo. Plenty going on as this series continues. Total Score: 4/5


All-New Ultimates 6
Fiffe (w) and Pinna (a) and Woodard (c) and Cowles (l)

The war between the new Ultimates and the Skulls continue and they fight and fight and fight and fight and fight and fight and then the police show up but it's too late for the church and everyone gets away. It's probably a sign that your book isn't so entertaining that you have to CONSTANTLY spend the first ten pages just identifying all the players. Maybe clear some things up? Or put in a recap page with the character names and pictures? So pretty much just a fight with stakes I'm not sure about and characters I certainly don't have any connection to. Total Score: 1/5


All-New X-Factor 12
David (w) and Di Giandomenico (a) and Loughridge (c) and Petit (l)

Quicksilver reports in to Havok, who decides that Lorna is doing just fine and Quicksilver can return to the Avengers again, an invitation which Quicksilver declines. Later, X-Factor is part of a press conference as Serval reveals the team and announces their intentions. Quicksilver again causes a bit of a stir when he's accused from the crowd of being a criminal. He admits to the charges and asks forgiveness for his many problems, saying that he'll await the decision of the rest of the world as to his fate. The only visitor he receives, though, is his estranged daughter Luna, who forgives him for his past and embraces him again, proud of his admission. It's a nice issue and it gives us a chance to see what the whole of the team is up to as we get a little bit of intrigue from each member. It's an issue that reminds us how good David can be at constructing a team and showing us how that team ticks. Total Score: 4/5



Deadly Hands of Kung Fu 4
M. Benson (w) and Huat (p) and Yeung (i) and Aburtov (c) and Sabino (l)

Midnight Sun's ritual ends up resurrecting Leiko as he screws things up pretty bad, overconfident about his power. Leiko, now emboldened with mystical powers, manages to beat up Midnight Sun, Razor Fist, and Black Ghost. And by beat up, I mostly mean "tries to kill all of them, though only succeeds at killing Black Ghost because Shang Chi stops her from killing the others." With Midnight Sun defeated, Shang Chi pays his final respects to Leiko and prepares to go home, though it seems possible he's not done with Leiko just yet. This is another one of those "tough to review" sorts of issues because it's certainly not unreadable but it's also not necessarily a story I'm super into. I like Huat's art, just as I came to love it in X-MEN LEGACY, so that helps this one. I can't really get too into this one though as it becomes difficult to understand the stakes of this whole arc. Total Score: 3/5


Deadpool vs. X-Force 3
Swierczyinski (w) and Larraz (a) and Woodard (c) and Sabino (l)

The inhibitor Deadpool placed on Cable controls his physical actions but Cable's telekinesis is still going strong, allowing him to at least stay a step ahead of Deadpool. He pretends to be under Deadpool's control a little longer as he learns what's really happening. Talbot didn't hire Deadpool to save his grandson, he hired him to change history so he can make America the greatest nation on Earth by annihilating at the start of each war and conquering nation after nation. Cable blasts Deadpool to pieces and sets about trying to restore the timeline, though Deadpool isn't done yet. Not a bad issue and there are some interesting ideas here, but ultimately the tone feels a little off balance, particularly as Deadpool's fourth-wall breaking clashes with Cable's seriousness. Total Score: 3/5


Magneto 8
Bunn (w) and J. Fernandez (a) and D. Brown (c) and Petit (l)

Magneto finds the lab producing the MGH he discovered last issue. The SHIELD team on his trail manages to find him there, gunning down the MGH-enhanced guards, though Magneto gets away with the MGH cook, to whom he offers a job. The issue works pretty well to keep the story moving forward and to give us more of a sense of where Magneto's at these days. It moves well and it reinforces Magneto's purpose. It gets a little preachy but preachiness is rather at the core of Magneto so, I suppose, great character work? In other news, Apu might get deported! How many more books are there to review? Total Score: 4/5








Original Sins 5
Dum Dum Dugan: Ewing (w) and Guice (p) and Hanna (i) and M. Wilson (c) and Cowles (l)
Young Avengers: North (w) and Villalobos (a) and Gibson (c) and Cowles (l)
The Rest: Zdarsky

Story one finds Dum Dum Dugan learning that he's been dead since the war and that Fury created the most lifelike LMD to replace him, even getting him to believe he's a real boy. Dum Dum shoots himself in the head and asks Fury not to rebuild him, which seems unlikely. The Young Avengers finish out their story as they turn the tables on Hood, though he does manage to escape so, kind of a loss. On the plus side, Prodigy reveals that the code he set up is a one-time pad code on the information, which makes it nearly impossible to access again. Except, as it happens, for Prodigy, a fact which he conceals from his team. Finally, Chip Zdarsky brings us a great two-page interrogation of the Marvel Universe wherein tons of characters reveal their darkest secrets to Nick Fury, who is actually an impostor, as discovered by the real Nick Fury by the end. Pretty good stuff all around, particularly in the ending to the Young Avengers story and the Zdarsky story. Total Score: 4/5


Savage Wolverine 22
Arcudi (w) and Quinones (a and c) and Petit (l)

Wolverine stops the German from radioing for artillery, though his shock at the appearance of the man from his dreams makes him paranoid and he lashes out at Link before channelling that rage into attacking the remaining Germans, who eventually surrender, managing to shake Wolverine out of his animal rage. He realizes that maybe the German he already attacked isn't quite dead and he rushes off to make sure no artillery is called in. He succeeds in stopping the German, but they manage to see each other as humans and not animals or enemies, sharing one peaceful moment before the German dies. It's a pretty strong conclusion to the little arc as it hits on one of the biggest Wolverine themes, the idea of his separate animal and human natures. It's strong work and the very talented Joe Quinones does some really impressive things in this issue (he's also a very nice guy that I met at Boston Comic-Con and from whom my girlfriend and I bought really great prints). Total Score: 4/5


Storm 2
Pak (w) and Ibanez (a) and Redmond (c) and Petit (l)

Storm, dedicated to helping make the world a better place whatever way she can, sees a lost-child poster and decides to find her. With Beast's help, she manages to find the girl through a burner cellphone she'd picked up along the way and it leads her to the subway, where she runs afoul of Callisto, formerly of the Morlocks. Storm attacks her old nemesis, though she eventually busts into Callisto's hideout, a simple but pleasant room in the tunnels where a number of runaways have gathered and seem to be having a good time, each and every one from homes worse than this one. Callisto swears she's not raising an army, that those days are behind her, and that she's just helping these kids have a place to go. Storm apologizes and sets Callisto up with a little more tech, swearing to stay out of her way but has Beast continue to keep an eye on her. So, okay, admittedly, Storm didn't really do much except attack someone apparently doing the right thing and eventually provide a water filtration system to same. Still, the writing is pretty strong (though I still don't really like Wolverine and Storm as a relationship) and the book moves well as Storm learns a valuable lesson. I hope. Total Score: 3/5


Wolverine Annual 1
Kalan (w) and Marks (a) and Villarrubia (c) and Petit (l)

Wolverine, Jubilee, and Shogo go camping, both to spend some time together and so Wolverine will feel better about Jubilee being without him if something should happen to him. It's constantly proved to him throughout the day as she gets along with the wolves that visit family member Wolverine and as she takes charge to recover Shogo from a camping army couple who misinterpret the situation badly and try to do the right thing. Wolverine is even more impressed when Jubilee manages to rein herself in enough not to kill the couple as things start to head that way. It's a pretty strong issue by Elliot Kalan with solid art and some well-developed characters, though, as with many annual issues, it ends up being thirty pages and feels like it's stretching a bit to reach the count. Still not bad. Except Kalan to do more with Marvel as things move forward. Total Score: 4/5

Thunderbolts 27, Punisher 7

Thunderbolts 27
Acker and Blacker (w) and Barberi (p) and Cuevas (i) and Silva (c) and Sabino (l)

The Thunderbolts quietly take down a team of hitmen aiming to take down the Avengers while they battle downtown. The stealth team discovers that these hitmen were being led by someone operating out of a high school which, they soon discover, is full of dead children. The dead start to rise and begin attacking the Thunderbolts, overwhelming them before it's revealed that it was Captain America villain Dr. Faustus using a psychogenic gas to plant images in the heads of the T-Bolts. Deadpool, though, quickly detected the gas and kept himself from inhaling it, playing dead when Faustus arrived and taking the villain down himself. As the others come to, Punisher demands they kill Faustus but Red Hulk vetoes him, preferring to force Faustus to work for good. Punisher, unable to allow that, quits the team. As the team moves on, Punisher returns to a New Jersey safehouse and finds a bomb in his apartment (as it explodes) with a note apparently indicting the T-Bolts.

Acker and Blacker don't disappoint in their first time out with the THUNDERBOLTS main series (they wrote THUNDERBOLTS ANNUAL within the last year), bringing an interesting new vibe to the series. The team still sticks with the covert "doing the missions the Avengers can't" kind of idea but Red Hulk seems determined to live up to his realization from last issue and do more than just help out, indicating that he'd like the Thunderbolts to expand with more divisions, possibly comprised of captured villains (like Faustus) working against their will to make up for their sins. The voices are distinct and a lot of fun, just what we'd want to see from this team (it's what Soule did right during his time on the book that I felt Way missed in the first arc). Of course, the intrigue of a quitting and punished Punisher doesn't hurt either.

Total Score: 5/5


Punisher 7
Edmondson and Maurer (w) and Carnero (p) and Pallot (i) and Fabela (c) and Petit (l)

Wounded Punisher finds his way down to Mexico to recover and plot out his next move while he tries to figure out who attacked him. A back alley surgeon fixes him up, removing the bullet and closing the wound, though he also drugs him and sells him off to the highest bidder so it seems like they're even by the end. The highest bidder in this case is a Mexican gangster named Ortiz, AKA El Diablito. Ortiz and his men beat up Punisher a bit then sell him again to an unknown group (though probably Dos Soles, right?), who send Crossbones to pick Frank up. Not to be caught unaware again, Frank breaks out of his cell along with another captured vet, and the pair of them, with help from the vet's squad monitoring Ortiz, escape into the woods, where Punisher advises the other vet to move forward while he takes on the cartel.

PUNISHER 7 provides a nice respite from the story we've been dealing with since issue one, which is a good story but perhaps worth taking an interlude from here. Given Marvel's recent push for faster turnaround time on books, these sorts of issues seem to happen a little more frequently (particularly at this sort of issue number, where the main creative team gets a jumpstart on the book and getting about six issues in the can before issue one even goes to press) where a guest writer comes in (sometimes) along with a different artist (more frequently, as illustrating a book takes more time than writing it, typically). Still, the story is strong and fits in the same vein as the rest of the series, though it's hard not to miss Gerads' art on the book and I'm going to have to deduct a point here for how frequently a footnote tells us what an army code translates to. I'd rather have them say the actual words before going to acronyms, though I understand that's less realistic, or to simply say the code and allow readers who want to explore deeper to look it up themselves; the all-too present footnotes end up being distracting and breaking the flow. Also, I don't like that cover. Looks like Punisher's been stung by bees. Still, strong issue and certainly worth looking at if you've been enjoying this book.

Total Score: 4/5

Guardians of the Galaxy 15, Thunderbolts 26

Guardians of the Galaxy 15
Bendis (w) and Bradshaw and C. Stewart (p) and Bradshaw, Stewart, and Wong (i) and Ponsor (c) and Petit (l)

The Guardians have been separated and captured with Rocket landing with the Kree (to be experimented on), Gamora left with the Badoon brotherhood (to be questioned about Thanos), Drax left to the Shi'ar (to be punished), newly acquired Venom attacked on Knowhere by the Skrulls, Groot left with the Brood, and Star-Lord being held on Spartax. They all seem to be failing at escaping except, as the issue ends, potentially Star-Lord. Despite the cover, no sign of Captain Marvel.

Unless you're a completionist and you're looking to obtain this whole series, it's worth missing this one. There are tiny little glimpses of character in the way each Guardian reacts to his or her capture (Rocket shows fear for the slightest moment, Gamora refuses to stop fighting, Drax threatens calmly but sighs to his deceased wife, etc.) and obviously we see where everyone is but that's pretty much all that happens in twenty pages of book. There are as many double page spreads in this issue as I've ever seen and it ends up just meaning that we get less story in fewer meaningful pages. There's no doubt in my mind that this could have been done just as effectively in ten pages and we could have had another half issue to move to the next step, maybe featuring, oh, I don't know, star of the cover Captain Marvel. Seriously. Look at that cover. Is that the cover of a book that doesn't see nor hear about Captain Marvel in the slightest? It's a low score for this one, then, not because it's a particularly bad book but just because it slows things down at a time when things don't really need to be slowed down and it means you're paying full price for half a book's worth of content (not to belittle Nick Bradshaw and Cameron Stewart's work, which is fine but didn't blow me away to the point where I'll ignore a stagnant story).

Total Score: 2/5


Thunderbolts 26
Soule (w) and Diaz (a) and Silva (c) and Sabino (l)

Ghost Rider's been eaten by a swamp monster thanks to Leader's treachery and Elektra and Punisher have been crushed by a cliche. Deadpool saves Leader from Cordoba and his men, enraged by what they've been through, but it doesn't stop Leader from trying to kill Deadpool as they go into the temple. Deadpool sees through the ruse and stabs Leader but leaves him alive enough to still enact his plan and send Deadpool into a pool of lava. Leader moves forward to find the artifact their after, the head of a long dead Celestial left here by the ancient Deviants, a race the Celestials created then deemed imperfect and unfit to inherit the world. The Deviants killed the young Celestial and left the head here, hoping it could transform their people into something more capable but then lost it to time and struggle. Now Red Hulk's former men have found it and Mancuso, the one who reached out to Red Hulk, explains (after Red Hulk kills his one-time lover scientist lady who turns out to be a Deviant looking for this exact thing) what's happened since he found it. Leader arrives, drinks some Celestial blood, and has his head explode from the power. With his whole team dead, Mancuso tells Red Hulk that he has two options: for Mancuso to kill him and give him the death he seeks or to work for the light. After a moment's hesitation, Red Hulk chooses the light and we're transported back to the very start of this mission, where Red Hulk tells the team that they're actually going to do something else now.

It's Charles Soule's last issue on THUNDERBOLTS, which is rather a shame because he took this book that I found somewhat middling, even if it featured a team that really intrigued me, and he immediately made it something fun and fresh, completely worthy of my one-time excitement. Still, he leaves the book on an up-swing, with the team all alive and perhaps destined for bigger and better things. It's definitely entertaining to see how the final deaths play out (Deadpool has a particularly nice moment as he sees through Leader's attempt to kill him, though it still leads to Leader killing him) and it leaves the book in an interesting place where we know what these characters would have gone through and how they would have acted in this adventure but now this adventure never happened so they don't necessarily know how it would have played out. Ben Acker and Ben Blacker have a really interesting job to take on and I'm excited to see what they produce. But let's not forget to laud Charles Soule for his fantastic take on this book and for, as I see it, righting the ship as soon as he jumped on to it.

Total Score: 5/5

SUPER QUICK REVIEWS: All-New Ghost Rider 3, Avengers Undercover 4

All-New Ghost Rider 3
F. Smith (w) and T. Moore (a) and Staples (c) and Caramagna (l)

Robbie has a chat with the spirit of vengeance that jumped in to save him when he was dying. The spirit's name is Eli and he promises that he can help Robbie take care of his loved ones and get vengeance on those who attacked him and his. This now includes the superpower-drug dealers who killed everyone at his auto shop looking for the missing pills and the car. He agrees to Eli's terms (becoming the spirit of vengeance) and the two find his missing car and the dealers, killing two henchmen and coming up against the head dealer, Grumpy, as he's just taken a bunch of those drugs.

The book continues to look unlike anything else on Marvel's market, which is both a startlingly good thing and a thoroughly confusing thing. It's still hard not to see this as looking somewhat cartoony (not necessarily helped by the high school protagonist) but it seems like it's getting pretty dark for that tone to hold up. Still, the book looks good when you set that strange tone aside and the story is compelling enough, as is Robbie as a character.

Total Score: 4/5

Avengers Undercover 4

Hopeless (w) and Walker (p) and Gorder (i) and Beaulieu (c) and Caramagna (l)

Arcade's newest Murder World stuff is, of course, streaming live so pretty much anyone who wanted to could see the young would-be heroes talk about killing and then kill Arcade and a SHIELD team shows up pretty quickly, armed to the teeth. They bring the kids in where we get a brief and fun little look at some of the people in the kids' lives (with a particular focus on Cammi and her recovering alcoholic mother) before their stolen away by Daimon Hellstrom and brought back to Bagalia where Baron Zemo espouses on how unfair it is that people with powers are forced into hero roles or called the villain. He offers them a chance for the alternative and asks them to join him.

Like with its predecessor (and really all the books that came together to form these two series, like RUNAWAYS, AVENGERS ACADEMY, and the various books in which Cammi showed up), this book's strength is in its humanity. These are real kids facing real decisions even as they deal with it on perhaps a greater and more dangerous scale. We care about what decisions they make and what happens to them. On top of that, it's a well-written and well-drawn book. Hard to ask for more out of this series.

Total Score: 5/5

Guardians of the Galaxy 14, Thunderbolts 25

Guardians of the Galaxy 14
Bendis (w) and Bradshaw w/Masters, Nauck, and Wong (a) and Ponsor w/Keith (c) and Petit (l)

The Guardians are being picked off one-by-one and separated. Rocket, Groot, and Starlord are attacked in the ship by Spartax warships while Gamora is chased down elsewhere by the assassin who had previously tried to capture her and while Drax and Venom (??) shop for new weapons on Knowhere. All Guardians are captured, leaving Venom behind on Knowhere and leaving Starlord to have an uncomfortable talk with his dad, who promises that they'll all be dealt with and that no one is coming to save them just as Captain Marvel takes to space. Also featured in this double-sized anniversary issue are stories from legendary GUARDIANS scribes Andy Lanning (who "writes" a story about Groot's origin. Hint: he is Groot) and Dan Abnett, who tells a tale set a thousand years in the future about the future Guardians of the Galaxy needing to go back in time to stop some stuff happening that would ruin their future.

Story
The best way to describe this story is abrupt. For thirteen issues, the Guardians have been wreaking havoc and staying a step ahead of the Spartax Empire and fighting the good fight through the galaxy. Until they weren't. Just today. No hand wrapping around them, no strategy employed to cut their engines and leave them defenseless. Just...caught. I legitimately had to wonder if I had missed an issue where something happened that allowed them to be caught or that explained why Venom was there. Turns out: NOPE, the last issue was still in the midst of that crappy TRIAL OF JEAN GREY crossover and so everything happening here IS still as abrupt as it seems. It feels like we're missing an issue and it's KIND OF an important issue we've missed? Like, we can still catch up, I suppose, but there's a lot of "I guess this is happening now?" feeling to the book. 3/5

Character
Peter Quill has some insomnia and thinks about why and thinks about what women he has crushes on and what ones he doesn't and ugggggh. Then Drax and Venom go and banter at a weapons seller showing that Drax doesn't know the word "cool" and uggggggh. Look, I have some problems here as ever. Also, Venom acts very nearly goofy out in space which, you know, granted it's a pretty big deal to him but Flash is a decorated vet and one who has to maintain control over his symbiote all the time. Maybe he wouldn't be so goofy all the time? 2/5

Writing
A bit of back-and-forth here but everyone's separated and there's too much abrupt story happening for it to really hurt anything. The opening ongoing narration from Quill is as close to that as it gets and it it GRATING though the case can be made that it's just a mind drifting while it does anything but sleep. Putting aside the strange character problems and the abrupt story, there's nothing particularly wrong with the writing, though it's kind of like grading a student's paper with a bad or non-existent thesis: it doesn't matter if the support is great or in-depth or whatever, there's no way it can be proving what it sets out to prove because a bad thesis means there's nothing there to prove (yeah, I've graded some PAPERS, yo). 3/5

Art
I was a little nervous about Bradshaw on this issue. He's clearly a pretty good artist but I've seen him most recently on one of the INHUMAN titles that Fraction wrote prior to Soule's entrance on INHUMANS and it upset me in the way that Medusa looked so feminized in that kind of "big eyes, soft features, bursting breasts (horrifying, that wording) etc." way. No such issues here though the armored Gamora is the only female until the last page reveal of Captain Marvel. Still, good work across the board this time out. 5/5

Miscellaneous
Seriously, were we missing an issue?

Total score: 3/5


Thunderbolts 25
Soule (w) and Diaz (a) and Silva (c) and Sabino (l)

The woman who arrived on the boat at the end of the last issue, Helen, was part of the team Ross sent out but only insofar as she was the researcher who told them about the artifact and was then left behind. They have a thing. Anyway, the sea monsters aren't quite done attacking and they start to pull apart the ship. Ghost Rider manages to get them to shore by using his chain to pull the ship away. However, Leader whispers an incantation that makes his demonic fire go out before he himself can get off the ship and he's ripped apart by the monsters while everyone else looks on. The other T-Bolts push on but their guide Cordoba reveals to Leader that he knows he's responsible for Ghost Rider's death. Leader admits it but also reveals that he knows Cordoba's men are in the woods following them. They form an alliance for all of two minutes before Leader outs him to his team, causing them all to flee. The rest continue to the temple, where Red Hulk demands Leader wait outside (with guard Deadpool) and guide them over the walkie. He quickly betrays them and Elektra and Punisher end up in a death trap themselves.

Story
Tons going on here, enough that I kept wanting to shorten the summary and couldn't figure out where to do it. In fact, I should have PROBABLY gone deeper than I did but GUYS, read the book instead. There's so much happening and it's largely really interesting. The Ghost Rider twist was something unexpected and sharp, brutal and efficient enough to be jarring without feeling like a hook. The Leader has some great moments as his long con continues to play out at the expense of the team. Plenty happening but without ever getting too absurd or too abrupt. 5/5

Character
Everyone has a couple of good looks here but the main focus is on Leader and his sudden but inevitable betrayals. It's crafty and it's clever and it's hard, thanks to his movements with Cordoba, to figure out what his angles are, which is exactly how we should be seeing Leader since he's smarter than all people ever, more or less, so we should never know his true motives. It's the kind of sharp characterization that drove Hickman's SECRET WARRIORS series and others like it. 5/5

Writing
Thanks in large part to the characterization of Leader and the way that he drives the plot here, the tone is always a little bit uncomfortable, which is perfect. You're never supposed to know exactly how to feel about what's happening. The abruptness of Ghost Rider's death, the turn on Leader by Cordoba and the turn on Cordoba by Leader, all of it keeps the reader off-guard and it keeps the tone from settling in to something either too fun or too serious and it instead sticks into this strange "how should I feel?" place that fits everything Soule wants to do. 5/5

Art
The art looks maybe a little more cartoony than it has been but it steps it up to make sure things are tense as the big moments occur, like Ghost Rider being ripped apart or the fall of Punisher and Elektra and their caress as the walls close in on them (slower than haunted house spiked walls but not as slow as evil scientist spiked walls). Overall it fits the tone and feel of the book pretty nicely. 5/5

Miscellaneous
I like the cover on this one but it's the first time in quite some time that I haven't absolutely loved the cover on a THUNDERBOLTS issue. Sigh. All good things, I suppose. Strange that the 25th issue of THUNDERBOLTS, a far riskier book than something with X-MEN in the name written by one of the biggest names in comics over the past decade doesn't get a celebration.

Total score: 5/5

All-New Ultimates 1, What If? Age of Ultron 2

All-New Ultimates 1
Fiffe (w) and Pinna (a) and Woodard (c)

Spider-Woman, now going by Black Widow, Spider-Man, Cloak, Dagger, and Bombshell meet up at the secret Hell's Kitchen hideout of the All-New Ultimates (which is pretty much all of them with an open invite for Kitty Pryde). From there, Black Widow gives them all special communicators (formerly used by the now-defunct SHIELD) and they decide their next target will be a drug lab manufacturing drugs from Roxxon. While Black Widow tries to talk Kitty into joining up with them, Bombshell stumbles on to a drug deal gone wrong. She calls in the Ultimates and they team up to try to take down the enhanced drug dealers. Cops show up as the fight is happening and prepare to take everyone into custody before reinforcements for the drug dealers come, led by the mysterious Diamondback.

Spider-Man's team back from ULTIMATE SPIDER-MAN regroup here as a brand new full-on superhero team, set to battle Roxxon particularly, as they had been just before CATACLYSM shook the Ultimate Universe. Also making a seemingly obligatory appearance is Ganke Lee, Miles' best pal. The first issue is something of a long read, explaining a lot and checking in on every character. There's a feeling of wanting it all here, hoping to infuse humor and lightheartedness with a dark story and some dark situations. Hopefully it's something that settles in but at current it doesn't totally work for me. Also, Spider-Woman changing her identity and her look makes sense to me but I don't think her new look or name necessarily work right now. We'll see as things go on. As with any number one, it's hard to judge now. Let's let the team settle in a bit and then see how we're feeling.

What If? Age of Ultron 2
Keatinge (w) and Villalobos (a) and Redmond (c)

Because of the ripples caused because of dealing with the Ultron problem, we take a look into another universe where we see an alternate future based on a different outcome to the famous Armor Wars Iron Man storyline. In this world, Stark succumbs to his alcohol addiction at the hands of Obadiah Stane and Stane wins the Armor Wars, powering up incredibly and even trying to get his hands on real Stark armor. Wolverine wants to take Stane down and destroy the Master Mold in the Savage Land that's spitting out new armors regularly. He joins up with a new Ghost Rider and tracks down the retired Peter Parker before both go to enlist a meditational Hulk. They go to the Savage Land together and, while Hulk tries to beat up the Master Mold, they see that a Stark armor is powering everything as well as a descendant of Bolivar Trask (a Trask descendant is needed to power the Master Mold), a young girl used against her will to power things. Spider-Man wastes no time sacrificing himself to shut down the Master Mold and Wolverine, Hulk, and Ghost Rider leave with the girl, the mission complete.

I just do not get this story. On the one hand, I don't understand why this is under the AGE OF ULTRON umbrella. I understand it in the sense of "oh, timelines all shifted because the timestream was all sorts of messed up during AGE OF ULTRON so now we can tell a story from ANY time" but I don't understand it in that I'd be MUCH more interested in reading a book that was called WHAT IF? ARMOR WARS (pretty sure that already exists but WHATEVER) than WHAT IF? AGE OF ULTRON that then goes on to have nothing to do with Ultron or his age. On top of it, I have a lot of trouble following the story (and why does Captain America end up dead in like, every single possible future ever? The guy lived through WWII, doesn't that give him any sort of respect?) and it really feels like this one had a solid premise and then needed to be finished on a deadline. I don't know. This one's not for me. I like Villalobos' art, though. Very different than normal comic art these days but definitely something interesting to look at. Why is AGE OF ULTRON still haunting me?

Deadpool 27, Thunderbolts 24, All-New Ghost Rider 2

Deadpool 27
Posehn and Duggan (w) and Hawthorne (a) and Bellaire (c)
SO MANY OTHER STORIES: Duggan, Koblish, Staples, Posehn, Nicieza, Hepburn, Waid, McCrea, Elder, Kelly, Medina, Vlasco, Curiel, Priest, Henrichon, Palmiotti, Timms, Gandini, Tieri, Soy, Simone, A. Lee, Way, and Barberi

Deadpool is getting married and everyone's invited. The bride is a former prospective bride of Dracula and a current queen of monsters named Shiklah. Deadpool invites just about everyone (as evidenced by the Guinness Record breaking cover at left) and sets up the wedding in Central Park with Nightcrawler officiating. It's a nice ceremony with a nice and hero-filled reception wherein Deadpool finally has a nice day. However, Ultimatum, still after him for blowing up their helicarrier, thinks they've discovered his lost daughter.

This is a ten dollar issue so many people might write it off as a gimmicky issue. It may well be that BUT I can tell you that this one is understandable at ten dollars. On top of the record breaking cover (right, it's pretty cool but don't spend ten dollars just on that), there are about ninety pages in this book that features the regular sized wedding story and a week's worth of creators filling out the majority of the book with silly little throwaway stories about all the other times Deadpool has been married. It very much feels like creators were given the objective (tell a Deadpool-gets-married story) and were set loose, leading to a lot of fun and interesting stories. Of course, like any compilation of stories, some are going to be better or more attuned to your own tastes than others. Gail Simone adds a pair of solid stories in her return to the Marvel Universe (she'll also be writing on SAVAGE WOLVERINE, if memory serves, before too long). Other big names like Mark Waid, Christopher Priest, Frank Tieri, and longtime DEADPOOL scribe Daniel Way also contribute to the issue. Certainly worth thumbing through and, if you're a Deadpool fan, probably worth finding the money to drop on this one.

Thunderbolts 24
Soule (w) and P. Diaz (a) and Silva (c)

The Thunderbolts are on a new mission, one picked by General Ross. Years previous, a team of Ross' men had gone into the jungle in search of a weapon that could potentially bring down the Hulk. After enlisting the services of the reluctant crime boss who had led Ross' team into the forest long before, the team sets off. While on a boat into the jungle, Ross explains the mission to Elektra, revealing that he's looking for his team but has ulterior motives for why. Apparently one of his men had appeared to him on a plane and asked for him to return and find them, then wiped the plane from existence. Ross wants to find the men but also to make sure they don't strike against the world with whatever unearthly powers they may have now. While he tells this story, Deadpool decides to go for a swim, drawing the ire of a river monster lurking nearby. 'Pool escapes, though he's injured, as a woman claiming to know Ross parachutes in. She lands in the water and Ross instantly dives in to rescue her. Saved, she embraces and kisses Ross as she pulls a gun on him.

There's a lot of character development happening here for Ross, who typically keeps everything pretty close to the chest. The great thing about a team book is that character development for Ross also means character development for the rest of the team. We get a lot about Ross, including a little of the way that his mind works and what he holds important (like keeping people unaware that he's Red Hulk, even to the point of fighting a pair of much younger thugs to gain the services of the crime boss as the elderly Ross), but we also see some from Elektra as she accuses Ross of hiding things from the team that they need to know and as characters like Punisher and Leader specifically don't ask questions about what they're doing. Lots going on here and another interesting story to follow as Soule enters into what is likely his final arc on the book before Acker and Blacker take it over.


All-New Ghost Rider 2
F. Smith (w) and T. Moore (a) and Staples (c)

The Ghost Rider sets off to find the men who killed Robbie Reyes and blew up the car. He tracks their small envoy leaving the area and drives his car through one of the cars in their procession. Though it annihilates that group, he loses the others. He returns to Robbie's home and Robbie, completely healed, returns to his life, confused about what happened the night before. He returns to the body shop that night to see the car he remembered being shot up and destroyed returned to pristine condition. He decides to take it out again that night to see if he can shed some light on what happened. As he tries to leave, he's accosted by the same men who killed him the night before, a gang working for villain Mr. Hyde and selling drugs that seem to make people Hyde out (a la Hulk out, not like hideout) who are now missing some of the drugs from the night before. They attack Reyes only to have him Ghost Rider out and attack them instead. After dispatching them, Robbie drives to a junkyard and sees the reflection of Ghost Rider, asking what he is only to have Ghost Rider ask "what are we?"

Robbie's still getting his bearings and Smith has hit on an interesting idea here, making Robbie unsure of what Ghost Rider is and that he seems to be going through this transformation. Smith does a good job showing Robbie in something of a daze as he goes through his normal business the day after dying. He ignores the bullies who beat him up the day prior in school, he doesn't seem to realize that he's healed from said beating until it's brought to his attention, and he's just typically zoned out throughout the day. I think it's a really strong characterization to have that be his reaction rather than freaking out or even beginning to understand what's happened. Tradd Moore's art continues to be outstanding as it brings something of a cartoony element to it, almost at odds with the dark content of the book. It's almost a relief that this book is so dark but the art is so light. It gives ALL-NEW GHOST RIDER a different feel than any other sort of gritty and dark book out there, swapping out the blacks and grays and blurred characters for vibrant colors and sharply outlined people. Sometimes the action, which looks good, gets a little confusing as it feels like the book tries to do a little too much at once but it's easy to get past because it still looks good. This one's off to a strong start out of the gate and things are only going to get more interesting as Robbie pieces together what's happening.

This week's picks

Another long and exciting week of Marvel comics down so it's another attempt to choose the three most worthy of recognition this week. Tricky in a week full of ambitious number ones, game-changing ultimate or penultimate issues, and fifth issues of varying degrees of interest. Look, lots of books out this week, is what I'm saying. Let's pick some.

All-New Ghost Rider 1

I don't know that this is truly one of the top three books of the week (it edges out books like UNCANNY AVENGERS, NEW AVENGERS, AVENGERS ASSEMBLE, SILVER SURFER, etc.) but it is the most ambitious of the new books out this week and probably of all the other books out this week. The unique art style and coloring, on top of the creation of a new character who tries to shield his younger brother from the darkness of the world suddenly becoming one of the darkest anti-heroes out there, made for a book that feels like it's got places it can go. For a number one, not being locked in to some specific trajectory so early on feels like such a big first step. Robbie Reyes has a whole world out in front of him and we'll see that world with art that isn't really any where else on the shelves right now.

Hawkeye 18

Don't get me wrong, I adore this series. But as a reviewer, it was almost a relief when HAWKEYE stumbled a bit in production and took a little longer to come out than it normally would have because then there were wild cards in the weekly pull list post. With HAWKEYE rocketing out several times in the last month+, it's almost a given that it's going to wind up on this list every single time. Annie Wu's art is tremendous and matches the tone and style of Fraction's writing for Kate, the story is compelling and engaging, the characters in Kate's new life are well-developed, and the stakes of the story rise at what seems like the perfect speed. It's a phenomenal series. Don't let the fact that it's regularly up on this list make you feel like it's going to stagnate at a certain point, albeit a rather high point. Each one makes it on to this list for all of the same reasons but also entirely new reasons. It's clearly Fraction, Aja, Wu, and Hollingsworth aren't really up for doing the same thing twice at any point with this book. Check it out if, for some ridiculous reason, you haven't already.

Superior Spider-Man 30

I'll be honest, this one, like so many issues of SUPERIOR SPIDER-MAN or even AMAZING SPIDER-MAN before it isn't necessarily as clean as the books I tend to pick and put up here (which is why these books tend to go through waves of making the list and not making the list); it often has a little more over-explanation than I'm looking for in a book, maybe a few too many mentions that Spider-Man 2099 is from the future, maybe it gets a little more heavy-handed and leaves a little less to the audience. HOWEVER, Slott and Gage both clearly understand the reasons we're involved in a Spider-Man story and even though we all pretty firmly knew that Peter Parker was on his way back (particularly as solicit news broke it a couple months ago) seeing him get back into action is fulfilling in every way as a Spider-Man fan. So as the trials and tribulations of the Superior Spider-Man come to a close, Gage and Slott do a fantastic job to get us back into the swing of things (PUN) with Peter Parker's triumphant return. Boy, he's got a lot of cleaning up to do. Nothing's ever easy for that guy.




REAL BEST BOOK OF THE WEEK:
Captain America 117

I mean obviously this was the best book of this week and any other week it "debuted." WATCH, AS RED SKULL ENACTS HIS MOST DASTARDLY PLAN: NOT PAYING FOR A CAB RIDE ACROSS TOWN.

All-New Ghost Rider 1, Silver Surfer 1, Iron Patriot 1

All-New Ghost Rider 1
F. Smith (w) and T. Moore (a) and Staples and Daniel (c)

Robbie Reyes lives in East LA with his brother, a handicapped child, and works on cars at an auto shop during his days. Desperate to get his brother out of their neighborhood, he trusts no one and does the work every day, hoping to earn and save enough every day to get them to a safer place. The first issues shows Robbie at work, protecting his brother from bullies, and steering his brother back home past crime scenes and gun shots. Late at night, he breaks into the shop where he works and takes the car he's been working on (which seems like a modified Charger BUT I have what could quantifiably be called the tiniest amount of car knowledge and I'm guessing at that based on the fact it kinda looks like Michael's car in Burn Notice. Seriously, that's the research I did on this) out to a street race, where the winner will be given fifty thousand dollars. He's on the verge of winning the race when a helicopter shines a light on him and demands he pull over. He tries to outrun and outmaneuver it, believing it to be the cops, but is eventually forced into an alley. He emerges from the car with his hands up, ready to give himself up in the hope of leniency, but he's promptly and brutally gunned down, slaughtered by men who apparently aren't cops but are a big ol' drug cartel seeking the contraband in his car's trunk (what, did you not even CHECK the trunk Robbie?). The men leave Robbie in the alley and set the car ablaze, preferring to leave no real evidence. The fire engulfs Robbie and out of it comes the all-new Ghost Rider, with a fresh set of wheels.

The best way to describe this book is "kinetic." It moves well both in pacing and in the art style. Tradd Moore's cartoony style allows him to draw speed lines and shooting flames without the slightest hint of irony and that's what makes the book work. Felipe Smith does his part by crafting a character who we can't help but like (literally can't help it. It's a real save-the-cat moment to have his first real act be saving his wheelchair-bound brother from the absolute worst people in the world but its hard to even see that as overly cynical because this is comics and comic characters are BUILT on doing exactly that sort of thing, brother or not) and with whom we sympathize. We want him to get out of East LA and we understand why he's willing to "borrow" the car to do it, even going so far as to enter an illegal street race and risk imprisonment or what-have-you. Also nice is that the appearance of Ghost Rider doesn't come as a complete surprise despite the fact that Robbie Reyes seems like an entirely good guy and Ghost Rider is a spirit of vengeance because Moore's art shows the spirit creeping in around the edges well before the final transformation. I could see people being turned off by the cartoony style of the book, perhaps even especially core Ghost Rider fans, but I think it's the best way for this book to work. Definitely a solid opening for ANGR (a pretty fantastic abbreviation for the series, far ahead of ALL-NEW X-FACTOR'S ANXF), worth checking in on before it gets too involved.

Silver Surfer 1
Slott (w) and M. Allred (a) and L. Allred (c)

Dawn Greenwood lives in Anchor Bay, a small seaside New England town, where she and her father run a very popular bed and breakfast while her twin sister Eve advertises for it worldwide (hard to say that you have to suspend your disbelief that a B&B would advertise all over the world when I'm going to go on to talk at great length about a character called the Silver Surfer without any such warning). Eve travels the world, just as she's always wanted, while Dawn stays at home in the little town she's always loved. Recently though, it's started to dawn on her (DAWN, GET IT?) that maybe she's missing out a little. MEANWHILE, Silver Surfer, in his endless quest to redeem himself for his past with Galactus, has saved the people of Brundlebus 3 by rekindling their sun with his power cosmic (they are a tiny people) and has subsequently been tabbed as champion by the very secretive Impericon, a planet that takes great pains to shield itself from Heralds of Galactus. Surfer is unsure what any of this means but he allows himself to be taken there and, eventually, agrees to be their champion against the foe they've been fighting for so long, a potential world-destroyer named the Never Queen. Unfortunately for Dawn Greenwood, Zed of the Impericon takes precautions in case their chosen champion refuses to help and, with a machine called the Motivator which shows the past, present, and future of a given champion, Zed has learned that the being who means the most to Silver Surfer in all the cosmos is Dawn Greenwood and has subsequently captured her in the hopes that Surfer will comply. Surfer is outraged that they would use such means, particularly as he had already agreed, but admits he doesn't know who Dawn is.

It's a brand new solo title for Silver Surfer and this one shows hints of sticking around. It seems like people are ready for a new SILVER SURFER and the team-up of Dan Slott's often fairly light-hearted writing and Michael and Laura Allred's always light-hearted and colorful art seems to be a near perfect blend. The first issue maybe cuts a few corners here and there, particularly with the introduction of the Motivator, a machine that seems specifically built to move this plot forward, an almost literal deus ex machina but like, one that just moves the story along instead of ending a story, but overall it's a good read and one whose tone and pace certainly work well. One of the strengths of this issue is the pacing; though there's a lot to establish here, as with any new series, Slott makes good use of quick cuts to keep the book flowing and to make sure readers want to keep up. No one really has time to feel bored throughout the course of the book which ensures people will at least have some sort of opinion by the end; the worst situation would be if no one finished the book, as is sometimes the case with Marvel cosmic characters and with regular human characters getting a spotlight, particularly new ones. It's certainly a good start for a book that I expect to do pretty well, particularly if this is the kind of effort that Slott and the Allreds are going to keep putting forth (which, knowing all of their past work, I'm sure it is).

Iron Patriot 1
Kot (w) and G. Brown (a) and Charalampidis (c)

It's a new age for James Rhodes as he trades in his War Machine look and name for the more peaceful sounding (depending on who you are) Iron Patriot. With the new name comes a new take on his role in the world; he's no longer going to be a weapon for the United States military to wield, but rather a homeland based defense and recovery asset. He's going to do what he can to make the United States better and to help the world where he can. His new role, which has been approved by Congress and the president, also means that he's been spending a bit more time with his father, Terrence Rhodes, and his niece Lila Rhodes, daughter of James' deceased sister. Lila is a budding engineer and quickly jumps to her uncle's aid when a member of Congress decries Rhodes' new position. As nice as the sentiment is and as powerful as it apparently is in this world (her online video supporting Rhodey goes viral very quickly), it unfortunately paints a bit of a target on Lila as a shadowy organization after Rhodes decides that they'll be kidnapping two people instead of one in their attempt to hurt Rhodey. He's hurt enough, though, when he attacks randomly appearing monsters in the Gulf of Mexico and his armor shuts down.

A new direction for Rhodes and a focus on his family life are the cornerstones to this young book and I think it's probably a good way to go. There have been enough stories about Rhodey's involvement with the military (though obviously this still plays on that because it's unavoidable) and with Tony Stark that getting away from it and deciding to focus on his family and, in turn, Rhodey as a person is likely the best way to get new stories out of him. There are very few military-based Marvel superheroes and even fewer that are military while they're superheroes. There are certainly stories to be told with the new Iron Patriot and writer Ales Kot clearly wants to explore those sorts of stories. Overall, the book works pretty well and the art style, though nothing particularly groundbreaking, works for the tone of the book. As nitpicky as this seems, the end of the book feels a little off as suddenly the narration changes to an almost memoir-esque narrative, with Rhodes talking about the events we're seeing in the past tense. It could very well be building to something bigger down the line with the tense change and the more formal sort of tone, but in the moment it's jarring and foreign. Still, doesn't ruin the book overall which is a fine first issue. Hooray, three for three on first issues debuting this week! Marvel is taking risks and launching new solo titles and they're WORKING. TWO of these, it should be mentioned, feature a minority in the lead role (I don't think "silver" is a minority). Long overdue and still probably not enough.

Comics this week

AAAAAAAHHHHH guys we got too comfortable! After a crazy loaded January to kick off 2014, we all settled right into a considerably slower February and March, reading and reviewing maybe 14-17 books a week, a totally manageable number. Now that number SKYROCKETS up to the mid-twenty range! We're talking 22, maybe 23 (if I count CAPTAIN AMERICA: HOMECOMING, a cinematic tie-in book, which I may or may not depending on availability and also how stressed I get) new releases this week. There are a handful I am not so excited about but, as ever, a bunch that I'm very excited about. Let's read about those some, hm?

All-New Ghost Rider 1
I'm not a big ol' Ghost Rider fan, whether we're talking Johnny Blaze or Danny Ketch or whoever. WELL THIS ISN'T ANY OF THOSE. Robbie Reyes picks up the (Robbie) reins as the all-new Ghost Rider in this already well-liked (well, by Marvel editor Tom Brevoort in any case) series. In any case, the book looks interesting as Marvel continues to want to put out a variety of different looking books for different types of fans. Hoping for a good debut for this all-new character.

Avengers Assemble 25
This is the final issue of AVENGERS ASSEMBLE, a book that has been steadily one of the more fun books in the Marvel Universe, giving us a look at how the Avengers work together and how they deal with some of the more not-so-Thanos related problems that may crop up. Continuing the arc with Spider-Girl, the Avengers will all finally come back together to stop the wicked Toxic Doxie herself, Dr. June Covington. Should be a good finale from aces Kelly Sue DeConnick and Warren Ellis.

Hawkeye 18
Back over to Katie-Kate on the other side of the country for some more West Coast Adventures! Things are right on the precipice of getting pretty crazy as the deranged Madame Masque has tracked her prey down and now no one in her new life is safe (except, one would hope, Lucky the dog). I know everyone at this point has checked this book out and also loves it so I hardly have to recommend it here but lookie here, that's what I'm doing.

Silver Surfer 1
Dan Slott kicks off a brand new SILVER SURFER series with artist Michael Allred and it aims, presumably, to humanize everyone's favorite cosmic being, the ever-popular Silver Surfer. Guys, I'm a pretty big Norrin Radd fan and a big fan of both Dan Slott (who I'm eager to see on a non-Spider-Man related book) and Michael Allred. Hoping that this one is a great new beginning to a an often under-seen character (though I have some amount of worry that, based on some of the promo art and previews, that it will kick off a little too similarly to the eleventh Doctor in Doctor Who).

Uncanny Avengers 18
Guys, I struggled and struggled with this one. There's so much coming out this week that it was really hard to pick the top five. Do I pick SUPERIOR SPIDER-MAN 30? What about AVENGERS 27 or NEW AVENGERS 16? And ANOTHER new launch with IRON PATRIOT 1? Man, who's to choose? So I went with UNCANNY AVENGERS because we ought to show it some respect. It's been building to this Planet X for a long time and now, fresh off the destruction of Earth, we're ready to see what it looks like after all that. Plus, talk about a sure thing. This book has been solid for 17 straight issues. Not many others out there can say that (it doesn't help my case that HAWKEYE is sitting right there, two entries up from this).

Nova 15, Thunderbolts 23

Nova 15
Duggan (w) and Baldeon and Pallot (a) and Curiel (c)

Nova rushes Cosmo to medical help and manages to get him there just in time and even ends up aiding the doctors in taking the poison out. Before Cosmo has fully recovered, Nova goes to try to slow up Skaarn's next plan, which involves using the continuum cortex transfer on Knowhere. It's essentially a teleporter and he wants to use it, with the assistance of a few other criminals, to break into a secure vault. He scouts ahead leaving the other criminals to wait and use the teleporter to enter as backup. Nova manages to catch up with the three other criminals and defeat them pretty handily, whipping out a couple more new skills, eventually throwing them into the teleporter without allowing them a chance to program it to where they wanted to go. It reverts back to the last destination used, sending them to Beta Ray Bill in Jotunheim. While they wait for Bill to return and for Skaarn's plan to become more evident while Cosmo heals, Sam uses the teleporter to return to school before he can get in any trouble for missing. He completes the day then heads back into space to finish the job. He and Bill meet up again and track Skaarn only to find that he's broken into the vault on his own and that the vault housed big time weapons, not money like Sam thought.

This is sort of a weird issue to critique because, like last issue, Sam spent most of the time this issue fighting obstacles we didn't know were going to be there and the outcome of the fights didn't actually seem to weigh on the completion of whatever mission they may have hurt or aided. To simplify, we had no idea about this vault heist plot until this issue, nor about the criminals Skaarn would need to complete the heist. However, when Nova defeats the criminals, it doesn't seem to stall Skaarn's plan even a little bit. It's hard to say that this was a worthwhile little pit stop since it seems almost entirely unrelated to any plan while posing as something related to the main plan. So it's a weird issue to critique because it's not necessarily a bad issue, per se; it's still rather entertaining, we get a nice little fight scene and we learn a little bit more about Sam (plus some decent Beta Ray Bill), it's just not an issue that feels like it belongs in this story and it seems like little more than a filler story because of that.

Thunderbolts 23
Soule (w) and Jacinto (a) and Silva (c)

It's Deadpool's turn to call a mission but Flash asks Deadpool to cede his mission time over to him, saying that he's going to be leaving the team and wants the team to complete his mission before he's gone. Deadpool is hesitant but when he hears that Flash wants the team to take down the symbiote, he's onboard. Flash says it's getting to hard to control the symbiote with the team considering how much killing they have to do and he wants to see them take it down. He lets the symbiote take control and it beats all of them (save for Deadpool) individually before they decide they need to work as a team to take down Venom. They manage to come together just well enough to separate the symbiote from Flash and contain it. Red Hulk asks Flash if he wants them to contain or destroy the symbiote but Flash declines, saying that it always finds a way to survive and he knows he can control it so he'll continue to wear it. As Flash departs with the symbiote bonded to him once more, Ross tells him that he understands the Flash wants and needs the symbiote but that the mission was good for him in proving that someone is capable of taking down the symbiote if it ever gets out of hand.

There's a lot of really good stuff in this issue. As ever, there are several laugh out loud moments, particularly as Deadpool, who claims he has contingency plans to take down any of his teammates at a moment's notice, showcases his anti-Venom plan that involves drawing on his costume to make it look like Spider-Man and setting it up as bait under a plane ready to drop on any incoming assailants. On top of the funny moments, there's a real core to this issue. Obviously there's something to the Flash-Venom relationship that's always somewhat interesting in the idea that Flash understands the power and danger of the symbiote but knows he can control it and, more telling, knows he wants/needs it. Even beyond that, though, Venom yells some things while it's in control that, as Flash later reveals, aren't lies but are somewhat damaging to the ego of the group, including the idea that Flash also kind of has a crush on Elektra and wouldn't mind if Punisher died, that Flash thinks Ghost Rider is an abomination, and that Flash thinks Red Hulk is the worst of the entire group. It's still a nice issue and one that ends a little bittersweet as Flash admits to Ross that the symbiote doesn't lie about things but that he believes people are capable of changing. Sad to see Venom leave the team but I don't think the roster is a lot weaker for it, especially considering the recent addition of Ghost Rider.

Rating the modern Marvel movies (part one: 27-19)

HEY DUDES AND LADYDUDES. Been a bit of a while since I've made a Monday post (probably. Look, I can't be bothered to remember days) and I've never officially rated the available Marvel movies (though, of course, these ratings will change in just a few short weeks when Captain America: Winter Soldier comes out). So, you know, we're doing that today. Because I saw a list recently that rated them and, well, you know, every one of these sorts of things is obviously subjective but that one was objectively wrong so LET'S DO IT.

27. Ghost Rider
Guys. Nic Cage. A weird thing about jelly beans. Absolutely no personality. And obscenely boring, even considering the fact the protagonist is a guy with his head on fire. Bad and boring, really bad combination.

26. Punisher
In much the same fashion, Punisher is both boring and uninteresting. Again, a man who takes vengeance on criminals of every size and shape just because he hates crime and criminals and his family were killed and STILL I'M ASLEEP, you guys.

25. Fantastic Four
Readers of this blog are probably aware of how much I love Chris Evans but even he couldn't save what amounted to another boring and uninteresting movie. Of course, it doesn't help that it's the Fantastic Four and they're boring already. Ah well, can't win 'em all.

24. X-Men: The Last Stand
The only reason - the only reason - that this one made it past Fantastic Four is Madrox. Sadly, he didn't appear in more than maybe thirteen seconds of this movie. So, you know, that's problematic. Just real ugly plot and character moments and bad writing and everything. The writing, though, is worse on our next entry.

23. Spider-Man 3
I'm just as surprised as you are that this one ended up as high as it did. Or low. The terms are getting hard, you guys. This. Movie. Is. Garbage. It makes me rethink my love of Marvel every time I catch a piece of it on TV. There's literally a point where Harry Osborn says "I used to protect you in high school and now I'm going to kick your ass!" It's something like that and it makes me lose faith in writing and goodness as a concept every time I think about it which, as you can see, is too often.

22. Ghost Rider: Spirit of Vengeance
Also real bad, very much in the same way as the other Ghost Rider but it went for it just a little more. Everyone knew what this movie was going to be like after the first movie. It embraced the ridiculousness of it but, you know, while that earns it points it certainly doesn't make it good.

21. Fantastic Four: Rise of the Silver Surfer
Still boring. Still Fantastic Four. Add in the Silver Surfer and it's better. Add in a Galactus level threat but refuse to actually show Galactus because apparently a man bigger than the entire world with a silly world-eating hat is somehow too ridiculous for a movie that stars four people with powers granted by...space, I guess?

20. Elektra
Extra points go out to this one because they tried to make a female-led movie a decade before it would even enter the conversation. Of course, that earns it exactly enough goodwill to enter the top 20 AND NO MORE THAN THAT. Not a winner, you guys.

19. Hulk
Before Ang Lee won the Academy Award for Best Director for Brokeback Mountain and for Life of Pi, he directed Hulk, a really messed up movie that co-stars Nick Nolte, if that says anything about it. Ang Lee brings a lot of interesting decisions to the movie, including a lot of comic book layout feel to parts of it, but that doesn't, you know, make it a good movie at the end of the day.



Part two comes out LATER TODAY, PROBABLY!

Deadpool 24, Thunderbolts 22

Deadpool 24
Posehn and Duggan (w) and Hawthorne (a) and Bellaire (c)

It's time for Preston to go into her own body but it turns out Deadpool is having a bit of a harder time letting go than he thought. For all his solitude and multiple personalities, he had gained someone real to talk to and apparently had benefitted from that. Still, he goes to SHIELD to have the process done but, after the transfer begins, problems arise. Agent Gorman had sabotaged the machines making it harder to hold everything together as Preston's consciousness goes into her new body. To help keep everything together, Michael, Ben Franklin, and Dr. Strange travel into Deadpool's mind only to find it overrun by other versions of Deadpool all intent on keep Preston from transferring. Strange realizes that these rogue Deadpools weren't caused by the machines, they're pieces of Deadpool rebelling on their own, something only Deadpool can stop. With some reluctance, he does and he carries Preston to her new home himself, helped by one of the Deadpool versions who refuses to identify himself except as someone who he hasn't met yet before mysteriously leaving. The transfer appears to be successful as Preston later wakes up in her new body but it's not over yet as Deadpool, sulking in a bar, discovers Preston is still in his head.

One of the things people love to do, particularly with Deadpool, is show off various different versions of him. It's a thing artists and writers like to use for all characters across dimensional rifts and the like but Deadpool adds a certain layer of fun to the proceedings because, as we saw in DEADPOOL KILLS DEADPOOL, Deadpool is such a wild card that any sort of amalgamation Deadpool you can build is a possibility. You can have Beespool, a Deadpool filled with bees, where you can't have Beesghost Rider (though Nic Cage may disagree and would likely sign on for a film combining Ghost Rider and The Wicker Man). So the book is helped by an ample dose of separate personality Deadpools, though these ones are largely tame considering what we're used to seeing. The story is the culmination of the long journey from Preston's head to Deadpool's head and finally back to Preston's head but it's hard to say that everything's over just yet as we still need to figure out exactly why Preston is still showing up for Deadpool. Is he just crazy? Probably! Crossbones may be the only one available to get to the bottom of it next time out, as he entered the bar just as Preston revealed herself.

Thunderbolts 22
Soule (w) and Barberi (a) and Silva (c)

The contract is completed and signed and the Thunderbolts are tasked with deposing Guido, the ruler of Hell, in favor of Mephisto, pretty much the actual devil. Though it's a slight wrinkle in Red Hulk's plan, he and the rest of the Thunderbolts begin the fight against Hell's Court, all the demons and monsters the create the first line of defense for Guido. It's a long and arduous fight and Ghost Rider, preferring to skip it, grabs hold of Red Hulk and the two take off to head straight at Guido. Back on Earth, Mercy attacks Punisher and Elektra. Though they manage to survive her attacks, she's immensely more powerful and seemingly unstoppable, leaving them in a bit of a bind. Back in Hell, Guido tells Red Hulk the very short version of how he got there and how he doesn't want to leave because he needs to find his soul and he's actually doing good for people, or as much good as he can, and he can't leave Mephisto in charge of that. Red Hulk convinces Guido to yield and Mephisto takes his throne. He fulfills his part of the bargain and brings Mercy into Hell, dropping Punisher and Elektra from quite a height as she's whisked away, and granting Deadpool his wish of a portal to anywhere he pleases. Deadpool uses the portal, apparently, to enter Heaven and get a new and better feather for his hat, leading an entire Heavenly Host to Hell as Mercy appears and begins to call all the souls to her. Mephisto, of course, is pissed but can't punish the T-Bolts as one of the stipulations of the contract was no retaliation. They return to Earth to find Elektra trying to save an immensely injured Punisher but, before they can come up with a plan of action, Deadpool's new feather reaches out to Frank and restores him with angel powers. Johnny Blaze officially joins the team.

More fun stuff as this book continues to be one of the best that Marvel's putting out consistently. It's found that perfect mix of action and fun without having to get too over-the-top in either. The characters are all their own and have their own distinct personalities and styles and the situations play to all of them equally. Even the sort of deus ex machina of the angel feather saving Frank's life is all built up to, making it less of a deus ex and more of a well-scripted machine. We all know how much I like this series and it just continues perfectly here but I really want to call attention to the covers now. Julian Totino Tedesco has been doing the covers for much of this recent run and he has been absolutely killing it out there. More than the fact that each cover, even aside from the fact I know what to expect from the book, makes me want to buy each issue, his covers completely mix the fun and seriousness in exactly the same amounts and ways that Soule mixes it in his writing. They're the perfect complement to this book in the same way that Mike del Mundo's covers perfectly complemented Spurrier's weird and lovely X-MEN LEGACY. Tedesco's covers unfailingly make me laugh and make me think about the book and the art itself is stunning in its own right. Marvel's been doing a great job with covers lately, from LEGACY and THUNDERBOLTS to the baby/animal variants to the noir-ish ones like WINTER SOLDIER: BITTER MARCH to the simplistically stunning HAWKEYE to anything Jamie McKelvie does. Wonderful stuff.

Guardians of the Galaxy 11, Miracleman 2, Thunderbolts 21

Guardians of the Galaxy 11
Bendis (w) and Pichelli (a) and Ponsor (c)

The Guardians of the Galaxy are still on the search for Thanos and still hunted by J-Son for defying his orders to stay clear of Earth. This doesn't stop Peter Quill from going to all of his favorite seedy places either hoping they won't look in some place so obvious or hoping to get into a fight, depending on who you ask. He, of course, ends up being drugged by a Skrull bounty hunter and carried away. The Skrull doesn't get far, though, as Gamora and Angela happen to be nearby and see the female Skrull coming out of the bar with Quill. The two stop her and Angela, to the chagrin of Gamora, beheads her. They all return to the ship to find that Rocket has bugged a Badoon frequency and they hear talk of a recent council meeting that ended with the Shi'ar vowing to take Jean Grey from Earth and put her on trial for her crimes as the Phoenix. The Guardians decide to stop it and, as we saw in the last ALL-NEW X-MEN, arrive just a few moments too late.

One of my problems with GUARDIANS OF THE GALAXY (and, in truth, Bendis as a whole on occasion) is that it sometimes feels like it wants to wholly disregard the rest of the Marvel Universe, both from the past and in the present. There's a debate about whether a writer in comics should be bound by a character's often long and complicated chronology or if that writer should tell the story worth telling with the character, even if it conflicts with something in the history. I tend to believe more in the latter because I think times change and these characters are ridiculously old in some cases. However, I think some deference should be paid to the character itself. For example, I think Peter Quill did have that wry sense of humor back in his past but he was a bit more serious and a bit more of a true leader type, reluctant as he may be to accept it. This one seems like a full-on goof with an occasional Mal Reynolds-like flair for the dramatic. I think part of his change to flippancy is the upcoming Guardians of the Galaxy movie, which has cast Chris Pratt, known best for his comedic turn as Andy in Parks and Recreation, in the role of Peter Quill. Still, it paints a different picture of Quill in the comics than what we'd seen before, seemingly changing his character to something it wasn't. In terms of the present-day incongruities, J-Son betrayed the council in INFINITY and, I guess I took it as assumed, the council knew of his betrayal. Captain Marvel and the Avengers knew for sure, I suppose it's possible that Captain America, learning the news, wouldn't have told anyone else in the council? It...seems unlikely. Yet here they are, their whole council reconvened and not mentioning it with J-Son flippant as his son for no real reason. Perhaps this, and other Bendis books, are meant to only be read as one series, telling the story he set out to tell with the characters with which he set out to tell it. Maybe they read perfectly fluidly by themselves. But when you're part of a bigger universe like this, you at least have to play by the rules of that universe a bit, not just when they're helpful to you (the Shi'ar must punish Jean Grey for her crimes as the Phoenix).

Miracleman 2
Moore (w) and Leach (a) and Oliff (c) and Anglo (w and a)

A couple more collected stories from WARRIOR as we see the first meeting between Mike Moran and Johnny Bates since Moran's memory of Marvelman returned. Johnny Bates, of course, was Kid Marvelman back in the early days but now, claiming to have lost his powers in the explosion that killed Young Marvelman, he's a normal human who owns an incredibly successful tech company. He invites Mike and Liz to his offices to talk but Mike quickly realizes things aren't as they seem. He asks Liz to leave and accuses Johnny of still having his powers and of lying for some nefarious purpose, which is certainly the case as Johnny reveals that he kept his powers after the explosion and now found himself the most powerful being on Earth at 16 and with no one to stop him. He, of course, is now a sociopath who wants only to rule and to destroy and his powers are stronger and he's more experienced than Marvelman. He annihilates Marvelman in combat and turns to face London as he wonders what to do next.

It's certainly an enticing story, one with an equal parts tragic and terrible villain for Marvelman's return to the modern era (safe and sound in good old 1982). It's a classic superhero story as the superhero gains his powers (or, in this case, regains) and finds himself pitted against an ultimate foe, someone seemingly better than him in every way and who has a personal connection to our hero. Most interestingly, this book reads like a modern comic more than most other books from the early '80s, without too much over explaining and with art that would fit into today's pantheon as well as any other era's. For someone who is solely a modern day reader, you may find the narration captions a bit overkill (though there are still some books that employ narrative captions today, they're far and few between. The biggest example I can think of from current Marvel is UNCANNY AVENGERS but even that one varies in how often it uses them, issue-to-issue) but that doesn't take anything away from the writing. Good book, certainly worth checking out and comparing to the books of then and now. Or just reading it because it's pretty good.

Thunderbolts 21
Soule (w) and Barberi (a) and Silva w/ Campbell and Mason (c)

The majority of the Thunderbolts are in Hell with Ghost Rider while Elektra and Punisher await their return with something resembling patience. In Hell, Ghost Rider tries to find a personal hell, a hell crafted specifically by a demon to ensure maximum punishment and pain to a single inhabitant, because those are easier to return to Earth from. However, their search for the perfect hell draws the notice and ire of Mephisto, who had since claimed Red Hulk as his own personal plaything. Unfortunately for Mephisto, he's no longer ruler of Hell and can't really enforce his ownership over the hell mark on Red Hulk's chest. This leads Leader to an idea: make an actual deal with the actual devil to get them out of Hell and put Mercy in it in exchange for dethroning the new ruler of Hell, who, of course, turns out to be Guido, formerly of X-Factor. Meanwhile, Elektra and Punisher go on an assassin journey as Elektra gets a job while the others are out of town. As Punisher begins to question how Elektra can know that she's assassinating people who deserve it, the entire house they're staking out is abruptly and violently destroyed. Mercy appears to Elektra, fresh off destroying the house, and demands to know where Red Hulk and Leader are.

Another good issue as the Thunderbolts are separated and have plenty to deal with on their plates. There's a nice moment for Leader as he gets to exercise his brain a bit constructing a legally binding contract with the devil. It's also an interesting juncture for the reader as we have to wonder whether he's putting things in there that will hurt Red Hulk or, say, Deadpool, who wants his own secret request added into the contract. Meanwhile, Ghost Rider chats with Venom about the purpose of the team and seems into the idea, leading to the probable induction of a new teammate. It's all made even more compelling as the Thunderbolts realize that Guido is the new ruler of Hell and they'll have to kill someone who's been a pretty good guy in the past in order to get what they want and fulfill their promise to Mephisto. As if that weren't enough to entertain, Elektra and Punisher, the two potentially least powerful members of the team (or, at least, most human, somehow), have to face down Mercy while the Thunderbolts in Hell get their business together. Should be a fun time because this book is constantly a fun time.