written by Mark Waid
drawn by Humberto Ramos (p) and Victor Olazaba (i)
colored by Edgar Delgado with Nolan Woodard
After coming up with five issues that were more notable for their advocacy than their actual craft, writer Mark Waid and penciler Humberto Ramos clearly sat down, cracked their knuckles, and decided to infuse their "evangelism" with a bit more narrative punch for the next few issues. The results speak for themselves; Champions, Vol. II, or "The Freelancer Lifestyle" is, despite a few niggles, a noticeably stronger effort than the first compilation of issues.
The first and only multi-issue story arc in this collection deals with the Freelancers, a group of young mercenaries who are essentially the antithesis of everything the Champions stand for. They prey on the weak on behalf of the strong, and are concerned solely with the bottom line. Facing off against them proves to be (so far) the Champions' biggest challenge as a team. Other stories, all of which are one-shots, include a solo adventure of Viv Vision in which the character of Red Locust is introduced, a couple of done-in-one "Secret Empire" tie-ins, and a nice, old-school superhero story focusing, on, of all people, Cyclops.
Waid's advocacy is still the driving force behind this book, and the first three issue arc works pretty well, certainly better than the "Secret Empire" tie-ins, but it's nice to see Waid indulging in more traditional superhero storytelling, particularly in the Cyclops and Viv Vision solo stories. It's nice to see this team starting to gel, as it makes the stories flow a little more easily, and even the overt "SJW" arguments feel a bit more organic. I never thought I'd say this, but I dare say I'm enjoying his work here more than I am his supposed "A-list" work over on "Captain America" with Chris Samnee. He seems to have kind of stalled out of the gate with that one.
Ramos' artwork is pretty consistent with what he's done before and his work still pops in the right places, but he gets a little sloppy in some of the issues, even by his sketchy standards. Samnee's still the guy for me, though like I wrote before, Ramos is really a good fit, not just for this book but for these characters. I also quite like the new character he and Waid have introduced: the Red Locust. It's nice to see a person of color in an all-new role as opposed to someone who just assumes a previously established character's name/mantle (e.g. most of the Champions themselves).
Things should get interesting with the next collection as the Champions will find themselves locked in conflict with their former mentors and idols, the Avengers themselves.
8.5/10
Sunday, December 31, 2017
Friday, December 29, 2017
Coming Home: A Review of Runaways #4
written by Rainbow Rowell
drawn by Kris Anka
colored by Matt Wilson
As the first story arc of the revival of the Runaways comics series nears its conclusion, things take an abrupt left turn as a most unexpected character makes a decision that shocks nearly everyone else, possibly including most readers.
The newly-reassembled Runaways (Nico, Chase, the time-displaced Gert, along with the, um, silent head of Victor), having failed to recruit Karolina Dean, who is happily enrolled in college, pay a visit to Molly Hayes, only to find her nicely-settled in at her grandmother's house, something readers have known for a few issues now. Understandably, Molly isn't keen on leaving with them, considering that unlike the time that Gert was yanked out of, these days there's nothing to run away from. Gert has a bit of a heart-to-heart with Molly's grandmother, whose murderous daughter and her husband were members of the Pride, the criminal organization who were actually the Runaways' parents and who met their grisly end several years ago. Things don't quite turn out as planned.
Resurrection of a dead character, by one means or another is such a well-worn story trope over at Marvel that it is genuinely refreshing to see Rainbow Rowell's take on how a resurrected character, in this case Gert Yorkes, adapts to her new lease on life. Having failed to convince Karolina to leave her new life behind, Gert, in her effort to lure Molly away, comes across as desperate and, later broken. It's interesting reading, although it's clear that Rowell is far from done with this story; there are surely twists in store, and I'm eager to see what they are. It was also nice to finally see one of the returning team members putting in some face time. To say more would spoil a pleasant surprise. I know this story is setting up at least another six issues, but for once, I don't mind. Such is the case when the story is as well-put together as this one is.
Finally, Chris Anka knocks yet another issue out of the park. These two really are a fantastic creative team, and this book looks the best it has since the days of Adrian Alphona. I can think of no higher praise.
Anyway, I know there are only two issues left in this story, but I'm hopeful they'll be good ones!
9/10
drawn by Kris Anka
colored by Matt Wilson
As the first story arc of the revival of the Runaways comics series nears its conclusion, things take an abrupt left turn as a most unexpected character makes a decision that shocks nearly everyone else, possibly including most readers.
The newly-reassembled Runaways (Nico, Chase, the time-displaced Gert, along with the, um, silent head of Victor), having failed to recruit Karolina Dean, who is happily enrolled in college, pay a visit to Molly Hayes, only to find her nicely-settled in at her grandmother's house, something readers have known for a few issues now. Understandably, Molly isn't keen on leaving with them, considering that unlike the time that Gert was yanked out of, these days there's nothing to run away from. Gert has a bit of a heart-to-heart with Molly's grandmother, whose murderous daughter and her husband were members of the Pride, the criminal organization who were actually the Runaways' parents and who met their grisly end several years ago. Things don't quite turn out as planned.
Resurrection of a dead character, by one means or another is such a well-worn story trope over at Marvel that it is genuinely refreshing to see Rainbow Rowell's take on how a resurrected character, in this case Gert Yorkes, adapts to her new lease on life. Having failed to convince Karolina to leave her new life behind, Gert, in her effort to lure Molly away, comes across as desperate and, later broken. It's interesting reading, although it's clear that Rowell is far from done with this story; there are surely twists in store, and I'm eager to see what they are. It was also nice to finally see one of the returning team members putting in some face time. To say more would spoil a pleasant surprise. I know this story is setting up at least another six issues, but for once, I don't mind. Such is the case when the story is as well-put together as this one is.
Finally, Chris Anka knocks yet another issue out of the park. These two really are a fantastic creative team, and this book looks the best it has since the days of Adrian Alphona. I can think of no higher praise.
Anyway, I know there are only two issues left in this story, but I'm hopeful they'll be good ones!
9/10
Wednesday, December 27, 2017
Emblematic: A Review of Astonishing X-Men #6
written by Charles Soule
illustrated by Mike del Mundo
The first arc of the new Astonishing X-Men series ends (spoiler alert) on a distinctly anti-climactic note. Quelle surprise!
Professor Xavier finally makes his move; having lulled the Shadow King into complacency, he strikes, breaking his hold over the possessed X-Men, but not, unfortunately, over the hapless citizens of London, who remain zombified somehow. Meanwhile, with Warren Worthington having uncorked his deadly alter ego Archangel, the question now arises of whether or not he'll be able to rein in his murderous impulses, especially with the impending threat of a bomb about to be dropped on London to cleanse it of its "infection."
This issue is really a shame. Mike del Mundo's art is fantastic; arguably the best this book has seen since Jim Cheung launched it six months ago. Unfortunately, it can't save a disjointed and woefully anticlimactic story. I remember when Joss Whedon launched this title's first iteration in 2004; the first six issues really popped. I remember how Whedon and collaborator John Cassaday followed up Grant Morrison's well-loved run on the X-Men books by going in a completely different direction. They replaced the Matrix-inspired black leather and somber, surreal tone with straight-up, full-color superheroics, and it was glorious. The first six issues alone (out of his eventual run of twenty-five) were a joy to read, and wonderfully self-contained. I remember how the return of Colossus, who up until that point had been believed dead, made issue #4 an event in and of itself.
This strange hodgepodge of different artists is a far, far cry from the glory days of Whedon and Cassaday, and is emblematic of some of the really poor editorial choices that have plagued Marvel in the last several years. It's no secret that Marvel's sales have been dropped, behaving in inverse proportion to the box-office performance of their movies. I imagine it's decisions like this that cost erstwhile Marvel editor-in-chief Axel Alonso his job.
Don't let the door hit you on the way out, Axel.
5/10
illustrated by Mike del Mundo
The first arc of the new Astonishing X-Men series ends (spoiler alert) on a distinctly anti-climactic note. Quelle surprise!
Professor Xavier finally makes his move; having lulled the Shadow King into complacency, he strikes, breaking his hold over the possessed X-Men, but not, unfortunately, over the hapless citizens of London, who remain zombified somehow. Meanwhile, with Warren Worthington having uncorked his deadly alter ego Archangel, the question now arises of whether or not he'll be able to rein in his murderous impulses, especially with the impending threat of a bomb about to be dropped on London to cleanse it of its "infection."
This issue is really a shame. Mike del Mundo's art is fantastic; arguably the best this book has seen since Jim Cheung launched it six months ago. Unfortunately, it can't save a disjointed and woefully anticlimactic story. I remember when Joss Whedon launched this title's first iteration in 2004; the first six issues really popped. I remember how Whedon and collaborator John Cassaday followed up Grant Morrison's well-loved run on the X-Men books by going in a completely different direction. They replaced the Matrix-inspired black leather and somber, surreal tone with straight-up, full-color superheroics, and it was glorious. The first six issues alone (out of his eventual run of twenty-five) were a joy to read, and wonderfully self-contained. I remember how the return of Colossus, who up until that point had been believed dead, made issue #4 an event in and of itself.
This strange hodgepodge of different artists is a far, far cry from the glory days of Whedon and Cassaday, and is emblematic of some of the really poor editorial choices that have plagued Marvel in the last several years. It's no secret that Marvel's sales have been dropped, behaving in inverse proportion to the box-office performance of their movies. I imagine it's decisions like this that cost erstwhile Marvel editor-in-chief Axel Alonso his job.
Don't let the door hit you on the way out, Axel.
5/10
Saturday, December 23, 2017
Keep Your Friends Close...And Your Enemies Closer: A Review of Daredevil #596
written by Charles Soule
drawn by Stefano Landini
colored by Matt Milla
Following the shocking revelation that Daredevil's arch-nemesis Wilson Fisk, also once known as the Kingpin of Crime, has been elected mayor of New York City, DD, who ended the last issue with a harsh exchange of words with Mayor Fisk, quite literally finds himself in the crosshairs of the New York Police Department, having been (of course falsely) accused of attacking the mayor. It's a close call for Matt Murdock, who receives timely assistance from one of his allies. In the end, Matt realizes that to really take the fight to Fisk, he will have to do the unthinkable.
Charles Soule takes his ambitious storyline in a very interesting direction with this issue, and honestly has me wondering just what Matt will do next. What really gratifies about this story, and where it appears to be headed, is that whatever Murdock will do, his wits will be integral to his victory. Clearly, he's not going to be able to punch his way out of this one, and it's really interesting to see where Soule is headed with this. Bashing Marvel's printed output is quite en vogue these days, and I get that, but most respectfully, I'll have to submit that this title is an exception to that rule. Soule gets Matt quite well, and having reconciled his run and its dark tone with what came before it, using a device that is completely in continuity, he's really put his stamp on DD in the same way Mark Waid did. A pity Soule doesn't have a collaborator quite as capable as Chris Samnee was when he and Waid worked on this book together.
Speaking of the art, Stefano Landini delivers another well-drawn issue, and my only regret is that he apparently won't see the entire story arc through; series regular Ron Garney returns to illustrate the last two or three parts of this story. As much as I've come to appreciate Garney's work on this series, I'd really have preferred some consistency. As my reviews of Astonishing X-Men have made clear, I'm no fan of rotating artists, especially not within a single story.
Of all the comics I'm reading these days, this is the one that's got me waiting with bated breath for the next issue, especially now. This was a really good way to bring the character into his 600th issue, and I hope the payoff is every bit as good as it promises to be.
8.5/10
drawn by Stefano Landini
colored by Matt Milla
Following the shocking revelation that Daredevil's arch-nemesis Wilson Fisk, also once known as the Kingpin of Crime, has been elected mayor of New York City, DD, who ended the last issue with a harsh exchange of words with Mayor Fisk, quite literally finds himself in the crosshairs of the New York Police Department, having been (of course falsely) accused of attacking the mayor. It's a close call for Matt Murdock, who receives timely assistance from one of his allies. In the end, Matt realizes that to really take the fight to Fisk, he will have to do the unthinkable.
Charles Soule takes his ambitious storyline in a very interesting direction with this issue, and honestly has me wondering just what Matt will do next. What really gratifies about this story, and where it appears to be headed, is that whatever Murdock will do, his wits will be integral to his victory. Clearly, he's not going to be able to punch his way out of this one, and it's really interesting to see where Soule is headed with this. Bashing Marvel's printed output is quite en vogue these days, and I get that, but most respectfully, I'll have to submit that this title is an exception to that rule. Soule gets Matt quite well, and having reconciled his run and its dark tone with what came before it, using a device that is completely in continuity, he's really put his stamp on DD in the same way Mark Waid did. A pity Soule doesn't have a collaborator quite as capable as Chris Samnee was when he and Waid worked on this book together.
Speaking of the art, Stefano Landini delivers another well-drawn issue, and my only regret is that he apparently won't see the entire story arc through; series regular Ron Garney returns to illustrate the last two or three parts of this story. As much as I've come to appreciate Garney's work on this series, I'd really have preferred some consistency. As my reviews of Astonishing X-Men have made clear, I'm no fan of rotating artists, especially not within a single story.
Of all the comics I'm reading these days, this is the one that's got me waiting with bated breath for the next issue, especially now. This was a really good way to bring the character into his 600th issue, and I hope the payoff is every bit as good as it promises to be.
8.5/10
Home of the Brave? More Like Travels of the Timid: A Review of Captain America #696
written by Mark Waid
drawn by Chris Samnee
colored by Matt Wilson
Cap's post Secret-Empire status quo continues as Steve Rogers continues his road trip across America, this time stopping over in Sauga, Atlanta, where he is mobbed by an adoring public, and where he happens to run into--surprise, surprise--another bad guy, this time the masked villain Swordsman, or at least, someone new assuming the guise.
When Mark Waid and Chris Samnee launched a new status quo for Daredevil three years ago, they started off with a very strong, done-in-one first issue, then, with the second issue, launched into a genuinely interesting story involving the Shroud, a one-time hero who had fallen on hard times and had sort of turned to the "dark side," and one of DD's longtime foes, the Owl. It was absorbing stuff, and though there were some flaws in the execution, Waid and Samnee still turned in excellent work.
Here, two issues into their new, highly-anticipated run on Captain America, the dynamic duo already appear to be stuck in a rut. For the second issue in a row, they have Cap traveling to a small town in America and facing off against a B-list villain. I get that there's a theme running through these first few issues, but it would help if the storytelling didn't feel distinctly bland. Both creators (yes, even Samnee, whose work I usually adore) appear to have been sleepwalking through this one. Notably this issue doesn't even bother to acknowledge that not too long ago, Cap, or at least someone wearing his face, was the biggest supervillian in the entire Marvel universe, not even with a line of throwaway dialogue, like they used last issue.
Now, it strikes me Waid has plans for this character and that these initial, vanilla stories are to lull readers into complacency before he shows his hand, but really, that's no excuse for this kind of perfunctory storytelling. I'm having a hard time believing how safe Waid is playing things, especially considering how, over in other books, he is more than willing to weather fanboy ire with his "social justice warrior" advocacy over in his Champions book. Here, it's basically just "villain of the month" every month so far, and I know that, even in the short span of two issues, Waid is capable of so much more, and so is Samnee.
I'm still waiting for this new team to come good; such is the goodwill they have that I am willing to forgive issues as conspicuously mediocre as this. But at the equivalent of over four dollars a pop for a paltry twenty pages, things had better start getting better real soon.
6/10
drawn by Chris Samnee
colored by Matt Wilson
Cap's post Secret-Empire status quo continues as Steve Rogers continues his road trip across America, this time stopping over in Sauga, Atlanta, where he is mobbed by an adoring public, and where he happens to run into--surprise, surprise--another bad guy, this time the masked villain Swordsman, or at least, someone new assuming the guise.
When Mark Waid and Chris Samnee launched a new status quo for Daredevil three years ago, they started off with a very strong, done-in-one first issue, then, with the second issue, launched into a genuinely interesting story involving the Shroud, a one-time hero who had fallen on hard times and had sort of turned to the "dark side," and one of DD's longtime foes, the Owl. It was absorbing stuff, and though there were some flaws in the execution, Waid and Samnee still turned in excellent work.
Here, two issues into their new, highly-anticipated run on Captain America, the dynamic duo already appear to be stuck in a rut. For the second issue in a row, they have Cap traveling to a small town in America and facing off against a B-list villain. I get that there's a theme running through these first few issues, but it would help if the storytelling didn't feel distinctly bland. Both creators (yes, even Samnee, whose work I usually adore) appear to have been sleepwalking through this one. Notably this issue doesn't even bother to acknowledge that not too long ago, Cap, or at least someone wearing his face, was the biggest supervillian in the entire Marvel universe, not even with a line of throwaway dialogue, like they used last issue.
Now, it strikes me Waid has plans for this character and that these initial, vanilla stories are to lull readers into complacency before he shows his hand, but really, that's no excuse for this kind of perfunctory storytelling. I'm having a hard time believing how safe Waid is playing things, especially considering how, over in other books, he is more than willing to weather fanboy ire with his "social justice warrior" advocacy over in his Champions book. Here, it's basically just "villain of the month" every month so far, and I know that, even in the short span of two issues, Waid is capable of so much more, and so is Samnee.
I'm still waiting for this new team to come good; such is the goodwill they have that I am willing to forgive issues as conspicuously mediocre as this. But at the equivalent of over four dollars a pop for a paltry twenty pages, things had better start getting better real soon.
6/10
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