written by Jason Aaron
penciled by Ed McGuiness and Paco Medina
inked by Juan Vlasco, Mark Morales and Jay Leisten
colored by David Curiel
Having been revealed as the collaborator of the Dark Celestials, Loki immobilizes the few Avengers assembled, namely Iron Man, Thor and Captain Marvel, and stops them from detonating the warp grenades that would send this world-ending group of space beings into the sun. Steve, however, detonates the grenade, sending himself, the Dark Celestials, and Loki into the sun, with surprising results. Meanwhile Ghost Rider, She Hulk, Doctor Strange and Black Panther converge in the center of the earth, where they learn startling truths about the invasion they're experiencing. In the end, the team, sans Cap, meets in New York, and realize that the threat is far from over.
It's really not rocket science as to why Marvel relaunched this book with A-list creators, but it is mind-boggling why those A-list creators have simply not lived up to the hype. This issue goes a bit heavy on exposition with Loki explaining to a captive Steve Rogers what's going on, and with the rest of the team converging and sharing notes. It's basically the "talking heads" issue of the story and if I may be honest, I feel the action moves excruciatingly slow here.
Usually, my consolation prize for toiling through these issues is Ed McGuinness' spectacular art, but that's not even the case here as for whatever reason Paco Medina has to contribute several pages to this issue. Now, Medina is a competent enough artist, but considering he's filling in for McGuinness, the disparity in the art is glaring, especially considering that much of Medina's art looks like it was rushed.
I had once thought that I'd be sorry once this first story arc was ended, but given that Sara Pichelli will be doing a one-shot, followed by David Marquez on multiple issues, its seems like it's something to look forward to instead.
I just hope Jason Aaron gets his head back in the game.
6/10
Saturday, June 30, 2018
A Perfect Send-Off: A Review of The Amazing Spider-Man #801
written by Dan Slott
drawn by Marcos Martin
colored by Muntsa Vicente
Following the tragic, brutal conclusion of the "Red Goblin" storyline, which left one of Peter's key supporting cast dead (at least for now), outgoing writer Dan Slott winds up his tenure with a considerably more upbeat, rather pleasant one-shot of a story focusing less on Spider-Man and more on one of the people he saved very early in his career, humble everyman Kenneth Kincaid.
The story opens the early days of Spidey's career; Uncle Ben has only just died, and Spider-Man is still a relatively unknown crime fighter. Kenneth Kincaid has somewhere very important to be, but stops at a convenience store to sate his smoking habit. The decision to buy cigarettes nearly proves disastrous as the store Kincaid enters is being robbed. Fortunately, Spider-Man comes on the scene and saves the day, stopping the robbery and enabling Kenneth to keep one of the most important appointments of his life, with the people that matter most to him: his family. Over the years, Kenneth makes it a point to always be there for his family when they need him, and as luck would have it, when Spider-Man is locked in combat with Mister Negative's goons, Kenneth actually gets the opportunity to return, in a fashion, a favor.
This is is one for the ages, to my mind. It's right up there with "The Kid Who Collected Spider-Man" by Roger Stern and Ron Frenz, and a perfect farewell from Slott, as a Spider-Man writer whose nearly decade-long tenure may have had its ups and and downs, but which, more often than not, showed the character the reverence it deserved. In these last pages of his soon-to-be fabled run, Slott encapsulates everything that makes Spider-Man an effective everyman hero, by viewing him through the lens of one of the people he's helped.
It helps quite a lot, I think, that Slott is joined in his swansong by the one modern comic book artist who channels Steve Ditko's aesthetic and energy better than anyone else around, the excellent Marcos Martin. I've been a fan of Marcos Martin for years, following not only his work on Spidey, but on Daredevil and even his brief Doctor Strange miniseries from years ago, and this is one of the best issues I've seen from him yet. I love the way he captures both the intensity of Spidey's action sequences (of which there are two) and the intimacy of Kincaid's life with his family. It's easy to see why Slott asked Martin to join him for this one last story.
Goodbye Slott. I may not have been around for all of the issues you wrote, but like Kenneth Kincaid, you were always there for Spidey. Best of luck sending Tony Stark on his new adventures!
10/10
drawn by Marcos Martin
colored by Muntsa Vicente
Following the tragic, brutal conclusion of the "Red Goblin" storyline, which left one of Peter's key supporting cast dead (at least for now), outgoing writer Dan Slott winds up his tenure with a considerably more upbeat, rather pleasant one-shot of a story focusing less on Spider-Man and more on one of the people he saved very early in his career, humble everyman Kenneth Kincaid.
The story opens the early days of Spidey's career; Uncle Ben has only just died, and Spider-Man is still a relatively unknown crime fighter. Kenneth Kincaid has somewhere very important to be, but stops at a convenience store to sate his smoking habit. The decision to buy cigarettes nearly proves disastrous as the store Kincaid enters is being robbed. Fortunately, Spider-Man comes on the scene and saves the day, stopping the robbery and enabling Kenneth to keep one of the most important appointments of his life, with the people that matter most to him: his family. Over the years, Kenneth makes it a point to always be there for his family when they need him, and as luck would have it, when Spider-Man is locked in combat with Mister Negative's goons, Kenneth actually gets the opportunity to return, in a fashion, a favor.
This is is one for the ages, to my mind. It's right up there with "The Kid Who Collected Spider-Man" by Roger Stern and Ron Frenz, and a perfect farewell from Slott, as a Spider-Man writer whose nearly decade-long tenure may have had its ups and and downs, but which, more often than not, showed the character the reverence it deserved. In these last pages of his soon-to-be fabled run, Slott encapsulates everything that makes Spider-Man an effective everyman hero, by viewing him through the lens of one of the people he's helped.
It helps quite a lot, I think, that Slott is joined in his swansong by the one modern comic book artist who channels Steve Ditko's aesthetic and energy better than anyone else around, the excellent Marcos Martin. I've been a fan of Marcos Martin for years, following not only his work on Spidey, but on Daredevil and even his brief Doctor Strange miniseries from years ago, and this is one of the best issues I've seen from him yet. I love the way he captures both the intensity of Spidey's action sequences (of which there are two) and the intimacy of Kincaid's life with his family. It's easy to see why Slott asked Martin to join him for this one last story.
Goodbye Slott. I may not have been around for all of the issues you wrote, but like Kenneth Kincaid, you were always there for Spidey. Best of luck sending Tony Stark on his new adventures!
10/10
Charles Soule's Pitch for Ordo Draconum: A Review of Daredevil #604
written by Charles Soule
drawn by Mike Henderson
colored by Matt Milla
The Hand's siege of New York City continues as Matt, stricken down last issue by a poisonous gas released by the Beast, gets an unexpected ally from his very own father confessor, the mysterious Father Jordan, who shows up in full battle armor with nearly two dozen commandos from an ultra-secret society of warrior clerics known as the Order of Dragons (Ordo Draconum). Father Jordan exorcises the essence of the Beast from Matt and helps him gear up for a final showdown with the Hand. Things may not go the way Matt hopes, however.
While this issue naturally reads like a continuation of Charles Soule's "Mayor Murdock" epic, and is in fact the penultimate issue, it feels distinctly as though Soule is making a pitch for an all-new book starring this "Ordo Draconum" which actually existed back in the Middle Ages, and spearheaded by Father Jordan, who would (in my opinion at least) be a welcome addition to Marvel's somewhat limited catalog of African-American heroes, and even more limited catalog of Catholic heroes. I doubt it's anything that could sustain an ongoing series, but a limited series and the occasional guest appearance in a mainstream book would definitely be promising. I knew Soule was a lawyer, but I find it interesting that, whether or not he's actually Catholic, he's actually pushing for a new Catholic "super team" as it were. Such a book could make some genuinely fascinating reading, considering how rich the Church's history is; there's enough sex, corruption and murder to put Game of Thrones to shame, really. Throw in supernatural enemies, and there's enough story potential there to fuel such a series for years, provided readers get on board. Wow, truth be told now I'm actually hyped for such a series.
Other than that, there's nothing particularly remarkable about this issue, though Mike Henderson maintains the standard of quality he's shown since he started working here back in issue #601.
Looking forward to the climax next issue!
7.5/10
drawn by Mike Henderson
colored by Matt Milla
The Hand's siege of New York City continues as Matt, stricken down last issue by a poisonous gas released by the Beast, gets an unexpected ally from his very own father confessor, the mysterious Father Jordan, who shows up in full battle armor with nearly two dozen commandos from an ultra-secret society of warrior clerics known as the Order of Dragons (Ordo Draconum). Father Jordan exorcises the essence of the Beast from Matt and helps him gear up for a final showdown with the Hand. Things may not go the way Matt hopes, however.
While this issue naturally reads like a continuation of Charles Soule's "Mayor Murdock" epic, and is in fact the penultimate issue, it feels distinctly as though Soule is making a pitch for an all-new book starring this "Ordo Draconum" which actually existed back in the Middle Ages, and spearheaded by Father Jordan, who would (in my opinion at least) be a welcome addition to Marvel's somewhat limited catalog of African-American heroes, and even more limited catalog of Catholic heroes. I doubt it's anything that could sustain an ongoing series, but a limited series and the occasional guest appearance in a mainstream book would definitely be promising. I knew Soule was a lawyer, but I find it interesting that, whether or not he's actually Catholic, he's actually pushing for a new Catholic "super team" as it were. Such a book could make some genuinely fascinating reading, considering how rich the Church's history is; there's enough sex, corruption and murder to put Game of Thrones to shame, really. Throw in supernatural enemies, and there's enough story potential there to fuel such a series for years, provided readers get on board. Wow, truth be told now I'm actually hyped for such a series.
Other than that, there's nothing particularly remarkable about this issue, though Mike Henderson maintains the standard of quality he's shown since he started working here back in issue #601.
Looking forward to the climax next issue!
7.5/10
Monday, June 25, 2018
Waid's Wrap-Up: A Review of Captain America #704
written by Mark Waid
drawn by Leonardo Romero
colored by Jordie Bellaire
Comics legend Mark Waid wraps up his ten-issue tenure on Captain America and his four-issue dystopian storyline with an issue that ties up a rather engaging storyline a little too abruptly, and perhaps a tad inappropriately.
Having unleashed the Red Skull on the Kree Empire that has, for the last several decades, been manipulating the American people, historian and descendant of Captain America Jack Rogers scrambles to save the world, knowing that when the dust settles, he basically promised Red Skull the world as his footstool. To defeat the Kree, Rogers and his fellow "resistance" fighters resort to torture and chemical warfare. Faced with the Skull at the end, Rogers takes a huge gamble on which not only the fate of his son but of humankind rests.
For an issue on which so much was riding, this story almost inevitably disappointed, but in no small part because it seemed to want to have its morally-compromised cake and eat it too. Part of what attracted me to the character arc of Jack Rogers is how emphatically stated it is that, while he has Captain America's blood in his veins, he is no Captain America, and therefore has to resort to other means to win the day. This instantly made him a sympathetic character, and even though many of the decisions he makes throughout the story up until this point may be questionable, they remain understandable. This much remains consistent; Waid has shown what a man with his back against the wall is ready to do.
But when the arc ties up (as it inevitably does) and the proverbial end credits roll, I have to wonder why Jack Rogers' actions, which were actually somewhat horrific when you think about it, somehow come across as justified, and why the suggested conclusion, that the United States almost fell because it didn't guard itself against an alien threat, seems to glorify the xenophobia and isolationism that has made the United States on the most hated countries in the world today. Truth be told, that's not necessarily bad storytelling but to wrap all of it up in the American flag and declare that it's the sort of thing that Cap would have done feels like a perversion of the character and his legacy.
Could this be Mark Waid's real critique of what America has become? It feels a tad cynical, I'll have to say, but wow, if this is his left-handed swipe at what America has become, it hits a bit harder than his milquetoast six-issue run with Chris Samnee.
The troubling conclusion to this story notwithstanding, I still enjoyed Waid's creation, Jack Rogers, the historian with super soldier blood and feet of clay.
Leonardo Romero, this time unaided by any special guest artist, turns in outstanding work that continues to evoke Chris Samnee, though I wasn't a fan of the way he drew the Red Skull's...well, skull.
This is goodbye for now for Waid, and even though his run on this book may have been patchy in places, at least the stories he had to tell were still worth reading.
7/10
drawn by Leonardo Romero
colored by Jordie Bellaire
Comics legend Mark Waid wraps up his ten-issue tenure on Captain America and his four-issue dystopian storyline with an issue that ties up a rather engaging storyline a little too abruptly, and perhaps a tad inappropriately.
Having unleashed the Red Skull on the Kree Empire that has, for the last several decades, been manipulating the American people, historian and descendant of Captain America Jack Rogers scrambles to save the world, knowing that when the dust settles, he basically promised Red Skull the world as his footstool. To defeat the Kree, Rogers and his fellow "resistance" fighters resort to torture and chemical warfare. Faced with the Skull at the end, Rogers takes a huge gamble on which not only the fate of his son but of humankind rests.
For an issue on which so much was riding, this story almost inevitably disappointed, but in no small part because it seemed to want to have its morally-compromised cake and eat it too. Part of what attracted me to the character arc of Jack Rogers is how emphatically stated it is that, while he has Captain America's blood in his veins, he is no Captain America, and therefore has to resort to other means to win the day. This instantly made him a sympathetic character, and even though many of the decisions he makes throughout the story up until this point may be questionable, they remain understandable. This much remains consistent; Waid has shown what a man with his back against the wall is ready to do.
But when the arc ties up (as it inevitably does) and the proverbial end credits roll, I have to wonder why Jack Rogers' actions, which were actually somewhat horrific when you think about it, somehow come across as justified, and why the suggested conclusion, that the United States almost fell because it didn't guard itself against an alien threat, seems to glorify the xenophobia and isolationism that has made the United States on the most hated countries in the world today. Truth be told, that's not necessarily bad storytelling but to wrap all of it up in the American flag and declare that it's the sort of thing that Cap would have done feels like a perversion of the character and his legacy.
Could this be Mark Waid's real critique of what America has become? It feels a tad cynical, I'll have to say, but wow, if this is his left-handed swipe at what America has become, it hits a bit harder than his milquetoast six-issue run with Chris Samnee.
The troubling conclusion to this story notwithstanding, I still enjoyed Waid's creation, Jack Rogers, the historian with super soldier blood and feet of clay.
Leonardo Romero, this time unaided by any special guest artist, turns in outstanding work that continues to evoke Chris Samnee, though I wasn't a fan of the way he drew the Red Skull's...well, skull.
This is goodbye for now for Waid, and even though his run on this book may have been patchy in places, at least the stories he had to tell were still worth reading.
7/10
Saturday, June 16, 2018
Confronting One's Self: A Review of Marvel Two-in-One Annual 2018 (Mild spoilers)
written by Chip Zdarsky
drawn by Declan Shalvey
colored by Jordie Bellaire
Having defeated Doom-Galactus in the first story arc, the motley crew of Ben Grimm aka the Thing, Johnny Storm aka the Human Torch, Victor Von Doom aka the Infamous Iron Man and their scientist companion Rachna Koul continue their search across the multiverse for the missing Reed Richards, Susan Storm and their two children. In one world, Doom and Ben split up from Johnny and Rachna as each pair follows different signals from their devices. The path Doom and Ben follow leads them to that world's Reed, who has met a grisly fate at the hands of that world's own Doom, leaving Victor to confront...himself. On the ropes and fighting for both his and Ben's lives, Victor finds help from a most unexpected source.
I have read seven issues of this series now, counting this annual, and I have to say that Chip Zdarsky has crafted one of the most eminently readable comic books series I've seen in a while. This is someone who really gets what makes the Fantastic Four such a compelling set of characters, even in a story that focuses mainly on their primary antagonist. I love the voice Zdarsky gives Doom, and the glimpse he offers at how far Doom has come since he decided to take up the mantle of hero, even as events may well have been set in motion that could well unravel that particular journey. It would be hard to elaborate without spoiling a bit of a twist.
In any case, Zdarsky handles the writing duties beautifully, but he is helped in no small part by his third superstar artist since debuting this series, the highly capable Declan Shalvey. This is my first time reviewing a book illustrated by Shalvey; I picked up the trade paperback of his brief run on Moon Knight with Warren Ellis, as well as a collected edition of his work on Deadpool with Gerry Duggan, but because both of them were a few years old I never bothered to review them, even though I enjoyed his artwork quite a bit. It's not quite as clean as Jim Cheung's linework or as striking as Valerio Schiti's soft renderings but it's definitely got its own quirky appeal, and I especially enjoy Shalvey's take on the Thing. It may just be for an annual, but I'm grateful for these 30 pages with this very talented artist.
Given that the cat's long been out of the bag and the Fantastic Four are already destined to reunite, I suppose it's bound to happen in these very pages, and soon, but whatever the book's fate may be after that happens, I have to say that while it's around and being penned by Chip Zdarsky, as long as Zdarsky can keep up this level of storytelling, and as Marvel can keep finding these fantastic artists for him to work with, this book will remain to be one that is well-worth reading every month.
9/10
drawn by Declan Shalvey
colored by Jordie Bellaire
Having defeated Doom-Galactus in the first story arc, the motley crew of Ben Grimm aka the Thing, Johnny Storm aka the Human Torch, Victor Von Doom aka the Infamous Iron Man and their scientist companion Rachna Koul continue their search across the multiverse for the missing Reed Richards, Susan Storm and their two children. In one world, Doom and Ben split up from Johnny and Rachna as each pair follows different signals from their devices. The path Doom and Ben follow leads them to that world's Reed, who has met a grisly fate at the hands of that world's own Doom, leaving Victor to confront...himself. On the ropes and fighting for both his and Ben's lives, Victor finds help from a most unexpected source.
I have read seven issues of this series now, counting this annual, and I have to say that Chip Zdarsky has crafted one of the most eminently readable comic books series I've seen in a while. This is someone who really gets what makes the Fantastic Four such a compelling set of characters, even in a story that focuses mainly on their primary antagonist. I love the voice Zdarsky gives Doom, and the glimpse he offers at how far Doom has come since he decided to take up the mantle of hero, even as events may well have been set in motion that could well unravel that particular journey. It would be hard to elaborate without spoiling a bit of a twist.
In any case, Zdarsky handles the writing duties beautifully, but he is helped in no small part by his third superstar artist since debuting this series, the highly capable Declan Shalvey. This is my first time reviewing a book illustrated by Shalvey; I picked up the trade paperback of his brief run on Moon Knight with Warren Ellis, as well as a collected edition of his work on Deadpool with Gerry Duggan, but because both of them were a few years old I never bothered to review them, even though I enjoyed his artwork quite a bit. It's not quite as clean as Jim Cheung's linework or as striking as Valerio Schiti's soft renderings but it's definitely got its own quirky appeal, and I especially enjoy Shalvey's take on the Thing. It may just be for an annual, but I'm grateful for these 30 pages with this very talented artist.
Given that the cat's long been out of the bag and the Fantastic Four are already destined to reunite, I suppose it's bound to happen in these very pages, and soon, but whatever the book's fate may be after that happens, I have to say that while it's around and being penned by Chip Zdarsky, as long as Zdarsky can keep up this level of storytelling, and as Marvel can keep finding these fantastic artists for him to work with, this book will remain to be one that is well-worth reading every month.
9/10
Sunday, June 10, 2018
The Wrong Legend Returns: A Review of Captain America #703
written by Mark Waid
drawn by Leonardo Romero (with Alan Davis and Mark Farmer)
colored by Jordie Bellaire (with Irma Kniivila)
Having uncovered the Kree Conspiracy to turn the human race into Kree soldiers, historian and descendant of Steve Rogers, Jack Rogers, now finds himself in race against time (and the Kree). Unfortunately, in his efforts to bring back his illustrious ancestor, he has instead brought back his most infamous foe, the Red Skull. Now, Jack must use every ounce of knowledge he has as a historian, as well as a bit of his ancestor's tactical cleverness, to turn around what is basically a hopeless situation not just for him but all of humanity.
Having sat through Waid's strangely muted collaboration with Chris Samnee for six issues, which, while it definitely had its moments, was on the whole nowhere near their best work, I had sincerely started wondering if Waid had lost his mojo, if perhaps he'd stretched himself a bit too thin given all the Marvel books he's been working on in the last few years. His run on Cap had, up until the 700th issue, virtually no nuance, no real tension. It was all just cookie-cutter superheroics with a dash of practically half-hearted Trump-bashing thrown in towards the last few issues, but it was just so far from what I was used to reading that it was like reading the work of a different writer altogether. Or maybe my taste had just changed. That has all changed with this story; the Waid whose writing kept me glued to Matt Murdock's adventures is very much back.
I've said this (or something like it) throughout just about every issue of this storyline, but this feels like the story line that Waid came back to Cap to write, and ironically, Cap's barely in it. Make no mistake, though, it is a Captain America story through and through. Jack Rogers is a fascinating character to read; his motives may be simple, but the tools at his disposal are so widely different from Cap's that where the story is headed feels far from a foregone conclusion.
Leonardo Romero hits yet another home run with this issue, this time getting less support from "flashback" artist Alan Davis, who fills in with five pages as opposed to the eight of the previous two issues. As much as I respect Davis, I have to say I would have hope for someone a little more high-profile; Adam Hughes is a darned tough act to follow, truth be told. Still, at least the main artist really and truly delivers the goods.
There's only one more issue to go in this story and in Waid's run, and I can say now that it genuinely feels like a shame to see Waid go, given that it just now feels like he's getting fired up again. I'm also sorry to know that he's left the Champions title as well, though given how strongly he's finishing this series, maybe I'll be looking for where he pops up next, hopefully with Romero in tow.
9/10
drawn by Leonardo Romero (with Alan Davis and Mark Farmer)
colored by Jordie Bellaire (with Irma Kniivila)
Having uncovered the Kree Conspiracy to turn the human race into Kree soldiers, historian and descendant of Steve Rogers, Jack Rogers, now finds himself in race against time (and the Kree). Unfortunately, in his efforts to bring back his illustrious ancestor, he has instead brought back his most infamous foe, the Red Skull. Now, Jack must use every ounce of knowledge he has as a historian, as well as a bit of his ancestor's tactical cleverness, to turn around what is basically a hopeless situation not just for him but all of humanity.
Having sat through Waid's strangely muted collaboration with Chris Samnee for six issues, which, while it definitely had its moments, was on the whole nowhere near their best work, I had sincerely started wondering if Waid had lost his mojo, if perhaps he'd stretched himself a bit too thin given all the Marvel books he's been working on in the last few years. His run on Cap had, up until the 700th issue, virtually no nuance, no real tension. It was all just cookie-cutter superheroics with a dash of practically half-hearted Trump-bashing thrown in towards the last few issues, but it was just so far from what I was used to reading that it was like reading the work of a different writer altogether. Or maybe my taste had just changed. That has all changed with this story; the Waid whose writing kept me glued to Matt Murdock's adventures is very much back.
I've said this (or something like it) throughout just about every issue of this storyline, but this feels like the story line that Waid came back to Cap to write, and ironically, Cap's barely in it. Make no mistake, though, it is a Captain America story through and through. Jack Rogers is a fascinating character to read; his motives may be simple, but the tools at his disposal are so widely different from Cap's that where the story is headed feels far from a foregone conclusion.
Leonardo Romero hits yet another home run with this issue, this time getting less support from "flashback" artist Alan Davis, who fills in with five pages as opposed to the eight of the previous two issues. As much as I respect Davis, I have to say I would have hope for someone a little more high-profile; Adam Hughes is a darned tough act to follow, truth be told. Still, at least the main artist really and truly delivers the goods.
There's only one more issue to go in this story and in Waid's run, and I can say now that it genuinely feels like a shame to see Waid go, given that it just now feels like he's getting fired up again. I'm also sorry to know that he's left the Champions title as well, though given how strongly he's finishing this series, maybe I'll be looking for where he pops up next, hopefully with Romero in tow.
9/10
Saturday, June 2, 2018
Goodbye (For Now) Mr. Cheung: A Review of Fantas--Err Marvel Two-In-One #6
written by Chip Zdarsky
penciled by Jim Cheung
inked by Walden Wong
colored by Frank Martin
This is the third comics review I've written this week in which I find myself bidding farewell to a creator whose work I've enjoyed. While I wasn't too sorry to see Brian Bendis leave Iron Man (and Marvel) as I long felt he'd outstayed his welcome, I was not pleased at all to see Dan Slott leave The Amazing Spider-Man even though he's staying with Marvel, and I was even more dismayed to learn, after writing my review, that superstar artist Stuart Immonen has also gone into some form of retirement following his stint on The Amazing Spider-Man.
As much as I enjoyed the work of all three of those creators, some more recently than others, this latest creator, whose work I have enjoyed for many years, is the one I am sorriest to bid farewell.
Superstar artist Jim Cheung returns to the series he launched with writer Chip Zdarsky to end the first story arc as Ben Grimm and Johnny Storm team up with the Infamous Iron Man Victor Von Doom, as well as alternate universe versions of Reed and Sue and other heroes including Emma Frost and a de-powered Norrin Radd to fight the greatest threat that this alternate earth has ever faced: Doom Galactus. With Johnny virtually out of powers, and Ben getting weaker, the odds of their success seem compromised, so they will have to dig deep if they hope to survive this particular battle, and will have to rely on just more than their own skill; they'll need to work with their team, including their own Doom.
Zdarsky's written a fitting finale to this story, even as he leaves threads open for more to come. I had mistakenly figured this book would wrap up just in time for Dan Slott's ballyhooed relaunch of the Fantastic Four, but that's apparently not the case. Still, this issue concludes the first arc on a highly satisfying note. Even though Cheung or his highly capable stand-in Valerio Schiti will no longer be around for the follow-up issues, I may yet pick them up in one form or another. Who'd have thought that just half of the Fantastic Four could feature in such engaging stories? I really love how Zdarsky's captured so much of what makes the FF such an interesting team to follow.
Really, though, Cheung is the star of the show here and with a different inker his art has taken on an ethereal quality that suits this particular story. This is an action-packed issue, and Cheung does a perfect job of conveying both urgency and truly awesome power. It also helps that Frank Martin's color palette here is absolutely gorgeous. Knowing what I do now, I cannot help but wonder what could have been had Cheung been at the forefront of the FF relaunch along with Slott, or hey, even Zdarsky. Ah well, a dream for another day, I suppose. Anyway, for now I will be happy to settle for this outstanding work from Mr. Cheung, whose work will next be seen in the pages of Marvel's Distinguished Competition, drawing a Justice League re-launch. The best of luck to you, Jim, and may you one day find yourself back in the House of Ideas.
9/10
penciled by Jim Cheung
inked by Walden Wong
colored by Frank Martin
This is the third comics review I've written this week in which I find myself bidding farewell to a creator whose work I've enjoyed. While I wasn't too sorry to see Brian Bendis leave Iron Man (and Marvel) as I long felt he'd outstayed his welcome, I was not pleased at all to see Dan Slott leave The Amazing Spider-Man even though he's staying with Marvel, and I was even more dismayed to learn, after writing my review, that superstar artist Stuart Immonen has also gone into some form of retirement following his stint on The Amazing Spider-Man.
As much as I enjoyed the work of all three of those creators, some more recently than others, this latest creator, whose work I have enjoyed for many years, is the one I am sorriest to bid farewell.
Superstar artist Jim Cheung returns to the series he launched with writer Chip Zdarsky to end the first story arc as Ben Grimm and Johnny Storm team up with the Infamous Iron Man Victor Von Doom, as well as alternate universe versions of Reed and Sue and other heroes including Emma Frost and a de-powered Norrin Radd to fight the greatest threat that this alternate earth has ever faced: Doom Galactus. With Johnny virtually out of powers, and Ben getting weaker, the odds of their success seem compromised, so they will have to dig deep if they hope to survive this particular battle, and will have to rely on just more than their own skill; they'll need to work with their team, including their own Doom.
Zdarsky's written a fitting finale to this story, even as he leaves threads open for more to come. I had mistakenly figured this book would wrap up just in time for Dan Slott's ballyhooed relaunch of the Fantastic Four, but that's apparently not the case. Still, this issue concludes the first arc on a highly satisfying note. Even though Cheung or his highly capable stand-in Valerio Schiti will no longer be around for the follow-up issues, I may yet pick them up in one form or another. Who'd have thought that just half of the Fantastic Four could feature in such engaging stories? I really love how Zdarsky's captured so much of what makes the FF such an interesting team to follow.
Really, though, Cheung is the star of the show here and with a different inker his art has taken on an ethereal quality that suits this particular story. This is an action-packed issue, and Cheung does a perfect job of conveying both urgency and truly awesome power. It also helps that Frank Martin's color palette here is absolutely gorgeous. Knowing what I do now, I cannot help but wonder what could have been had Cheung been at the forefront of the FF relaunch along with Slott, or hey, even Zdarsky. Ah well, a dream for another day, I suppose. Anyway, for now I will be happy to settle for this outstanding work from Mr. Cheung, whose work will next be seen in the pages of Marvel's Distinguished Competition, drawing a Justice League re-launch. The best of luck to you, Jim, and may you one day find yourself back in the House of Ideas.
9/10
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