Marvel Teases 'X-Men: First to Last'

The “Age of X” Crossover will kick off 2011 beginning in January and crossover through some of the X-books (X-Men: Legacy and New Mutants). “Onslaught Unleashed” is coming to stir up trouble for the Secret Avengers and Young Allies in February. April will see the beginning of Marvel’s line-wide crossover event Fear Itself by Matt Fraction and Stuart Immonen. After a fairly peaceful 2010, Marvel looks like they are going to amp up the events next year.

Today Marvel teased something scheduled for May 2011 called “X-Men: First to Last” with not explanation of what it is. The art looks like Paco Medina’s so it might be a storyline akin to “Curse of the Mutants” that stays within Victor Gischler’s X-Men book with some expository one-shots and minis. Stay tuned.

'Thor' and 'Avengers' Rumors, To Debunk or Not To Debunk?

We’re five months away from the release of Thor and two months away before The Avengers begins filming, so naturally there are plenty of rumors going around.

The Wrap announced today that Hawkeye, as played by Jeremy Renner, would make an appearance at some point in Thor. While Renner has previously attempted to scuttle this rumor, a source who has seen an early cut of the film confirmed that Renner does indeed make an appearance. I believe it, but it would be nice if the scene were longer than the Nick Fury cameo from the first Iron Man film; this would indicate that 2012’s Avengers film does not spend half its time getting the team together (my worst fear for that movie).

As for The Avengers, the film is set to begin filming in New Mexico in February for an expected six-month shoot. Last week the Albuquerque Journal announced that filming would take place near the city and that the story involved the infamous, to comic fans at least, Kree-Skrull War. Marvel immediately debunked the story and the Journal indicated that it was a research error.

From the Albaqurque Journal:

"The Avengers' script will blend Iron Man, Thor, and Captain America: The First Avenger story lines as the Avengers battle with two alien races, the Skrulls and the Kree."

Allow me to become a bit of a nerd conspiracy theorist for a moment, but how would your average reporter come up with anything having to do with the Kree-Skrull War? There may actually be something to the rumor, but warring alien races seems like an awfully ambitious plot for the team’s first outing. Though with Hulk and Thor on the team, Whedon is going to have to throw a formidable baddie at Earth’s Mightiest Heroes to capture our interest.

Also debunked: rumors that Alan Tudyk (Firefly) and Demi Lovato (Camp Rock) will be appearing in The Avengers as Hank Pym (Ant-Man) and Janet Van Dyne (Wasp) respectively. This week Heat Vision confirmed Lovato was not up for the role of Wasp and Moviefone confirmed that Tudyk will not playing the troubled Dr. Pym. What has not been debunked, which greatly excites me, is that these characters may just be appearing in The Avengers in some capacity. Not only are these characters founding members, they’ve been a part of the comic books for five decades.

Thor is scheduled for release on May 6, 2011. The Avengers is scheduled for release on May 4, 2012.

Marvel Releases the Cover for 'Fantastic Four' 588, the Final Issue

Here we are. One month before a member of Marvel’s First Family is laid to rest, and two before the 50-year old comic book comes to an end. Today Marvel released the heart-breaking cover of next February’s Fantastic Four #588 (above), the final issue of the series.

There has been plenty of speculation and polls around the web as to which character might not make it to the end of issue #587, the final chapter of Jonathan Hickman and Steve Epting’s buzz-worthy “3” storyline. Last week Marvel released a teaser (below) for March’s launch of—it’s hard to say—a book that probably focuses on the remaining members. Titled “FF”, this looks to be a book that will present the next chapter for the famous heroes.

Considering the book is being morphed into something new, this appears to be a creative change that will last for the long haul. Of course comic book fans are used to their deceased characters eventual returns, but in the case of the Fantastic Four, this seems like a plot device that may need to occur out of necessity rather than to kickoff an event. Fantastic Four is one of those little-read classic titles, like Wonder Woman, that regularly receives a new creative team responsible for bringing a bold fresh take on the book. I get the impression that the death and the name change is only the beginning of what Hickman has planned for the title.

So who will the team lose? I guessed at first that it would be Sue Storm, but now I’m leaning towards the Human Torch for a couple of reasons. The cover of Amazing Spider-Man #657 (which is likely a red herring, left) has Spider-Man hanging out on a water tower with Torch’s famous “4” logo in the sky. Also, I seem to remember reading that Spidey was going to be going to the Baxter building to visit with Franklin and Valeria to discuss their loss.

Though, for the Fantastic Four to be really turned on its head, the death of Reed Richards would have the greatest impact on their status quo. Without Reed, you take away the team’s leadership and all of the galaxy/reality spanning adventures that the characters so often find themselves.

So here we are. I have guessed three of the four main characters. Consider this a reminder why I should not accompany you to Vegas. I am simply confident that the ever-lovin’ blue-eyed Thing is going to make it to the end of the series and has plenty more times to clobber in the annals of Marvel Comics.

Best of 2010. The Artists

There’s no such thing as a best artist in comic books, in my humblest of opinions, so I’ll use this space to write about some of the artists that caught my attention in 2010, whether they were on new projects or a part of new creative teams. Let's get started:

From Hulk #27.

Gabriel Hardman on Hulk. Talk about a thankless task—having to follow fan-favorite Ed McGuiness after his popular run with series creator Jeph Loeb ended this year. But I’ll be honest, I prefer Hardman’s work on the character. Hardman has a wonderfully 60’s retro style to his artwork that feels modern nonetheless. His Hulk is a muscle-bound monster who is more than formidable, but Hardman draws his face as the confident, courageous soldier he is. This is important because we have to believe the guy is a hero. Add Bettie Breitweiser’s astounding palette to the mix and Hulk is one of the most stunning books of the year.

Hardman draws fantastic action and series writer Jeff Parker has given the artist plenty of fisticuffs to fit into the pages of Hulk. Iron Man, Thor, and Namor have all guest-starred in the title and Hardman has gotten to create some fantastically splashy fight scenes.



From Batman and Robin #13.

Frazer Irving on Batman and Robin and Batman: The Return of Bruce Wayne. If someone had shown me something Irving had drawn outside of superhero comics, I would have never thought his style appropriate for mainstream work. This is why I don’t edit comic books. Irving’s work on Batman and Robin (issues #13 through #16) and The Return of Bruce Wayne #2 has been a wonderful departure from more standard comic book art. His Joker is as creepy a version of the character that I have ever seen.

How do you describe Frazer’s haunting work? It almost looks as though you are looking into a person’s nightmare. Apropos for a Batman book for certain. Everything in the foreground is clear while the details of the background are scarce or often washed out. Irving handles the inks and colors on his own work which might seem obvious since the finishing perfectly compliments the pencils.




From New Avengers #2.

Stuart Immonen on New Avengers. If pressed to choose an artist who can draw any character in the Marvel or DC Universes, I would be surprised if many comic book enthusiasts would select a name other than Immonen. This year came one of the artist’s biggest gigs—the relaunch of New Avengers with writer Brian Michael Bendis. While I have not always been a fan of Bendis’ storytelling on the title, Immonen has killed, killed, killed on every page of this book.

Immonen can do talking heads, he can do characters sitting around a table, but most important, Immonen can do world-in-knee-deep-danger-style action. And Bendis has thrown a lot of end-of-the-world scripting at Immonen and the artist never fails to deliver (and the book is always on time). Look out in 2011 when Immonen gets what may be his biggest project to date: Fear Itself.

From Thor: The Mighty Avenger #7.

Chris Samnee on Thor: The Mighty Avenger. Samnee deservedly got a lot of buzz for his work on 2010’s new all-ages (until issue 7 at least) Thor title. The art may appear deceivingly simple, but look closer and see how much life and character Samnee brings to his character-work. Samnee makes sure to use the right body language and expressions to ensure the reader understands what Thor and Jane Foster, his Earthly lady love, are thinking.

Samnee’s version of Thor was also an intentional departure from what readers have been accustomed to for over 40 years. He’s a big guy, but not the steroid-induced hulk that he has become in the in-continuity comics. Thor: TMA was my introduction to Samnee and I’m eager to see what he moves onto after the book ends with issue #8. The first Thor: TMA trade is currently available with a second scheduled to be released in 2011.

From Superior #1.

Leinil Yu on Superior. Yu’s work has never been more… superior (I had to). Yu’s panels are filled with wonderful detail. In the past issue alone Yu drew some amazingly cinematic moments: a satellite landing in Time Square, a submarine pulled off of the coast of Long Island, and a reactor meltdown. Yu brings series-creator Mark Millar’s imagination to life, giving the book a big-screen feel the entire time.

Yu is also adept at creating the quieter more touching moments of the series in which Young Simon Pooni’s challenges with multiple sclerosis are explored. Yu has grown and grown as an artist over the last decade, but I’ve found his work on Superior to be his best.

From The Flash #4.

Francis Manapul on The Flash. Where do you begin with a guy who was born to draw splash pages? Manapul’s work on Geoff Johns’ Flash relaunch has been beyond spectacular. While the book tends to run late—if it’s going to look like this—then fine with me.

In the first issue, there’s a two-page splash of Barry pulling apart the Trickster car that is astounding. In the third issue, there’s a fantastic sequence in which Barry saves the inhabitants of a burning building then proceeds to put the entire thing back together. But Manapul may long be remembered for a breathtaking scene that has Barry rescuing two helicopter pilots in issue #4 of the series (above). Barry runs up the side of a building, runs across the propeller, into the helicopter to pull out the pilots, and onto the building beside it in a split second. Month in and out, Manapul always brings his best to Johns’ pages.

There are plenty of others to mention: Sami Basri on Power Girl, Kenneth Rocafort on Velocity, Eddy Barrows on Superman, Carlos Pacheco on Ultimate Thor, Adam Kubert on Astonishing Spider-Man and Wolverine, most everyone involved with Strange Tales II, and so many more. There was no lack of great artwork in 2010.

Best of 2010. Best Character: Batgirl

From Bruce Wayne: The Road Home: Batgirl (One-Shot). Art by Pere Perez.

Comic books tend to get very dark. Even more so if the backdrop for the series is Gotham City where the citizens seem fine with the glumness of their surroundings.

But there is one bright corner of Gotham that is explored by Bryan Q. Miller each month in the pages of Batgirl. I came a little bit late to this series, but it’s title character grew on me so infectiously that I’d have to say Batgirl is my favorite character of 2010.

Stephanie Brown’s dry wit and self-deprecating humor keep the book light and make her the most relatable character in the Bat-family. Everyone would love to be as slick and intelligent as the Caped Crusader, but most of us (given the right amount of gadgets and gymnastics know-how) would probably handle ourselves more like Stephanie.

Boy oh boy does Miller have a precise voice for Batgirl. Some recent highlights:

• In the Bruce Wayne: The Road Home: Batgirl one-shot, Stephanie is confronted with a recently revived Bruce Wayne. Her reaction? She slaps him hard across the face and instantly realizes the gravity of her actions and belts off (above).

• In my favorite issue so far, Batgirl #14 (below), Stephanie has a night out with Kara (Supergirl) and things lead, as they always do, to a team-up. It’s Batgirl and Supergirl against a cavalcade of Draculas (don’t ask, just read it). At one point Supergirl hears screams with her super-ears and asks Batgirl “Can you hear that?” Her response: “You’re sweet.”

• In Batgirl #16, when Batgirl’s Batarang fails her, she tumbles to the ground and thinks “And it was only then that young Stephanie truly realized that gravity would forever be her enemy.”

Miller takes great care in writing Stephanie’s dialogue and letting the humor come out naturally when the story calls for it. There is nothing forced and reader never thinks “Why is she making a joke now?”—something that can happen when writing a character known for quips (e.g. Spider-Man, Lobo, Deadpool, etc.).

It has been a pleasure to read Batgirl month after month because the writing is fantastic and, every now and again, it’s nice to have a bit of reprieve from the dark stuff.

From Batgirl #14. Art by Lee Garbett.



Best of 2010. The Bat that Grant Built

From Batman and Robin #16. Art by Frazer Irving.

As far as my 2010 reading pleasure goes, much can be attributed to Grant Morrison and his masterful handling and closure of his epic Batman tale.

From Batman and Robin #13. Art by Frazer Irving.

Since 2006, Morrison began a grand scale Batman storyline and the editors at DC Comics seemed to say “Have at it.” Morrison began with some bold moves and just kept on going. Bruce’s deadly offspring Damian was introduced.  As was the villainous Dr. Hurt, a man who has claimed to be Bruce’s long dead father Thomas Wayne. Both of these additions to the bat-lore had the hardcores screaming heresy.

Hurt succeeded in driving Batman mad temporarily (in the “Batman R.I.P” storyline) and the villain escaped before being brought to justice. In fact, before the story could be resolved, Darkseid used his omega beams to transport Bruce far back in time at the conclusion of Morrison’s polarizing Final Crisis. In the summer of 2009, Morrison introduced the world to Batman & Robin, Dick Grayson and Damian Wayne had claimed the roles of Caped Crusader and the Boy Wonder respectively.

This could be the point where one might say that Morrison had completely disassembled the Batman universe. Not that it needed a complete overhaul, but these drastic punches were good for the brand.



From Batman: The Return of Bruce
Wayne #1. Art by Chris Sprouse.



By mid-2010, Morrison began Bruce’s trip back to present day Gotham City, where he belongs, via his six-part Batman: The Return of Bruce Wayne. Along the way, readers learn that Dr. Hurt is not really Thomas Wayne (gasp!) and Morrison had not sullied the Wayne family’s philanthropic legacy.  Bruce returns and jumps immediately into action is issue #16 of Batman and Robin, an issue that serves as Morrison’s final on the series and acts as a precursor to the next chapter of Batman’s story: Batman Incorporated.

And so here we are. A brand new era for the (not so) Dark Knight as he takes his fight global under the guise of Bruce Wayne’s altruistic efforts. Bruce is a globe trotting Batman while Dick and Damian are protecting Gotham as the local Batman and Robin.

The culmination of Morrison’s Batman stories in 2010 and the introduction of Batman Incorporated have seemed to bring about a renaissance for Batman and the comic book franchise. I cannot recall ever having enjoyed Batman titles as thoroughly as I have this year. In the first arc of Batman Incorporated, Batman and Catwoman travel to Japan to find their first international Batman. There are giant robot mice, an monster octopus, a Batman TV series-inspired cliffhanger, a great villain, and a sexy international take on the Caped Crusader.

From Batman: The Return (One-Shot).
Art by David Finch.

In Detective Comics Annual #12 and Batman Annual #28, Bruce and Dick solve a mystery in Paris where they sign up the new Parisian Batman. I was glad to see that Morrison had not claimed sole ownership of the Bat-franchising idea. Additionally, Detective Comics has found a new creative team with Scott Snyder and artists Jock and Francesco Francavilla; their inaugural issue sold out and DC has gone back to press with a second printing.

Morrison has taken Bruce Wayne and broken the character down in ways that I’ve never read. In 2010 Bruce was returned to the DCU to triumphantly resolve Morrison’s years-long epic. The writer illustrated the resilience of this classic character more definitively than many of his predecessors.

If you’ve never bothered to pick up any of Batman’s books, 2011 is the perfect time to resolve to do so.

The Marvel U's Greatest Fears Will be Revealed in 2011's 'Fear Itself'

After a week of teasers, Marvel Entertainment held a press conference last week to announce next year’s line-wide crossover event: Fear Itself.

“Look, times are tough,” said Marvel Entertainment’s Chief Creative Officer Joe Quesada opening the press conference. “All you need to do is turn on the TV, computer, radio and you’re sure to find a pundit or politician or prophet who’s out there ready to tell you what you should be afraid of, who’s responsible, and why you should be afraid of them.”

“Today more than ever,” Quesada continued, “fear above all else seems to be the great motivator. And there’s no shortage of charlatans, tyrants, or despots ready to stoke the flames. All they need is the spark.

“Now here’s the good news: we’re talking about the Marvel Universe.”

With that, Quesada introduced the trailer for Fear Itself (below). The fantastic teasers have been appearing daily on all of the comic book websites over the course of the week prior to last Wednesday’s press conference.

Written by Matt Fraction and drawn by Stuart Immonen, Fear Itself will be the first major crossover event since 2009’s Secret Invasion. If that doesn’t seem like so long ago, just remember that Marvel had been putting fans through the mega-crossover events on a near-yearly basis with House of M, Civil War, and Secret Invasion. The reprieve has been  nice.

“We took last year off of doing any big huge events because most of you guys told us that you needed a break to catch your breath and settle things down,” said Tom Brevoort, Executive Editor. “It’s not as if we haven’t done exciting stories since then, but nothing quite to the scale of Fear Itself in quite some time.”

Fear Itself will begin in April 2011 and will run for seven issues. The book will feature all of the Marvel heavy hitters: Spider-Man, the Avengers, Steve Rogers, the X-Men, Hulk, the Fantastic Four (or the FF to be more precise), as well as Dracula, Deadpool, and many others who have yet to be identified.

“There are some fan favorite characters who will be using [Fear Itself] as a springboard,” said Axel Alonso, Executive Editor. “They’ll answer the call of duty and get involved.” Ed Brubaker will write a Fear Itself prologue, with artwork by Scott Eaton, featuring the original Captain America and the Invaders on a mission set in World War II which sets the stage for the mini-series.

Brevoort showed the audience a picture of the God of Fear. “There is a secret—a concealed act at the heart of the Marvel Universe—that happened years ago. Once it is uncovered it will change everything. It will change the way our characters look at each other, the way they look at their place in the world, and will unleash something unspeakable that’s been passed down for decades and for hundreds of years and now will be free to flourish and cast its shadow across the world. That in essence is what Fear Itself is all about.”

The editors promised that this, as with their big events of the past will have reverberations that are felt for some time to come. If there is anything Marvel knows how to do, it’s to present a logical aftermath to the conclusions of their big events. The X-Men continue to deal with the near extinction of all mutants in the pages of House of M, the status quo for Spider-Man, the Avengers, and Captain America were dramatically altered after Civil War, and Norman Osborn’s Dark Reign lasted about a year after Secret Invasion concluded. When Marvel promises that their events will change things, they have the record to prove it.

“It’s an extinction level event that will involve the entire Marvel Universe,” promised Alonso.  “Just like Civil War there’ll be a core story that you can read in one full sitting and get the full story. Expect to see interesting developments—pacts between characters, alliances you wouldn’t have expected, instances where heroes and villains find themselves on opposite sides of the battle lines in ways you wouldn’t expect.”

One audience member asked if Marvel was worried about a darker thematic tone considering the Heroic Age seemed to promise stories with lighter themes.

“Our characters have always battled the darkness around us,” said Brevoort. “The villainy and the threats that they’ve faced, at any given point, have not been a game of tiddlywinks. While over the course of the last year there’s been a renewed vigor and a renewed heroism, [Fear Itself] is just a major challenge that these characters have to face. Ultimately I think that is more interesting. Putting our characters into situations where it’s easy to triumph is not terribly fulfilling. It doesn’t get the best out of them and it doesn’t give you the best reading experience.”

One of the more important subjects to come out of the press conference: does the reader need to buy every tie-in?

“Fear Itself will function as most of our event stories have tended to function, said Brevoort. “If you’re just buying the central core title, you’ll be able to get a full and complete story and it will be wonderful. But the outgrowth of that story will feed throughout the Marvel Universe. It’s going to involve characters as diverse as the line itself.”

As has been rumored, Marvel has been dropping subtle Fear Itself-related hints, clues, and Easter Eggs for at least a year in some of their major titles that will come to fruition in the pages of the mini.

“We’ve been setting up dominoes sort of covertly for awhile now,” said Brevoort. “Some that you know and recognize and have chatted about on the internet, and some that you may have glossed right over and may not have realized their significance. The tapestry and the pattern of all of this will become apparent as we get into April.”

The editors admitted that Brian Michael Bendis included some Fear Itself references in the Time Map from the first arc of his recently relaunched Avengers book (specifically issue #5, above).

“If you go back to that map you will see,” said Brevoort, “certainly a couple of references and portents; once you get through the Fear Itself story a few more that will make more sense. There is a little bit of a Rosetta Stone there if you want to try and decipher it. It won’t be easy but it might be rewarding.”

As the teasers have hinted at, especially the Spider-Man teaser, Fear Itself has one foot steeped in reality.

“As any die hard Marvel fan can tell you,” said Quesada, “Marvel Comics has always used the real world as the canvas in which we write and draw our stories and in which our characters live. From World War II, to Apollo 11, to September 11^th, the events that shaped our world have shaped the Marvel Universe. When we were at our best is when we’ve taken stock of the world we live in—in the era in which we are a part of—and said something about it.”

Official Trailer:


Announcement from Matt Fraction:

FCBD: 'Captain America and Thor'

While Thor: The Mighty Avenger completes it's brief but entertaining run next month, fans will be served up one final adventure by series writer Roger Langridge and artist Chris Samnee with Captain America and Thor (cover above) in celebration of Free Comic Book Day. The issue is due for release on Saturday May 7th, the day after Thor officially premieres in movie theaters; the timing couldn't be more appropos.

Check out Chris Samnee's blog for some thumbnails of his other cover drafts for the issue.

If Bucky Goes to Prison, Will Steve Rogers Go Back to Being Captain America?

Captain America turns 75 next year and Marvel is celebrating by including several Cap-inspired variant covers in the month of March. The same month there will also be a whopping nine titles with the name Captain America in the title to prove what a resilient character he remains. But the question on everyone’s lips is: Will Steve Rogers reclaim the role of Captain America?

The recent solicit for issue #615.1 (a Point One issue) leads one to believe that there is someone new in line to wear the star-spangled gear. I would guess if someone new does take on the Captain America role it won’t be Steve Rogers (even though it should be since Ed Brubaker has written the character better than… well anybody). The only basis for my opinion is the Fear Itself artwork that shows Steve Rogers in his Super Soldier gear standing near (what appears to be Bucky Cap).  I’m also well aware that Marvel is not above throwing phony artwork out there to throw spoiler-loving fans off a scent.

From the official solicit:

Steve Rogers emerged from the super soldier program to become the first Captain America, the Sentinel of Liberty. When he died, Bucky Barnes took up the shield to become a new kind of Captain America. With Barnes on trial, who will wield the legendary weapon—who will become the new Captain of America? This is the start of a new era for the famed Avenger!

While I enjoy Steve Rogers’ role in the Marvel Universe right now, I would like to see him back in his classic costume, leading the Avengers into action.

Cape Town Capsule Reviews, 12/22/10 Releases

By Don M. Ventura

Power Girl #19

DC Comics

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Month in and month out, Judd Winick churns out another chapter of his modest Power Girl epic that serves as a complimentary tale to his Justice League: Generation Lost biweekly series. While a few issues have served as one-shots, the book has ultimately been a single story involving the recently revived villain Max Lord toying with Power Girl and her alter ego Karen Page. The story seemed nearing resolution until halfway through the book where Power Girl finds herself squarely in the same place she began on Winick’s run, unsure who was screwing with her and her company.

While this book has not been doing anything revolutionary, it has continued to be a fun book where Winick has been able to tell a solid story (at his own pace) and throw in plenty of humor. When Power Girl questions whether Nicco’s (her own Oracle) intel has led her to the correct coordinates he replies “No. I’m joking. I’m throwing you a surprise party and this the only way I knew I could get you there.” Power Girl and Nicco’s working relationship has become one of my favorite parts of this series.

What really sets this book apart is artist Sami Basri who is poised to become a breakout artist. This issue continues to come out on time, but Basri’s art, while not overly complex, looks like it’s time consuming. Basri gets an opportunity to draw the JLI from the 80’s, the Royal Flush Gang, and some of the JSA in this issue and the artists draws each character with a distinct look—nothing is thrown away.  Sunny Gho (Velocity and Superior) is quickly becoming one of my favorite colorists; she handles this issue with Jessica Kholinne. Gho has a distinctive palette, adding nice textures to all of the artwork.

X-Men #6

Marvel Comics

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Victor Gischler’s “Curse of the Mutants” arc ends on a high note with Cyclops leading the X-Men to Xarus’ lair for a final match against the vampires that have been attempting to take down Utopia. This has been a well-written mini-epic opener to Gischler’s ongoing X-title. He’s kept some of the best X-characters in the forefront of the action, written Cyclops as a believable leader and strategist, and injected the proper amount of humor into his vampire tale.

This issue features a great showdown between Xarxus and his legendary father Dracula. Papa demonstrates, in a truly vile but appropriate manner, why his son was never able to make a name for himself while standing in the far-reaching shadow of his father.

In this issue there are some nice standout moments for the characters that remind us why we root—or should root—for them. First Wolverine. He’s interrogating a vampire to track Xarxus. He has one claw up to the eye of the bloodsucker and says “Where?” In the end Cyclops has to stand visor to eye against Dracula, and Dracula blinks first (I assume). One minor gripe was seeing Storm and Gambit in the background and not having anything to do or say.

Artist Paco Medina turns out another wonderfully drawn superhero comic book. His artwork is sharp and clear, and the colors by Marte Gracia are fine. Gracia colors most of the action in muted neutral tones to identify the rising dawn.

Batman Incorporated #2

DC Comics

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This week I really enjoyed Nick Spencer’s ability to create a genuinely BAD bad guy in the pages of Morning Glories #5. Not to be outdone, Grant Morrison continues to create a memorable nasty in Lord Death Man in Batman Incorporated #2. Last month he not only melted off the hands and face of Japan’s hero Mr. Unknown, but he dumped the girlfriend of Mr. Unknown’s ward Jiro Osamu into a tank with a killer Octopus. In this issue he blows up a bus with disabled children on it. Bad enough for you?

Batman Incorporated is the fun international Batman that Grant Morrison has wanted to write for years. Batman and Robin enjoyed an adventure on the other side of the pond early in their series, but this is a James Bond cool version of Batman that still remains true to the character. Another nice thing about this title is that the first arc is finished with this issue—I’ve been going through fatigue with having to follow so many six issue arcs that begin to flatline during their fourth and fifth issues.

This issue features the ascension of Jiro from Mr. Unknown to the Japanese Batman. While we don’t see the transformation, we are treated to a great final splash page with Jiro Batman fighting a big gorilla in a mask. Morrison and artist Yanick Paquette have created an excellent adventure yarn with fast paced action that still allows for Morrison’s clever dialogue.

There’s a cool panel with Jiro taking the same oath Robin took before flying into the night with the Caped Crusader (the room is ever lit by a single candle between the two). It’s these nice touches that bring a nostalgic smile to my face.

The Invincible Iron Man #33

Marvel Comics

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There is a cinematic feel to Matt Fraction’s Iron Man that is engaging. The Invincible Iron Man #33 was the final issue of the “Stark Resilient” storyline in which Tony, after having rebuilt himself, rebuilds his company with Pepper, Rhodey, and a new supporting cast.

The story so far has not been action heavy because Fraction has utilized strong characterization to move the story along. However, this was a fast paced issue in which Tony races in Stark Resilient’s newly unveiled car from the Hammer drones and Detroit Steel while Pepper lays dying. While Justine Hammer does not succeed in bring Tony down, the story ends with the inclusion of two more Iron Man baddies into her fold to create an eventual big time headache for our hero.

Salvador Larroca is perfect for this book because he draws sleek technological doodads and a pretty fantastic Iron Man (who doesn’t appear in this issue). My only qualm is the somewhat distracting character models he uses, which I have previously mentioned sometimes takes me out of the story.

Fraction writes a fine dialogue-free follow-up called “Good Morning Tony” that offers a day in the technology-based life of Tony Stark.  Jamie McKelvie handles the artwork on the eight-page story and I would not be averse to seeing more from the artist on this title.

Uncanny X-Men #531

Marvel Comics

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Greg Land’s artwork is not always my cup of tea. When his female characters are smiling I imagine them shouting “Weeeeeee!” I don’t hate it, because it is oftentimes quite dynamic, but it doesn’t mesh well with Matt Fraction’s current “Quarantine” storyline. I’d like to see Land’s work on something lighter I think.

Regardless, I am enjoying Fraction’s story of a mutant flu strain that has the mutants on lockdown in Utopia while Dr. Rao attempts to cure what ails the children of the atom. Fraction humorously uses introductory captions to establish each character and and as a commentary device where they might normally be used to identify the character’s power (“Namor. King of the Sea. Snotty, however you choose to define it”; “Scott Summers—Cyclops. Optic blasts. Bit sniffly”).

The story also involves a faux-mutant X-Team created by Lobe, a team of five heroes designed to mimic the powers of the five original X-Men. Another story has Angel forming a team of non-bedridden X-Men (Storm, Pixie, Dazzler, and Northstar) to take down the Collective Man.

Finally, all of Emma’s scheming seems to have been fruitless as Sebastian Shaw has not proven to be as easily disposed as she had hoped. Fraction writes few pages of their history to illustrate how far Emma has come from her wicked origins with the Hellfire Club.  There’s a lot of story going on in Fraction’s Uncanny X-Men and all of the stories are keeping me fully absorbed.

The Fantastic Four #586

Marvel Comics

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Were this any other arc of the Fantastic Four it would still be top-notch. Knowing that this is the penultimate chapter in Jonathan Hickman’s eventually infamous “Three” storyline that will feature the death of a beloved member of the team.

The team has been segmented into three separate dangerous scenarios with their most infamous adversaries. Reed with Galactus, Sue with Namor, and Ben and Johnny with Annihilus. Hickman has masterfully amped up the danger for each of the members. I’m reminded somewhat of Identity Crisis in which we knew there was going to be multiple deaths and, while reading it, you crossed your fingers that it actually wouldn’t happen because Brad Meltzer brought great compassion to the characters. Hickman demonstrates, perhaps more skillfully than Meltzer, the ability to remind us why these characters are beloved without knocking us over the head with it.

So Reed is saving the Earth from the wrath of Galactus, Sue is trying to stave off an Atlantean war, and Ben and Johnny are fighting off some frightening bugs who report to Annihilus. As exciting as this unfolding story is, things are looking gloomier than ever for the FF.

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Wednesday's Finest: 'Morning Glories' #5

By Don M. Ventura

Morning Glories #5

Image Comics

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Whether it is in movies, books, or television, I think some writers have a difficult time writing a really good bad guy who the viewer/reader can get behind hating. I always use the first appearance of Darth Vader in Star Wars as a shining example of badassery. Sure, Grand Moff Tarkin does the unthinkable and orders the destruction of Alderaan.  However, the scene when Vader first appears and chokes the Rebel soldier as he interrogates him is, for my money, a truer scene of evilness.

It isn’t easy to relate to a villain who wipes out a city or planet, but there is something frightening about a bad guy who is willing to commit murder or inflict great suffering on a person, while an audience watches, and not show a sign of remorse for the gravity of his crime. It’s these smaller scenes of unconscionable acts that have always made my favorite villains.

Nick Spencer brings Mr. Gribbs to the forefront of the story in Morning Glories #5 and the instructor demonstrates that he is fully devoid of a moral compass—by normal human standards at least. Gribbs would beg to differ. This issue presents a long monologue by him in between the story’s action and we learn that he is one bad egg who is firm in his beliefs in the goals of Morning Glory Academy—a seemingly very nasty place.

But this is not the only reason that Morning Glories #5 was the best book published this week. Spencer continues to flesh out his well drawn characters and illustrates that their situation, while almost totally hopeless, is not totally hopeless. Especially for the Glories’ leader Casey, who exhibits her ability to think several steps ahead of her captors; this is not lost on Gribbs.

Spencer continues to pile on the mysteries, with zero resolution to the predicament these kids are in, and I have enjoyed this series for the writer’s topsy turvy approach to storytelling; it is reminiscent to the most confounding moments of Lost.

In last month’s issue, three of the Glories (Casey, Hunter, and Zoe) have gone rogue within the school grounds to rescue their captured friend Jade when Ike turns them in to Ms. Daramount. While Hunter causes a distraction, Casey and Zoe are on the run and eventually separated. The mysterious spirit that lobotomized a student in the first issue of the series beheads a guard and comes face to face with Zoe; she recognizes him and calls him David. That may be considered a hint of resolution in your book, but for me it’s just another head scratching moment—albeit an enjoyable one.

The Glories are eventually all rounded up and we learn that this was the plan the entire time. Casey and Zoe distracted the administration so that they could successfully free Jade which impresses Gribbs to no end. He admits to Casey that she is one of the most gifted of all of the students at Morning Glories Academy (though we have no idea how these gifts will be used). But he muses whether or not her cohorts similarly gifted.

To express the expendability of the lesser students on campus Gribbs chokes Jason, one of the Academy’s shining stars, right in front of Casey. The whole time Gribbs explains how he raised Jason since the student was five and that a similar fate might befall the other Glories should they fail to prove they are as invaluable as Casey. Jason struggles and cries until his lifeless body is slumped across Casey’s desk. That Gribbs is one evil dude.

Series artist Joes Eisma handles the artwork nicely as always. He draws a squirm-inducing scene as David (the spirit) slowly beheads the guard; the eyes hanging from their sockets was a nice touch.

Morning Glories #5 was an excellent example of Spencer’s ability to flesh out his characters. We learn that Casey and Briggs are both forces to be reckoned with, both of them have a strong will and determination that will make them formidable adversaries. I am eager to see their rivalry unfold over the course of the series.

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