The Mighty Reviews 8/13/09

[wktf]

Dawg’s Reviews

Amazing Spider-Man #602
Marvel Comics
Written by: Fred Van Lente
Drawn by: Barry Kitson

My Second favorite red head in the Marvel universe is back as of issue #600. We haven’t seen too much of her yet, other than a grand entrance at the end of Aunt May’s wedding to Jonah Jameson Sr., and then her standing up Peter last issue while seemingly knowing that Peter is Spider-Man.

This issue we have Peter, somehow working for Jonah Jameson Jr. again as a photographer for his mayoral office. He just can’t seem to escape the torture that is Jonah Jameson, but the money is otherwise hard to come by, so he tales the job.

Mary Jane pays a visit to Harry whom is still reeling from the events of the “American Son” arc and seems to be depressed, and almost hiding out at his place of business the Coffee Bean. MJ is very happy to see her old friend and wants him to take her out to catch up. MJ admits that she has already seen Pete, and that it was awkward for both of them, yet they had planned to meet and catch up themselves as well.

Pete is on his first assignment for the Mayor, when an old foe takes him out unexpectedly… The Chameleon has come back and he seems to want to mimic his way into the Mayors office. He kidnaps a dopey and drugged up Peter Parker, and proclaims that his plan is almost complete.

Poor bastard doesn’t realize that he just kidnapped THE super-hero… We are left with the Chameleon on the phone with MJ (didn’t he stalk her?) and Pete supposedly being dropped in a pool of acid.

I love Spidey… I love MJ… This book feels about 95% right to me, when they are both in it. The only obvious thing that stands out when MJ is around is that her and Pete aren’t together which is the one thing I will never get over as a fan… ever. I feel that Mary Jane is being portrayed a bit more like the party girl that she was in the 70’s as opposed to the great character with depth that she became later… perhaps that’s just an initial impression after seeing her here, but still.

Kitson is at the top of his game drawing Spidey and his art feels very good here. I cannot wait to see where the rest of this arc goes and I truly hope it’s not one of those things where despite MJ being back, her and Pete never get to see each other. Even if the editorial mandate is to keep them from being married, no couple makes more sense than Pete and MJ.

Uncanny X-Men #514
Marvel Comics
Written by: Matt Fraction
Drawn by: Terry Dodson

“Utopia” continues in this issue. The Dark Avengers and the X-Men have officially been put at odds with each other as Norman Osborn never fails to capitalize on an opportunity to entrench himself further as the hero of the world, in the eyes of the public. When the X-men fail to comply to his wishes and are seen as rioter against humans, he of course forms his own squad of X-Men, so that he can squelch the riots and tighten his grip over the Marvel universe even more.

His X-squad is being lead by Emma Frost, who clearly has more than meets the eye, when it comes to whatever agenda she has. She is fighting on the wrong side, for the right cause and this is something that her lover and teammate Cyclops is observing with a very watchful eye.

Cyke and crew are wanted by the law again of course now that they are at odds with Norman, but Cyke seems to have more plans than an architect as he sits back and plays chess with Emma and Norman from the sidelines.

Most of this issue in fact is Cyclops putting his pieces on the board how he wants them and you can truly see how much Cyclops has come into his own as a leader since cutting ties with professor X.

I think that this issue was a bit slower, but there’s always a lull before the climax of any story. The Dark X-Men whom are being lead by Emma and Namor have to be established as a formidable threat to the X-Men, before anything can happen and Fraction did that very well in this issue. Better yet, he actually had the X-Men studying them from a distance instead of charging headlong into battle. It’s a nice change of pace for the mutants.

Blackest Night #2 (of 8)
DC Comics
Written by: Geoff Johns
Drawn by: Ivan Reis

If I could express how I feel about this mini series in one word, that word would be… WHOA!!!!

How in the hell does every single panel look like a work of art, Ivan Reis??? I ask you that… As I sat there last night reading this book, I had to physically stop myself and go back to marvel at the art. Ivan Reis is the biggest star that no one seems to be talking about at DC. I would buy a book that consisted of Barbara Gordan wheeling in her chair for 22 pages, if Reis was drawing it. He’s that damn good. He can take a moment made up of nothing and turn it into something so beautiful that you can’t help but say to yourself “DAMN”…

I would have to say that there isn’t much to actually advance the story itself in this issue other than for us to see the terror that is the Black Lanterns. Their threat is formidable and Martian Manhunter and Aquaman, get quite a bit of screen time here as they run rough shod over their former friends.

The Black Lantern army continues to grow as threats like the Spectre too have been assimilated into the army of the dead. Hal and Barry do quite well against the Martian Manhunter and in the end it is to no avail as he simply laughs off the attack. Let’s just say that it does not look good for the heroes and the living in the DC Universe. The Black Hand is as creepy as they come and his army of Lanterns is even creepier. I don’t think I have ever pictured Aquaman as an imposing figure… but here he is incredibly powerful and menacing as he summons the creatures from the sea to take down those once close to him.

This book is simply amazing and I could sit here and type out my favorite moments until the cows came home. I won’t however, because in truth everu panel is, as I mentioned, a thing of pure beauty. I honestly don’t know who to give more credit to, Johns or Reis. I mean the story is beyond superb… but Reis truly makes it live… You decide… MY PICK OF THE WEEK.

Wktf’s Reviews

The Incredible Hercules #132
Marvel Comics
Written by: Greg Pak & Fred Van Lente
Drawn by: Reilly Brown
Cover By: Raphael Alberquerque
Variant Thor Cover by: Marko Djurdjevic

One thing I’ve loved about this title since it launched post-World War Hulk is that it delivers incredibly thoughtful storytelling and comic book action while not taking itself too seriously. To this last point, having Hercules in the lead role really lends itself to some great dialogue and humor, elements that really bring to life a character whose primary ability is pretty one dimensional. Over his decades of usage in the Marvel Universe, Hercules often has been played as the fool or a lout. In the hands of more able writers like Bob Layton or especially this team of Pak and Van Lente, the Prince of Power is a far more nuanced and sympathetic hero. Not to mention that the duo of Hercules and Amadeus Cho is the superhero equivalent of Abbott & Costello and it’s a partnership that, frankly, works. Except that Amadeus is no longer in the picture. Last issue these two had a major falling out and now where each travels, he walks alone. However, that doesn’t mean we won’t be reading about both of them now that Incredible Hercules is temporarily coming out twice a month and rotating back and forth between these two heavy-hitters (each in his own way, of course).

This issue focuses on the Lion of Olympus, traveling with his sister Athena and having just rescued his now much diminished (you’ll have to read the issue to see what I’m talking about) but seemingly no less empowered father, Zeus. This brand new story arc, making it a great point for non-believers to jump on board, a strangely Simonson-like be-garbed and imperiled Baldar the Brave dashes toward Herc and Zeus. I have to admit when I saw this scene I was confused by two things: Why would someone who normally so thoroughly researches his subject matter as Pak have Baldar dressed in an outfit we haven’t seen in years, and why would Baldar “the Brave” be running from anything, even a monstrous troll? Well, as I kept reading I sort of shrugged this off but my questions actually were surprisingly (because I’d forgotten them) rewarded with an answer when I got to the end of the issue. The premise here is that, with The Mighty Thor banished from Asgard, the Golden Realm is under siege by forces that both are seizing their opportunity and would be repelled by the very sight of the Thunder God. What’s the greatest Greek hero to do? Get his Thunder God on, of course! Enticed as only Hercules can be, cast through sorcery in the image of Thor, his own mace disguised as Mjolnir through this same magic, and accompanied by the diminutive Zeus who can replicate Thor’s power of the storm, Hercules is off to combat the powers of darkness. But, naturally, not everything is as it seems. And a run-in with the real Thor not only should be anticipated but has been assured through the comic book news sites. And a Hercules/Thor meeting definitely is something to anticipate.

Newcomer Reilly Brown’s art is a welcome change to the rotating artists since Khoi Pham left the book. His art is far less cartoony while allowing for the more humorous and even semi-slapstick elements of these stories to really take hold. As always, I’m impressed with how thoroughly the writers research their subject matter, from bringing Greek mythological stories into this series to referencing back to Marvel stories from years and years ago. I thoroughly enjoyed this issue, the villainous reveal at the end, and the anticipation of the Thor meeting to come. The only thing that doesn’t really jibe for me is Hercules’ seeming disdain or jealousy of the Thunder God, so apparent here in his dialogue. These two put their differences aside years ago and have fought together as friends more recently, as in the Dark Gods storyline from the Dan Jurgens/JR JR early run on Thor. Still, I’m digging this book as always and am looking forward to next month’s installment! Pick it up and give it a try if you’ve abandoned or never read Incredible Hercules.

The Marvels Project #1 (of 8)
Marvel Comics
Written by: Ed Brubaker
Drawn by: Steve Epting
Cover by: Steve Epting
Variant covers by: Gerald Parel, Phil Jimenez, Steve McNiven

Marvel’s been billing this title as “The centerpiece of Marvel's 70th Anniversary celebration!” And this book’s gotten plenty of advanced press as the story that will unify the elements and connections, and tell the overall story, of the origin of the Marvel Universe. I’ve also been pretty stoked to read it since I heard that the now legendary and Eisner Award winning Captain America team of Ed Brubaker and Steve Epting were going to be the creative forces behind it. So, given the scope of this series and the powerful creative team on it, after much anticipation, having snatched it up and consumed it almost immediately thereafter, I’m here to report that this may be the most consequential, exciting and powerful series Marvel will produce in years. And it’s certainly my pick of the week.

Set in 1939, we’re introduced to a dying old man who is far more than the kindly but crazy old coot his doctor and nurses take him to be. Brubaker scores a major time continuity coup, for those of us who read 1975’s Avengers vol. 1 #141-144 & 147 by Steve Englehart and George Perez (Perez’s inaugural Avengers story!) or even Dan Slott’s more recent She-Hulk run, by making his death the introduction of this series. Yes, this is a character from Marvel’s storied past (even the past where 1939’s present is concerned) but also, as we know, from Marvel’s future, and thinking of making his death the launching point for the Marvel Age of Heroes was unexpected but sheer creative genius. Brubaker also masterfully weaves in the introduction of several key characters whose lives and actions are disparate now but we know will come together and influence each other all too soon. Such characters include those we’d expect, like the Sub-Mariner and the Original Human Torch. But also those we (or I) don’t quite expect, like a young pre-WWII Nick Fury who wasn’t created until the 1960s and Dr. Erskine whose point of origin only too clearly helps reveal his motivation for the all too important role he’ll play in Marvel’s history. And of course, the good doctor who tends to his dying patient undergoes a transformation through chaotic circumstance that will lead to the origin of a Golden Age hero not seen since that period.

As good as Brubaker’s plotting, story and script are, Epting’s art is brilliant. While this issue’s certainly longer on story, pacing and plotting rather than on action, there are some pretty action packed moments here, beautifully illustrated by Epting. The Sub-Mariner riding the crest of a monstrous wave as he descends on a Nazi ship is stunning, as is the visceral rage Namor projects at the horror he finds on board. The Human Torch’s birth, and the chaos and fiery mayhem that ensues, is masterfully rendered in a way that seems to be channeling Alex Ross’ Human Torch from the Marvels series on which this series and its title is built. I dare say, being a Steve Epting fan for years, he’s delivering the very best art of his incredible career right here, with a lot of help from Dave Stewart’s colors, no question. There’s so much attention to detail but that detail doesn’t stop the raw feeling and sweeping power of this story from coming through. Quite the opposite, in fact. All in all, this was an excellent and even surprising read. This decades-long Marvel reader thought he had little-to-nothing more to learn about the Marvel Universe’s past. The single best creative team in comics has taken what’s old and made it new again! Again, my pick of the week.

Blackest Night: Batman #1 (of 3)
DC Comics
Written by: Peter J. Tomasi
Drawn by: Adrien Saef
Cover by: Andy Kubert
Variant cover by: Bill Sienkiewicz

Okay, I was dreading picking this book up. I’m not a Peter Tomasi fan. As great as Johns’ work on Green Lantern has been, I can’t say the same for Green Lantern Corp. And Tomasi’s work on Nightwing’s title was just painful. Still, the teaming of Batman and Deadman is a classic one, even if this isn’t the same Batman, and the thought of Dick’s having to confront the Flying Grayson’s risen from the dead made this too compelling a proposition to pass up.

Fortunately for me, the same Peter J. Tomasi didn’t show up for this issue. In the dead of night, the new Batman and Robin survey the carnage at Bruce Wayne’s grave, first seen in Blackest Night #1 and the following Green Lantern issue. Strangely and appropriately enough, this leads to a morose bonding moment between the two whose partnership in every Batman book has appeared strained at best. While Dick and Damian reflect on the horror they’ve seen and its impact on them, Deadman finds can't shut out the cries of the dead rising, including that of his own decomposed body. In desperate need of help, the ghost of Boston Brand turns to the hero whom he trust the most, only to find this hero is not longer the man he used to be. But as everybody starts to get acquainted with everyone else, all of which leading to some cases of mistaken identity, extreme anger, confusion and even a car crash, everything seriously hits the fan in the most horrific way imaginable for the characters concerned.

The dialogue between Dick and Damian is appropriately tense but emotionally bonding at the same time. Tomasi also does a fantastic job of capturing the voices of Dick Grayson and Boston Brand. This may no longer be the same Batman but, as Brand comments, Dick begins to seriously channel Bruce as the situation becomes all too clear to him. Deadman’s physical and emotional pain as the dead begin to rise feels right and sent a bolt of concern through me as I was reading this over lunch. So…score, Tomasi. I didn’t think you had it in you. As for Adrian Saef, I’m completely unfamiliar with his work up until now but he gets major props for this issue. This is how a Batman title should be drawn. Straight, serious, powerful, dark, and the final panel ratcheted up the panic level in a major way. Blackest Night has been delivering everything against the high bar of expectations DC set for this even, and this three part extension not only ties right into Blackest Night #2 but adds greater depth as to how the larger DC universe is suffering and will suffer before Blackest Night is through.

Sam Wilson’s Reviews

Deadpool #13
Marvel Comics
Written by: Daniel Way
Drawn by: Shawn Crystal

For those of you who haven’t been paying attention, our resident “merc with a mouth” has been through a lot lately. First, he single-handedly (well, almost) turned the tide of the “secret invasion” and sent the Skrulls packing only to have Norman Osborne take all the credit (and stiff Deadpool his usual fee). This pissed him off so he tried to kill Norman, who in turn tried to have him killed first using he Thunderbolts and then just sending in Hawkeye (aka Bullseye). This ended up with him getting the hots for the Black Widow (it was unrequited) and reaching a stalemate with Hawkeye (well, almost). Norman ended up making him an offer he couldn’t refuse, a crapload of money to make him go away (at least for awhile). Deadpool took Norman’s offer and shot himself in the face (seriously). Which kind of leaves us in a strange place…

Deadpool #13 is the first part of “Wave of Mutilation”, a new storyline in which our boy Wade Wilson tries to find himself (or so I think, he may be always trying to find himself, but whatever). As stated earlier, Deadpool now has a crap-ton of money. Yeah, a crap-ton of money and he’s supposed to get the f**k out of dodge so Norman can do his thing. So Wade takes his money and buys himself a boat from some nice Russians, puts a crapload of guns on it and goes pirate, hoping to have some fun pirating rich guys and their yachts. Of course Wade’s plan doesn’t quite go off without a hitch and he get’s out-pirated by some other guys, which of course as you would expect, means war…

Yup, our boy Wade is off on another new direction and I gotta say, it works. Making it even better is artist Shawn Crystal, who you may remember from the “Deadpool: Games of Death” one shot out a few months back. His style is perfect for Deadpool, giving a looney tunes feel to a book that is defiantly Marvel Comics version of a looney tune. Deadpool satisfies, no question, and if you’re looking for fun (mean fun, but still fun) in comics than Deadpool should be at the top of your list.

Ultimate Comics Avengers #1
Marvel Comics
Written by: Mark Millar
Drawn by: Carlos Pacheo

Ultimatum is now over and the status quo as we now know it has changed in the Ultimate Marvel Universe. Magneto is dead, Dr. Doom (aka Victor Van Dam) is dead, Wolverine is dead (I think), I could go on. The Avengers took some heavy losses, Hank Pym (well, no great loss) is gone but Nick Fury is back. The Earth was tilted on its Axis and New York was hit by a tidal wave, yeah, the Ultimate Marvel U was not left in good shape. Like I said though, Nick Fury is back and he has a plan. I won’t lie, the Ultimate U in general took a turn for the worse the last few years, Ultimates Volume 3 couldn’t hold a candle to the Millar run, Nick Fury being stuck in an alternate universe was kinda cool for a minute but after thinking about it I came to the conclusion that it was just retarded. What once was a fresh take on some classic characters with the best creators kind fell off, but with “Ultimatum” things are looking up and Ultimate Comic Avengers could be the catalyst the “Ultimate” line needs to find its old glory again…

Our story opens up with Nick Fury looking for a job. He finds himself at the Triskelton, !%&!%&!%&!%&!%&ing to Hawkeye about the way Carol Danvers is running SHIELD. Hawkeye counters with an offer, Danvers wants Fury to lead a black ops team assigned to hunting down Captain America. What? Yeah, it turns out the Red Skull is still alive. What? Oh yes, and we get a minute of backstory, Cap and Hawkeye vs. AIM and the Red Skull, and yeah, the Skull is not who you think he is…

Hell yes, the Ultimates are back and bad-a** just like they are supposed to be. I don’t know why Millar took so much time off the book, but I’m sure as hell glad he’s back and not pulling any punches (we won’t talk about his Fantastic Four for the regular Marvel U, we just won’t). So word, Ultimate fans rejoice, they are freakin’ back…

[wktf]

JLM’s Trade Review

From Hell
Top Shelf
Written by: Alan Moore
Art by: Eddie Campbell

If you are only interested in comics about brightly clad, buff bodied superhumans, stop reading now, as this book won’t interest you.

Seriously. It’s over 500 pages long and all in black and white. The key characters are old and out of shape.

Still here?

OK then. Between 1991 and 1996 (1998 if you count an appendix) his dark imperial majesty Alan Moore teamed up with Australian based artist Eddie Campbell to produce From Hell. This was a limited 10 part series looking at the crimes and motives of the infamous unsolved “Jack the Ripper” murders.

In case you’ve been living in a cave all your life, in the autumn of 1888 in the Whitechapel area of the east End of London, five prostitutes were brutally murdered and subject to varying degrees of mutilation. The horrendous murders, all deemed to be the work of one killer, were never solved. Consequently, this has sparked a considerable amount of interest from professional and amateur detectives alike, endless conspiracy theorists and of course, writers of fiction.

Jack has ripped his way through all manner of comics, books, TV shows and movies. He’s met Sherlock Holmes, H G Wells and even Captain Kirk!

So given that Jack the Ripper has been done to death (sorry) what’s different about From Hell?

For starters, in From Hell there is no mystery of who the Ripper is. Every other Ripper story I’ve seen a whodunit, with varying degrees of effectiveness. Here, taking his culprit from Stephen Knight’s The Final Solution Ripper theory, Moore introduces the Ripper as Royal Doctor, Sir William Gull in the second chapter. The book then follows Gull from his conception of the crimes, to their planning, their commission, and the impact out of their completion, both to Gull’s mind (in increasingly odd ways) and society.

Moore weaves a number of Ripper theories, historic records and (by his own admission) his invention into his own theory. This theory probably holds as much water as my colander, but it’s no better or worse than anyone else’s theory, and it is all presented in a gripping, believable fashion. The amount of research carried out is very impressive given there is 50 odd pages of notes at the back of the volume, and even Moore says he has left things out from those notes.

Making Gull the central character must have been ideal for Moore. Gull was a Freemason, and Moore is a well know dabbler in magic. Gull is attributed an obsession for symbol and ritual, providing Moore when plenty of opportunity to show off and expand on these and the meanings that lie within. Or maybe just make it up. Who knows? Nonetheless, it provides a suitably bizarre motive for crimes that (hopefully) most people will be will be unable to fathom.

The story is filled out with a variety of supporting characters, Gull’s unwilling accomplice, coachman Netley, workmanlike police inspector Abberline, and the unfortunate five victims. There are also a few visits to Queen Victoria and John Merrick, the Elephant Man. We get to meet the whole spectrum of Victorian society, and a sense of how vast the divide between rich and poor was. Indeed, one lengthy sequence contrasts Gull and the prostitutes going about their day to day existence, Gull shown in soft pencils, the prostitutes in a much harsher technique, underlining this vast social gulf.

Campbell provides dark, dirty scratchy pencils. Don’t be put off by a quick flick through the pages in your LCS – you get used to them. They capture the underbelly of society where the Ripper carries out his work, be it courtyards or the squalid rooms where the prostitutes ply their trade. A number of sequences pass wordlessly and to great effect, in particular the ninth chapter (showing the final and most horrific of the Ripper crimes) is told almost exclusively through pictures alone.

In 2001 the story was turned into a movie starring Johnny Depp’s facial hair and Heather Graham’s cleavage. Despite taking the name, central theory and a number of the scenes from the comic, it shifted the emphasis away from Gull and onto Abberline’s detection efforts. Thus, immediately losing what made the comic so unique in the first place. Still, Moore’s original vision was something that would never have made it into a mainstream Hollywood movie anyway …

It’s not for everyone. Be warned, it’s extremely graphic, both in terms of the violence, details of dismemberment, but also sexually. Adults only. However, if you want to read a skillful collage of historical fact, conspiracy theory, social commentary, magic, time travel and pure fiction check it out.

The current edition from Knockabout has been somewhat “cleaned up” and printed on better quality paper than my old movie tie edition, considerably improving the appearance of the artwork. I have a nifty hardback version, which is a limited edition release. At the time of writing, I haven’t been able to establish if this is still available.

[JLM]

Sam, I think I might pick up Ultimates. Dropped it after the total shambles that was Ultimates 3.

[bat_collector]

And this time I review only one DC title!

Woo-hoo!!!

PICK OF THE WEEK!
The Walking Dead #64
Writer: Robert Kirkman
Artist: Charlie Aldard
Image Comics

The Good: When last we left our heroes, poor Dale was caught by a group of hunters whose purpose wasn't sport, but instead to feast on those they caught.

This issue opens with Dale making a revelation to those dining on him, that he has been bitten by a zombie and they are eating infected meat. While he find its humorous, the hunters, of course, don't. Meanwhile, back at the church, the group (who has been composed of two different camps for a little while now) is slowly pulling together. They'll need as much solidarity as possible, as the hunters have now set their targets on them. The last panel, with a quote from Rick, shows why he is one of the bravest characters in comics today and promises to lead to an intense showdown in the two final issues of this story arc.

And, as a bonus, Image threw in a full black and white preview copy of The Vikings #1, and all for only $2.99! That's what I call a back-up feature!

The Bad: As usual, nothing! While the tone of the series has gotten increasingly dark (but understandably so), its still filled with suspense and tension with every issue!

The Ugly: Apart from the gore, nothing!

Highly Recommended!
The Stuff of Legend #1
Story: Mike Raicht and Brian Smith
Art: Chris Paul Wilson III

The Good: The setting is Brooklyn, Sept 1944. A young boy, whose father is off fighting during WWII, is alone in his room one night when he is his kidnapped, by the boogie man. The only witnesses are his toys, and a seven of them (a toy soldier, an Indian princess, a teddy bear, a ballerina, a piggy bank, and toy duck, and jack in the box) band together to enter the darkness of his closet and save him from the boogie man and his minions, made up of previously cast off toys the boy has owned.

If that doesn't immediately grab your attention and make you want to read this, maybe this ten page preview will help: http://www.newsarama.com/php/multime....php?aid=26003.

READ THIS NOW!!!

The Bad: The price tag is $4.99. But no ads.

The Ugly: Nothing ugly about this comic. Hopefully this delivers on the promise set forth in this introductory issue. I think it will.

Wednesday Comics #6
Writer: Various
Artists: Various
DC Comics

The Good: Halfway through, and I'm wondering how I'm gonna live without this in a few weeks.

Kamandi: Continues to amaze! A perfect combination of eye-popping art and fantastic storytelling. The girl Kamandi has rescued proves more formidable than you would have originally thought.

Batman: End with a cliffhanger of sorts. Batman is ready to kick ass!

Deadman: Dead again! But a second life after death?

Teen Titans: An off and on strip, but this issue finally reveals the motivation of the new Trident, as well as his shocking identity!

Metamorpho: Neil Gaiman and Mike Allred combine the fun comic strip with . . . Shoots and ladders????

Strange Adventures: Whoa! That's all I gotta say!

Supergirl: A good, clean, fun time!

Metal Men: Much more fun than I thought it could ever be, and Enter CHEMO????

Sgt. Rock: Finally, a way out for our battered hero!

Flash: The origin of Grodd

Hawkman: Hawkman meets Lost.

The Bad:

Green Lantern: Thankfully the prologue is over now, maybe we can go to some action. Art is awesome though.

Superman: Wow the same alien race from issue 1 is back. Hopefully they'll bring some excitement with them. Burmejo continues to amaze!

The Demon/Catwoman: Yeah-bu-wha??????

The Ugly:

Wonder Woman: In its usual spot. Now I'm thinking creator/writer Ben Caldwell is just trying to confuse us purposely.

[THECLOWN KNIGHT]

Great reviews you all guys.

I'm interested in pick up the Marvels Project Series and the From Hell TP.

[supahman]

"ve read From hell, a must have on the shelf of a serious collector.. now i need ta find one.

Anyone picked Adventure comics?? I though it's a great start to a new series, would like to see where master Johns goes with the Legion ( Long live the Legion )

[Jack8022]

Great reviews, guys!

Blackest Night was a very good read but I hope that the story develops more next issue. The dead rising as Black Lanterns is cool but I hope it moves onward to more than super-powered zombies next issue. Ivan Reis's art is phenominal and I agree that he should be talked about as one of the best artists now working in the industry.

[abarron]

Nice to see Deadpool getting some love

So is Wade's healing factor better than wolverine's?

I would have thought blowing his own head off would stopped him

[wktf]

Originally Posted by wktf

JLM’s Trade Review

From Hell
Top Shelf
Written by: Alan Moore
Art by: Eddie Campbell

...I have a nifty hardback version, which is a limited edition release. At the time of writing, I haven’t been able to establish if this is still available.

JLM, if this is the original Graffiti Designs HC make sure you take good care of it. There's a sealed one on eBay now for $799!

[Kdawg59]

Originally Posted by abarron

Nice to see Deadpool getting some love

So is Wade's healing factor better than wolverine's?

I would have thought blowing his own head off would stopped him

from what I understand his healing factor blows Wolvies out of the water...