Department H

Unrelated topics I’m wondering about today while I write my capsules:

• How the hell did I go from not reading the Avengers for 20 years to “hm, I have six Avengers books on this pull sheet, and might need to add a seventh?” How in God’s name does that even happen?
• I need to actually read the first issue of Neonomicon; it’s in the inbox of comics under my coffee table. I’m pretty sure it’s going to be Alan Moore’s version of Charles Stross’s Laundry series, and that concept kind of frightens me.
• Yes, I have an inbox tray full of comics under my coffee table. I bought it at the Container Store when I noticed that my living room was draped in bright-yellow comic-shop bags, like some sort of giant sequential-art spider had been throwing webs around the place.
• I got around to Hawkeye and Mockingbird #1 on my iPad. Jim McCann writes them well, and it was nice to see a little Casanova in-joke in there for us Cass diehards. I’m not sure my budget can afford another Avengers book, but I certainly enjoyed the free sample.
• No shit, Vertigo cancelled Madame Xanadu? Mmmmmmmmrrrrrrrppppppph. Where am I supposed to get my Anglo-Saxon fix now, dammit.

Uncanny X-Men #526 (Fraction, Portacio, Tadeo, Reber)

“The Five Lights, Part One”

The X-Men have finally gotten out of Second Coming and can focus on their own direction for a bit. I think that should’ve happened months ago, but Marvel’s overarching plan for the X-books can be a little inscrutable at times.

Now that the big arc is out of the way, though, this book serves up a lot of old-school X-action. The ensemble-cast onslaught of the last year is nowhere to be found. Hope, Rogue, Cypher, and Dr. Nemesis make up one branch of the team, and Bobby, Warren, Scott, and Emma fill in all the cracks. Their goals are simple– investigate Hope’s family, and render assistance to newly emergent mutant Laurie. Back at the ranch, Emma has dinner with Tony Stark, and the X-Club finally make some time to attend to Kitty’s predicament. Nothing too hand-wringy, nothing too political; Scott doesn’t even have time to make an angsty speech about being the leader of all mutantkind.

Laurie deserves special mention here, as the first “light” on Cerebro’s display since M-Day. Fraction’s taken great pains to make her an appealing character– she’s geeky, she’s a little fixated on her studies, she’s having a standard finals-week breakdown. Sure, her origin is painful and upsetting, but a few minutes spent chatting with Hope and the others and she’s right as rain. I could use more mutants who aren’t totally consumed by their nasty beginnings.

The only downer here for me is that we’re losing Magneto for a while. Allan Heinberg and Olivier Coipel’s backup story, “Rebuilding,” shuffles him away from his campaign for Mutant Class President and into the Avengers’ “Children’s Crusade” miniseries. Heinberg delivers a great setup, but I love any Scott/ Erik tension I can get. I’ll miss the old man while he’s away.

Thor #612 (Gillen, Braithwaite, Rauch, Troy, Sabino)

“The Fine Print, Part Two”

Mephisto has never been better than when Kieron Gillen’s writing him. He struts through every panel appearing to be fully in command of the situation between Asgard and Hell, then admits his weaknesses to the camera when no one else is looking. He’s got a soft spot for the man-eating Disir and an eye to tempting Thor, balanced only by a mortal terror of triggering all-out war between his hordes and the armies of the Aesir. Gillen makes Mephisto seethe with a brutal, sexual need for conquest, the hot-blooded converse of Loki’s cool-headed, disdainful ambiguity.

Doug Braithwaite offers up suitably epic pencils, and the rest of the art team responds in kind; this is an issue of Thor that looks and feels like a high-end RPG supplement about Mephisto and his realm. This is the book that will convince your Thor-dubious pals of his badass status. (Unless they’re fans of everything light-heartedly heroic, that is. In that case, you want Langridge and Samnee’s Thor: The Mighty Avenger, a book that is so fluffy I could die.)

Heralds #5 (Immonen, Zonjic, Harren, Fairbairn, Fabela)

Now that it’s done, I think it’s safe to say that Heralds will probably be best read as a trade. Marvel certainly made the right choice in releasing it weekly; the plot and action careen so wildly from place to place that most readers would’ve been completely lost with a month between issues. It makes for an interesting (and not negative) contrast with Kieron Gillen’s five issues of S.W.O.R.D., with his similar frenetic pace but neatly pinned down plot. The full run of Heralds reminds me most of the scene in Apollo 13 where our intrepid astronauts have to use the engine on the LEM to make a course correction. They light the engine and their ship corkscrews crazily through space, bouncing everyone and everything inside around. But when the burn is done, the Earth’s where it ought to be in the window and everything is fixed, if a little frayed around the edges.

Still not sure why Agent Brand was involved at all, but, hey, a party’s a party.

Atomic Robo and the Revenge of the Vampire Dimension #4 (Clevinger, Wegener, Pattison, Powell)

It’s a testament to Brian Clevinger’s worldbuilding that it’s taken a full four volumes and almost three years before he’s needed to bring Tesla’s perennial foe Thomas Edison into the Atomic Robo universe. So deep is the well of random, hilarious things Robo could encounter that Team Robo didn’t even need to go here for us to feel like we were getting a solid story. History has given us the perfect Tesladyne foil, however, and so it just feels right that Edison takes his place as the Big Bad. The callback to concepts introduced in The Shadow from Beyond Time is a nice touch, too.

The best part of this episode? The fact that the entire team- including Robo- felt it was necessary to don Ghostbuster jumpsuits at the appropriate time, but the entire gag passed without editoral comment from any of them. Brilliant.

Thor #611 (Gillen, Elson, Troy, Sabino)

Did you like New Mutants #11 Siege tie-in? Did you love the Siege: Loki one-shot? Do you wish the story threads from those books would be tied together into the arc of a relevant major ongoing series? Well, friend, your wait is over! Kieron Gillen, having towed the line through JMS’s outstanding arc plot and a major crossover event, has come back around to reap the seeds he’s sown along the way. And boy howdy, am I looking forward to this. Come for the wonderful scene between Mephisto and Brün of the Disir, stay for… everything else. Kieron’s ending his time on Thor with an absolute bang.

Greetings! I still exist, despite a bout of dental havoc that had me laid up on painkillers and antibiotics for eight freaking days. Chad has been taking good care of me, and thus I can now return with a bunch of capsule summaries of books from the last couple weeks.

Avengers #2 (Bendis, JRJR, Janson, White): Bendis continues solidifying the new primary Avengers lineup with the addition of Noh-Varr. I don’t have any prior experience of Noh-Varr, but he seems likable enough. He has kind of a “Sheldon Cooper and Longshot get it on” vibe that I appreciate.

This issue ends with the abrupt arrival of a major X-Men villain, which seems a bit incongruous. I’m not sure how much of a red herring that’s going to be, given that we’re already dealing with Kang/ Immortus, but I’m willing to see where it goes. I do wish Tony Stark were a little more cognizant of his current dire financial and logistical straits, though– either Bendis is playing fast and loose with continuity, or Invincible Iron Man‘s current “Tony tries to rebuild his holdings” arc finishes up before this issue.

Fantastic Four #580 (Hickman, Edwards, Currie, Mounts): Um, it’s Arcade and the Impossible Man! Arcade seems to be having himself a mini-renaissance– he was in the Dazzler one-shot this month, too. Unfortunately, he’s never quite grown past his B-list Riddler tics, and it’s kind of hard to work up any excitement about him. Likewise, Impy seems terribly restrained here, keeping in mind that I haven’t seen a book with Impy in it for fifteen years or so.

Oh, and there’s another baffling two-page future history of Nu-Earth sequence, and, uh, Dragon Man and the other kids in Reed’s Brave New School have figured out how to cure the Thing. Sort of. But! Arcade and the Impossible Man! Majority of the book! Exploding Impossible Man toys!

Yeah, I’m not sure about this narrative arrangement either, but I find myself enjoying the hell out of it regardless. Just, please, someone figure out something else to do with Arcade already.

Young Allies #1 (McKeever, Baldeon, Sotomayor): Firestar, Gravity, Arana, Nomad, and Toro… don’t exactly team up, but they do take on a bunch of bad guys in this extremely efficient first issue. You meet everyone, you get a good handle on their personalities, there’s a fight, and it’s over. It’s a refreshingly clear-cut introduction, and David Baldeon’s art is fantastic, a bit reminiscent of Stuart Immonen with a slightly more expansive feel.

Arana and Nomad, in particular, sell this for me; they’re really the only established partnership in the book, and their banter is both realistic and hilarious. I could read an entire series focused on them and feel like I was getting my money’s worth. Throwing in Firestar is a bonus, although she hasn’t had much significant screen time yet; adding Gravity ensures that Chad, at least, will pick this book up as long as Marvel cares to publish it. (I don’t get it, but hey, there are worse people to be married to than a Gravity fanboy.)

Avengers Academy #1 (Gage, McKone, Cox): The other new team book of that week showcases a bunch of the teenaged characters from Norman Osborn’s failed Initiative, thrown together under the guidance of some disgraced Avengers. While the kids work together to find out why the Avengers have offered to train them, the adult mentors are shooting for personal redemption after their own setbacks and defeats.

It does rather read like the Doom Patrol to the Thunderbolts’ Suicide Squad, to be sure, but I don’t think that’s a problem. Gage gives every character a compelling reason to be at the Academy, which offsets the “who are these people” factor and lets you roll with the concepts. I particularly like Finesse, a young woman who’s got about the same power set as Monet from Generation X. Refreshingly, Finesse seems to lack an obnoxious, complicated family history– she’s a straight-up psychopathic polymath with no social ties, and I can get behind that concept.

If you don’t like struggling-superhero redemption stories, or you just can’t bring yourself to give a crap about Tigra and Speedball, you might give this one a pass. Otherwise, this is a quirky book with a lot of high concept, and it’s worth a read.

New Avengers #1 (Bendis, Immonen, Von Grawbadger, Martin): Well! Now that the onslaught of Avengers first issues is over, I’ve found the one I like the best. New Avengers plants Bendis squarely in his quip-tossing, hanging-out-with-the-guys comfort zone, and the results are incredibly endearing. Danny Rand lends Luke Cage a dollar to buy Avengers Mansion from Tony, for Christ’s sake. There’s no way you can hate that.

Immonen’s art suits the humor. When Peter Parker crams in a bit of dinner, mask pulled up to his nose, it’s hard not to think of Brad Pitt in Ocean’s 11, constantly stuffing his face through entire scenes. Iron Fist is appropriately bemused and whimsical, genially tolerating all of Luke’s command angst. Victoria Hand, dragooned into the role of operations coordinator, is put-upon and defensive. Her body language speaks volumes about her ambivalence towards Luke and his team. This is good, and I want more like this.

The team dynamic here is far less fractious than the Tony-Steve conflict of the main Avengers title, and less square-jawed than Steve’s covert team in Brubaker’s Secret Avengers. There’s a sense of camaraderie between Luke, Danny, Jessica, and the other members of the team; the pace is relaxed, everything is congenial. It’s a fun read, with none of the tension or timestream-threatening high stakes of the main title.

New comics on Thursday night plus a lot of stuff going on at home and in the office equals one wiped-out Department operative. I’m going to run down a few things I read this week in no great detail and beg your forbearance as a result.

Avengers Prime #1 (of 5) (Bendis, Davis, Farmer, Rodriguez): Alan Davis has been a favorite of mine since Excalibur, and this book has some nice work in it. He’s a little overshadowed by heavy inking and dark atmospherics, sadly, but I think that’ll ease up as the story progresses. This issue is all setup; the newly-reunited Avengers suddenly lose Cap, Tony, and Thor to a transporter accident that dumps them in three of the Nine Worlds.

Cap’s plot arc starts off fast and lively with a bar fight in Svartalfheim. Thor and Tony have worse luck, landing in vastly less hospitable parts of the World Tree. I notice that Avengers Tony is a lot terser and more brusque than IIM Tony, too– does he have some kind of inferiority complex when he’s up against Cap? I think most people would, but the more abrasive Iron Man annoys me a little. Looks like this will be fun, though.

Heralds #1 (of 5) (Immonen, Zonjic, Fairbairn): This is a weekly book, a short sci-fi summer team-up for Emma Frost, Jen Walters, Patsy Walker, Valkyrie, Abigail Brand, and Monica Rambeau. While I am one hundred percent behind the Women of Marvel project, I’m a little dubious about this book. The team’s rationale for existing seems forced and, in the specific mutual-disdain case of Frost and Brand, entirely out of character. Brand’s mostly there so there can be a giant-monster-and-escaped-clones incident at an Earthside SWORD facility, which doesn’t make much sense to me either– isn’t SWORD the near-Earth response team, based at the Peak and keeping all their troublemakers there? Did I miss something? Why the hell would Abigail Brand even want to go to a Scott Summers-arranged surprise party for Emma Frost, anyhow, knowing how badly Scott’s treated Hank of late and how shitty Emma is to her? It doesn’t add up, and I’m worried that that basic inconsistency will only get worse as the book goes on.

Also, I’ve seen a couple previews of this book where the major MacGuffin character is touted as being new to the Marvel Universe. I’m fairly sure that’s not so, and that she’s an extant former herald of Galactus who’s just been handed a Pixie-style retcon. That makes me nervous. Pixie Strikes Back was fun, but when I tried to review it, a cursory check of Wikipedia to see if I’d actually gotten the basics of the plot down resulted in an acute bout of “wait, even for Wikipedia comics summaries, this is way not what I just read.” Immonen’s avant-garde approach to narrative can get pretty tangled at times, and I hope this character doesn’t suffer for it.

Serenity: Float Out (Oswalt; Reynolds; Stewart; Heisler; Whedon): Patton Oswalt’s first comic-book endeavor is a by-the-numbers elegy for Wash, the fallen pilot of Joss Whedon’s Firefly series. That’s far from a bad thing, though. The framing is simple: Wash’s old colleagues from his pre-Browncoat days get together and reminisce as they christen a new ship. As a narrative form, it’s the five-paragraph essay of comics, and Oswalt handles it deftly. I was particularly impressed with Oswalt’s grasp of Firefly‘s hyperkinetic Chinese/ Wild West/ SF patois– every caption and line of dialogue added to my sense of immersion in the setting. Patric Reynolds provides craggy, expressive linework, and, well, you’ve never seen a bad Dave Stewart coloring job, have you?

Float Out isn’t cutting-edge visual storytelling, and it doesn’t need to be. Oswalt sets out to prove that he can create a solid, short narrative and tell it well, and he does that. I understand that’s a skill a lot of novice scripters could stand to learn, and reading this book should prove instructive for anyone wondering how a first published comic should read.

“The Future Foundation”

Writer: Jonathan Hickman
Penciler: Neil Edwards
Inker: Andrew Currie
Colorist: Paul Mounts
Letterer & Production: VC’s Rus Wooton
Cover: Alan Davis, Mark Farmer, & Javier Rodriguez

Futurists perform a quirky, but necessary, task in modern society: we function as the long-range scanners for a species evolved to pay close attention to short-range horizons.

–Jamais Cascio, “Ethical Futurism“

Reed Richards has been a lot of things in his tenure with the Fantastic Four. Scientist, adventurer, hero, husband, father– he’s even been on the wrong side of history a few times in recent memory. In “The Future Foundation,” Jonathan Hickman has taken stock of those sides and given Reed one convenient identity to cover it all.

It turns out that Reed Richards is demonstrably a futurist, cast in the mold of real-life folks like Alex Steffen and Jamais Cascio. There’s only one question left– is he an ethical one?

Certainly, this storyline positions Reed in the vanguard of thinkers tackling issues like posthumanism and global change. He has no problems publically taking his colleagues to task at an event that looks suspiciously like the Singularity Summit, berating them for their lack of forward vision. His futurism brooks no boundaries and accepts no setbacks; his end goal is nothing less than a star-spanning empire of humanity, broken free of the dying Earth to achieve near-godhood through science.

And that’s where everything gets problematic. Instead of inviting his colleagues to reconsider, Reed stomps off on his own to apply some long-term thinking to the problem. Remember “Solve Everything?” Remember how creepy and Machiavellian an entire roomful of Reeds operating as one body was? Yeah, this is pretty much that all over again, except this time there’s just one Reed. And he’s pissed.

Reed stomps home and institutes the Future Foundation within the Baxter Building, with the stated goal of educating the FF’s cast of wayward children in the finer points of creating a sustainable human future. Because nothing could possibly be wrong with indoctrinating your son, your alleged daughter, a Moloid head in a jar, a few Atlantean kids, and Alex freaking Power with your somewhat obsessive, singleminded, possibly-fascist worldview.

I know I sound like I’m down on this plan– and I am– but the actual setup is great, delightfully warped reading. Prior Hickman plotlines have demonstrated that Reed’s theories don’t always survive contact with their applications. We know that Reed has a tendency to sequester himself from others, mentally and psychologically, when he’s working towards a specific end. And, well, didn’t we just see Reed saying a few issues ago that he would renounce his quest to solve the world’s problems? He’s right back on the crack pipe, ladies and gentlemen, only now he’s trying to get the kids to suck the fumes back with him. This can’t end well, but it’s going to be awesome to watch it all fall apart.

Hickman’s setting up a fairly grand endeavor in this book, and it’s compelling reading even when I don’t quite grasp everything that’s going on. There are two pages of Nu-World flashbacks and flash-forwards in this issue, for instance– I thought we left Nu-World behind a couple of arcs ago. That doesn’t stop the spread from being both visually stunning (I’m still partial to Dale Eaglesham’s muscular take on Reed, but Neil Edwards brings the ultratech in an appealing manner) and poignant in its cryptic separation from the rest of the book. Hickman never gives me the sense that he’s going to leave things hanging, though, for all the isolated hints and off-beat moments. If we’re checking in on Nu-World, I know it’s going to play some role in the long game.

That innate sense of an eventual payoff, of an underlying order to the massive amount of plot presented, makes this book enormously fulfilling to pick up each month. If the finale of Lost made your inner skeptical futurist scream and throw things around the room, pick this book up and start pondering the ethics of Reed Richards, man of science and shaper of worlds.

“Rescue Me”

Writer: Kelly Sue “Supersonic” DeConnick
Artist: Andrea Mutti
Colorist: Jose Villarrubia
Letterer: VC’s Clayton Cowles
Cover: Travel Foreman & June Chung

Oh, if only I could stay a while
what am I afraid of?
All this psychic damage
of all the years I’m made of

-Ted Leo & the Pharmacists,
“Bottled in Cork”

Forgive the indulgence of opening with a song quote, but it seems fitting given the previous connections we’ve made between Ted Leo and Invincible Iron Man. That particular quote, too, sticks out in my mind– not only for being (in my opinion) the best turn of phrase to be had on The Brutalist Bricks, but also fitting for where Pepper Potts stands at the opening of Rescue.

Set just before the events leading up to the climax of Siege, Pepper finds herself a fugitive on the run. She’s temporarily gone to ground, hiding out in the basement of a school somewhere in Oklahoma. Once she’s got a few minutes to herself, the lack of sleep and the surfeit of adrenaline from what she’s been through up to that point contrive to confront her with the one thing she hasn’t dealt with yet: Happy Hogan’s death. We’re treated to a flashback of Rescue in action as Pepper debates if she’s done enough, if there isn’t more that she could do, if she can ever do enough.

What I find most interesting about Rescue is how it compares to DeConnick’s other Women of Marvel one-shot from last month, Sif. At first blush it’s tempting to argue that it’s the same story with power armor instead of a longsword, and the arc of each character, from a distance, is certainly similar. The difference here, though, is the vector each character takes to get where they need to go. The two books compliment and bookend each other remarkably well as character studies. I could wish, further down the chain as things sort out for the Heroic Age and in what seems to be the new Avengers tradition, to see a Sif and Rescue team-up. They would be quite a force.

Also, as an aside, I love the version of J.A.R.V.I.S. in the Rescue armor. It’s obviously a cue from the movie-version of J.A.R.V.I.S., and Kelly Sue uses it to great effect as comic relief. Being able to banter with the suit is a real treat.

I’ve loved the design of the Rescue armor from when it was first introduced in Invincible Iron Man, and Andrea Mutti does it great justice here. In all the ways that Iron Man epitomizes Tony’s concept of masculinity, Rescue is undeniably feminine without losing any of the strength inherent in a Starktech armor.

Rescue is, much like Sif, something I’d like to see as an ongoing series, or at least a limited run. They both would take well to more breathing room. We’re treated to a wonderful and poignant bit of character development with Rescue that wasn’t quite as possible with the straightforward Sif. Pepper’s only human, after all, and as such is laden with all the complications and baggage any of us accrete over a lifetime. (Not to detract from Sif’s issues, but as an Asgardian and a warrior, her solution is somewhat more linear.) It’s rewarding to see Pep fight through some of her issues. And if things line up the way Matt Fraction’s hinting at with the recent return of the Spymaster in Invincible Iron Man… well, it’s a good thing Pepper’s had this moment of closure before her return to righteous ass-kicking.

“Blasphemy Can Be Fun”

Writers: Greg Pak and Fred van Lente
Penciller: Reilly Brown
Inkers: Terry Pallot with Jason Paz
Colorist: Val Staples
Letterer: Simon Bowland

I’ve finally plowed through just about all of the Siege wrap-up books– I skipped Fallen Sun: The Sentry because I’m just about sick of Bob by now, no offense to the creative team intended– and am starting to get into the first few Heroic Age titles. Heroic Age: Prince of Power seemed like a pretty good place to start, and I’m glad I wasn’t wrong. Amadeus Cho’s first solo book is a fun ride.

A couple of shameful confessions are in order before I get down to business, I suppose. First off, I don’t really get into the Hulk the way I do, say, Iron Man or the X-Men. Thor’s managed to win a place in my pull thanks to Kieron Gillen, but the Hulk has never really had a creative team that appeals to me. Secondly, I’ve never read any of Incredible Hercules, and that’s entirely because I just don’t have the scratch to read everything I might want to read in a month. (I took an iPhone pic of the Department’s epically huge pull sheet for May 2010 when I filled it out. I should post that, just so you can feel my pain.)

I did, however, read the first issue of Hercules: Fall of an Avenger, and what I saw of Amadeus Cho in there, I liked. I knew that I was coming to Prince of Power at a heavy disadvantage, not having read any other books featuring everyone’s favorite boy genius… and, after my attempt at reading the new Birds of Prey earlier tonight, which presupposes a great deal of DCU knowledge, I was a little wary of what I was going to get here.

Thankfully, Pak and van Lente are smart, efficient writers who can pack a lot of backstory into a few witty captions. I went from not knowing shit about Amadeus Cho’s situation to meeting his ex-girlfriend, getting a feel for his mentor Athena Panhellenios, watching him fight the Griffin, and seeing him fail to manage his corporate holdings in any sort of reasonable fashion. For 22 pages, that’s not a bad start at all; I feel like I can read this series and understand what’s going on without having to hit up my resident Incredible Hercules fanboy every five minutes, and that’s a nice feeling to have.

The supporting cast is fleshed out nicely as well. Hebe, Amadeus’s personal assistant and Hercules’ widow, is a particular delight. She’s caught between a sense of responsibility to Amadeus, and a total unwillingness to roll with his grandiose and often poorly-thought-out plans, but she doesn’t come off as a blithering idiot or a doormat. Inexperienced, yes, but not naive; I could see her exchanging tips on “how to enable your crazy boss without incurring serious personal injury” with Pepper Potts. Given that I had qualms about Fall of an Avenger‘s habit of defining the women in Herc’s life in terms of their sexual relationships with him and nothing else, Hebe is a welcome change. She looks like she’ll grow into her role as Amadeus’s assistant over the next three issues, and that’s great to see.

Penciller Reilly Brown does some great facial expressions and a fantastic two-page spread of Amadeus fighting the Griffin here. His art is clean and straightforward, and Val Staples employs different color palettes to great effect over Brown’s strong linework. (Check out the transition from the day-glo fight with the Griffin to the subdued greens and grays of Bruce Banner’s lab. That’s some nice work.) The art has a solid contemporary vibe; Amadeus wears Marc Jacobs, Banner’s lab is stuffed full of ultratech goodies, and the Olympus Group offices have a Spartan feel to them. Nothing here feels tired or dated, and that’s exactly what I want in a book about a 17-year-old Einstein– a fresh, well-researched approach.

The A-plot comes a little late in the book, a casualty of the amount of pipe that needs to be laid to get there, but it’s a good one, and it plays off all the impulsivity and loyalty to Hercules that Pak and van Lente establish in the pages that precede it. Amadeus decides that, in order to bring Hercules back to Earth, he’ll have to become a god himself and start hunting Herc down throughout a number of parallel worlds. This is about as awesomely ill-advised an idea as Amadeus has ever had– and, indeed, this issue’s cliffhanger involves accidentally pissing off Thor, so you know it’s going to be a lot of fun across pantheons as the book progresses.

Hopefully, this book is a good omen for the Heroic Age– it’s a fast, breezy read with enough backplot to hook new readers without boring the old hands. It doesn’t require encyclopedic knowledge of the Marvel Universe’s current status quo. The writing is fresh and funny, and the art’s appealing. I’ll be pretty happy if other creators take Pak and van Lente’s cue and make their Heroic Age titles as accessible to those of us who aren’t omniscient.

Writer: Brian Michael Bendis
Artist: Olivier Coipel
Inker: Mark Morales
Colorist: Laura Martin

First off, I’m reviewing this issue from the airport in Seattle– on Monday afternoon. How, you ask, considering that I get my pull on Wednesdays like the rest of you? Well, I spent part of my long weekend in Portland, OR, home of Brian Bendis… who had comp copies burning a hole in his pocket. Bendis dropped some off at Things From Another World, I scooted over there on my way out of town, and the Sentry’s your uncle. So, hey, thanks, Bendis! Thanks, guys at TFAW!

Speaking of Bob, this issue puts the entire “what do you do with a guy who makes the Beyonder look sane” question to rest for the moment, and it’s actually pretty satisfying. Better yet, Coipel’s art is what sells it. The Sentry’s been one of the major annoyances of the Dark Reign– too powerful to play nice with everyone else, too unbalanced to be really compelling as a character– and getting him off the board gives me the sense that we may actually get some forward momentum going from here on out. That’d be a welcome change from the previous year and a half of dealing with twinked-out, superpowered lunatics…

…which brings us to Norman Osborn. He gets his in the end as well, although Spider-Man isn’t actually involved. Neither is Tony Stark, oddly– it’s all Steve Rogers’ show, set up to provide us with a little insight into Steve’s new motivations going into Secret Avengers. I certainly don’t mind Steve’s redesign, but I feel like Spider-Man should’ve had the last laugh in the ongoing Osborn drama, or maybe Tony Stark. After all, Norman was a Spidey villain from day one, and the entirety of “World’s Most Wanted” was about his vengeance on Tony. That being said, I don’t think we’ve seen the end of Norman’s plot arc yet, so I’m not counting either Peter or Tony out of the final reckoning.

As for our final, and arguably biggest, psychotic madman, Loki… well. His comeuppance delivers a serious hit to Thor’s entire status quo. If you have any interest in Thor and the Asgardian arc plot whatsoever, you will need to read this issue (and, if you’ve got them, Siege: Loki and New Mutants #11, both of which appear to provide big hints as to Loki’s possible fate). After all the buildup Loki’s received in the last year, this is the sea change in his relationship to the rest of the Marvel Universe, and you will need to see it even if you’re not actively following the Siege.

While I don’t always find Thor a terribly compelling character in his own right, and I’m only starting to come around to his fandom, I want to see where Kieron Gillen and Matt Fraction go with what Bendis has done here. Asgard falling appears to be the least of the Asgardians’ worries at this point in the game. Siege #4 sets up a state of affairs that can’t be ignored… and yet, over and over again in Gillen’s run, we’ve seen the gods’ childlike naïveté and willful ignorance lead them into disaster. I don’t know how long it will take the various Thor creative teams to play this one out to its end, but I expect a lot of mayhem before it’s all over.

Bendis has cleared the decks for next week’s Avengers launch in grand, cinematic style; although I have quibbles with Osborn’s eventual fate, I can’t say I’m unhappy with the denouement here. The Loki plotline is worth the price of admission on its own. Most of all, though, I’m just glad to see the Siege and the Dark Reign well and truly done; it’s past time we moved on to some new storylines and new ideas.

Note: Chad and I are celebrating our anniversary this weekend. Posting will be even lighter than usual as a result. –J

“Hellboy in Mexico, or, a Drunken Blur”

Writer: Mike Mignola
Artist: Richard Corben
Colorist: Dave Stewart
Letters: Clem Robins

The last year or so of Hellboy and B.P.R.D. have been dense with continuity, leading up to a radical change in direction for both books. I’ve been reading them pretty avidly, but I haven’t felt at all prepared to review them with the thoroughness they deserve. Fortunately, I have no such qualms about Hellboy in Mexico– like Mignola and Corben’s previous Hellboy: The Crooked Man, it stands delightfully and somewhat ludicrously on its own.

While waiting on a BPRD pickup in 1982 Mexico, Abe and HB stumble into a deserted cantina… with pictures of Hellboy and a bunch of luchadores on the walls. HB sighs and admits to Abe that, yes, he’s been here before; in 1956, Mexico experienced a plague of supernatural events thought to be the work of the Devil himself. Cut off from the usual BPRD support staff, HB teamed up with a family of wrestlers to fight the eldritch hordes.

What happens next is… well, even lucha libre can be neatly squeezed into the intricate Hellboy mythos. The brothers believe they’re on a mission from the Virgin Mary, the avatar of a demonic Mayan bat god appears, and everything, as usual, ends a little direly for HB himself. It’s a funny story, and a sad one, and it emphasizes the gulf between Hellboy and the people he loves. It’s hard not to see echoes of Dr. Who in Hellboy here. Like the Doctor, HB works best with companions, people whose brief and brave lives show him what it means to be truly human. Hellboy knows that he’ll always have to go on without them at the end of the day, though, toward that mysterious destiny we’ve seen teased in The Wild Hunt.

Corben does some of my favorite Hellboy art. The Crooked Man found him working in the tradition of underground comics, all deliriously thick lines and bulging eyeballs, and Hellboy in Mexico showcases his talent at brooding, expectant atmospherics. A lot of this book takes place in wide open spaces, lit only by the glare of headlights; it reminds me of early Spielberg cinematography in a good way. The fight scenes are chaotic and crowded, the cantina sequences cheery and bright. As much as I like Hellboy artists like Duncan Fegredo, Corben’s got the right attitude and solid chops to pull off a slightly gonzo Hellboy story like this one.

Soon enough, Mignola’s coming back to handle the art chores for Hellboy, and we’ll see what happens now that HB’s claimed Excalibur and appears destined for the throne of England. Hopefully, all that portentous Arthuriana doesn’t spell the end of these black-humored, North American-based Mignola/Corben stories. I’d miss them terribly.

Script: Zack Whedon
Art: Andy MacDonald
Colors: Dan Jackson
Lettering: Nate Piekos
Cover: Massimo Carnevale

When we talked to Zack Whedon last month about Terminator 2029 #1, he was coy about some details that were obviously going to play a part as the three-issue miniseries unfolded. This was to be expected, of course– but, having read issue #2, I have to chuckle to myself at just how much he was holding back, and how amused he was at what was coming up. He’s certainly earned it; this issue has elevated the series up a notch from “good” to “great.”

Terminator 2029 is technically centered on Kyle Reese, but Kyle’s lieutenant Ben gets all the love this time around. Ben and Paige’s arc in this issue comprises the B-plot, but they completely steal the show. I try my best not to spoil big scenes in these reviews, but I have to make an exception in this case, so steel yourself for the next paragraph.

How cool is Ben? He takes out a 800-series Terminator… with a pair of needle-nose pliers. Everyone else’s tech-geek cred just went down a few points by comparison, fictional character or not. Stand aside, Gordon Freeman, Ben’s on the scene.

When he’s not being a Leatherman ninja, Ben’s romantic subplot advances satisfyingly as well, intercut with scenes from Kyle’s bombastic A-plot. Kyle remains a strong character for Whedon to play with, but the main plot in this issue is a bit weak and formulaic. A band of renegades, ex-soldiers unsatisfied with what they consider to be the Resistance’s timid pace, bail Kyle’s refugees out of last issue’s cliffhanger… and that’s the problem.

In the immortal words of Bad Religion, these guys are “a pack of wild desperadoes scornful of living,” and Kyle’s stuck dealing with their issues. He’s essentially ego-goaded into helping the band’s leader make a raid on a strange new Skynet compound nearby. What follows is a workmanlike A-to-B progression– spot the base, go to the base, break into the base. It’s fun, but the Paige and Ben arc is so well done that it overshadows this de rigueur action.

Of course, that might be what Whedon intended all along. The ending ties both plots together in a surprise that will leave you smacking your forehead in why-didn’t-I-think-of-it delight. It’s not an M. Night Shyamalan-style twist, leaping on the unsuspecting reader out of nowhere, either– it’s actually neatly concealed inside the things we readers already know about the Terminator mythos. Or, well, if it’s not, it should be, anyway. Depending on how Zack decides to write himself out of the corner he’s just placed himself into, we’ll see what holds up through issue 3.

Also worth noting in this issue is Andy MacDonald’s steadily-improving art. #2 is a much tighter affair on all sides, and Andy’s really hit his stride. Dan Jackson’s use of a two separate color palettes, emphasizing the differences between the cold of the snow and Skynet and the tenuous warmth of the Yankee Company compound, is spot on. Massimo Carnevale’s cover art for this issue is poster-worthy, even as biased to Ben as we might be at the Department.

I was a big fan of Dark Horse’s movie properties in the early 90′s. Aliens, Predator, and Terminator mini-series were regular pulls for me when they were first running. This is the first time in a long time I’ve been this excited about one of them.