The Loeb universe

I'm a bit puzzled by the recent works on longtime writer Jeph Loeb. To me, Loeb's name always gave me pleasant memories of his workings with Tim Sale and even his lesser-known, yet still enjoyable run on the post-Age of Apocalypse X-Force. Before his exclusive signing with Marvel, I was enjoying most of his run on Superman/Batman and his credited episodes of the series Heroes on NBC have been fantastic. Good stuff, I would think.

Since his Marvel return, he's been hit-and-miss, with more of an emphasis on miss. I strayed away from Onslaught: Reborn not because of him, but because of Rob Liefeld's art and because it was an anniversary story that should never have been made. I'm sure it was good for what it was...or something like that. My first exposure was his Wolverine storyline "Evolution" which was pretty much abysmal. If you didn't catch it, check out the X-Axis' review of it. While Wolverine isn't one of my pulls, Casey faithfully reads it and shared with me the issues, and I had trouble getting through the whole thing. Blatant contradictions with numerous titles including X-Men and Cable & Deadpool made me shake my head. Never mind the ridiculousness of the whole thing - it was like the editors gave Loeb the go-ahead for anything, then had to go back and correct the details (like showing Feral and Thornn powered when they were victims of M-Day).

Somehow I missed issue #4 of Ultimates 3, but after reading Casey's copy of the issue, I have decided not only to skip the issue, but to drop Ultimates altogether. I have been reading Ultimate Spider-Man and Ultimate X-Men almost since the beginning of their runs. I followed both chapters of Millar and Hitch's Ultimates and am somewhat familiar with Ultimate Fantastic Four. The point here is that I'm quite familiar with the long-building continuity of the Ultimate universe. Loeb, however, has taken that and pretty much thrown it to the wind. It seems like he's decided exactly what he wants to do with which characters and to hell with what's happened before.

Examples of this in just four issues have been the fight with Venom (who has been missing since his debut in Ultimate Spider-Man and is just now returning to the picture), the unexplained arrivals of Black Panther and Valkyrie (who was a non-powered wannabe in Ultimates 2), the blatant romance between Quicksilver and Scarlet Witch, the changing of Captain America to depressive, and the odd characterization of Hawkeye.

To me, the final clincher was the appearance of Pyro in issue #4 as a homicidal member of Magneto's Brotherhood. That characterization showed me that Loeb did not bother to see what Pyro had done in the title before. He just new that he had appeared, so he got his design and put him in the role he wanted. In actuality, when last we saw Pyro, he was a member of the X-Men and quite amazed to be on the team he was! He had secretly infiltrated the Mutant Liberation Front, but was quite on board with the X-Men. How he went from that to murderous psychopath member of the Brotherhood wasn't - and likely won't be - explained. It's Pyro, and Pyro is a villain. So there you go.

The writing in Ultimates 3 seems to be blatantly egotistical, and what kills me is that the editors seem to be turning a complete blind eye to it! As for me, though, I'm tired of questioning why I'm shilling three bucks a month whenever the book comes out for something I'm not enjoying. For the bigger picture, perhaps? Well, that obviously doesn't fit here. Loeb's got his own picture and that's that.

I say enough.

Marvel decides there aren't enough books starring Wolverine

There was a time when Wolverine could only be found in the pages of Uncanny X-Men. I know it's shocking. Don't be embarassed if you need to catch your breath. In the mid-80s, it was decided that the superstar X-Man could probably sustain adventures of his own, and thus Wolverine was launched (after a successful mini-series). Alright, that's fine. A lot of team players have solo books (Iron Man and Captain America, for example).

But now, two decades later, Marvel has taken the pint-sized psychopath's popularity and gone positively bat-shit crazy. Besides his role in the pages of Uncanny, he also is leading the black-ops strikeforce team in X-Force, has stayed with the unregistered team of New Avengers, has three books of his own (Wolverine, Wolverine: Origins, Wolverine: First Class), only one of which really telling an ongoing story, and has recently been the subject of an ungodly surge of one-shot stories and mini-series. Logan wrapped up last month, Wolverine: The Amazing Immortal Man and Other Bloody Tales came out a week later, Wolverine: Dangerous Games kicked off June, and last week's X-Force: Ain't No Dog's main story was - you guessed it - a Wolverine story.

August will feature Wolverine: Killing Made Simple that brings back (by no one's demand) Nanny and the Orphan Maker and September has Wolverine: Roar and Wolverine: Saudade. To add with that, September's issue of Wolverine: Origins kicks off a four issue crossover with X-Men: Legacy!

I don't know what type of fan is so into Wolverine they're willing to shill out their hard-earned dollars to get all of this drivel (in fairness, not all of it is) but they need to knock it off. Perhaps if sales tank enough on these things, Wolverine can get back down to a manageable level. But I can bitch about it all day long. How would I fix it?

First, stop the one-shots and the mini-series. Wolverine is appearing in at least six different ongoing titles a month, complete with two dedicated specifically to him in current continuity. There should not be anything that can be brought out in a one-shot or mini that can't be handled in one or more of those titles. And if you actually read the issues in question, you'll see that they're actually isn't anything brought out. They're simply basic "milk-the-franchise" stories.

Second, cancel one of the current continuity books. While Wolverine: Origins (launched right after Wolverine discovered his entire past in House of M) features an ongoing plot dealing with the inner workings of the character, Wolverine is a book of rotating writers and artists whose stories really don't match up together or with any other title for that matter, except for occasionally Origins. So get rid of Origins while moving the stories and creative team over to Wolverine. Focus, people. Focus.

Third, refine Wolverine's presence in the Marvel Universe. It's a running joke that he's everywhere at once, and that shouldn't be. Put him on the X-Men and keep him there. Yank him from the Avengers as they have their own massive list of characters that can fill the void. X-Force is a little trickier, as his presence is quite important, but since the characters involved don't really fit and the concept goes against 40+ years of continuity, why not just scrap the whole book? I like that idea.

So what are we left with? Wolverine with solo adventures in Wolverine and team excursions in Uncanny X-Men and fun, nostalgic, out-of-continuity trips in Wolverine: First Class. With such a refined area, now you can reintroduce the one-shots but only few and far between! Even guest spots in New or Mighty Avengers won't be too much of a problem. But with the saturation down, these books might actually receive the bump that Wolverine's appearance should bring if they weren't so plentiful.

Marvel puts out quality debut issue solely to spite blog writer

Back in December, I lambasted the concept of Wolverine: First Class.

Casey bought the first issue, and lo and behold, I liked it. I liked it a lot.

So while I still am not a big fan of the concept, I gladly admit that it's a quality read (as of the first issue) and I plan on picking it up. I apologize for jumping to the conclusions that I did.

Dammit.

Going down the Skrull memory lane

After all the build-up and the hype, Secret Invasion finally kicks off next week and the Marvel scene is ablaze with Skrull fever. The Skrulls, to me, have always been a "Let's invade and take over!" group to soundly be defeated by the heroes and be on their ways. Of course, I just recently (within the past five or so years) began reading Fantastic Four and Avengers, so I still have a ways through my Essential volume trudging before I get to some of the more classic Skrull stories. The 60s versions didn't exactly have me cowering in fear.

But I'm an X-Men fan, and one of the (mainly forgotten) stories that I hold near and dear to my heart - the story that was taking place when I first became a fan - is my favorite Skrull story to date, and it's really what I think about when I think Skrulls. The story was an effort by Chris Claremont and Jim Lee running briefly in Uncanny X-Men #273 and 274, before taking up all of 275 through 278.

The setup was classic Claremont. Back in the 160s of Uncanny, Deathbird has usurped the throne of the Shi'ar with the help of the Brood. In issue #200, Professor X had been taken aboard the Starjammer to heal his body, and was unable to return to Earth. Nothing had been done with either character since. With the to-be launched X-Men #1 approaching, I guess it was decided that Professor X needed to be back on Earth, so this quickly wrapped up both storylines in a somewhat unfulfilling manner, in the scope of the big picture. Lila Cheney teleports the X-Men to Deathbird for no real reason, they break free of her trap, beat her and the Imperial Guard up, and Lilandra's got her throne back. It took less than half an issue. But ignore that and follow the story afterwards.

At the party celebrating the victory, Psylocke gets attacked from her chambers and dragged off. Jubilee and Gambit stumble upon Professor X ordering Gladiator to rip Deathbird's wings off. When they attack, Jubilee gets caught and Gambit escapes. As the X-Men investigate, Wolverine cuts down Professor X, and is attacked by Psylocke and also taken prisoner. Now with just Storm, Banshee and Forge (with Gambit working in the shadows) the X-Men have to decide whether they can trust Deathbird and go against Lilandra, who has apparently been doing horrors to Shi'ar worlds under the control of Professor X, who may not be dead after all.

Turns out, Xavier (as well as the Starjammers) have been captured by War Skrulls, who have created a nexus that allows them to duplicate powers. The Psylocke that struck down Wolverine was a Skrull, as was the Professor X that was killed (who in turn was replaced by another Skrull). As Wolverine and Jubilee are copied, the remaining X-Men prepare to fight against their own (of course - it's a Claremont story) and the ending works out, everyone's happy and Professor X returns to Earth to wrap up the longtime Shadow King build up.

There were a lot of things I loved about this story. For one, it was the first story with an actual X-Men team since the Australian based group disbanded back in the 250s, and it was such a mish-mosh of characters (Storm, Wolverine, Banshee, Forge, Psylocke, Gambit, Jubilee), it was an interesting set of interactions between them - though they for some reason had chosen to wear matching uniforms for the first time since the late 60s.

But mainly it was just how bad-ass the Skrulls were. I had no clue what was going on until the big reveal at the end of 276, and by that point (long before, actually) I was intrigued. This group seemed like a viable threat that could in fact conquer a galaxy-spanning empire and do horrors in somebody else's name. Of course, the good guys would win - the good guys always win. But this one is a story I can repeatedly go back and read, happily, whenever I want a decent story.

And also 275 had what is still on my favorite covers list:

So while this may not be a story that goes down in many memory books, if Secret Invasion pulls off Skrulls like this one did (and as of right now, it's already made them a loooot cooler), I'll be happy. I just wish they'd drop the "I've been discovered, I have to attack like a savage! Grrrraaaarrrrrgggghhhhh!!!!!" bit.

Yeah, fat chance.

Debut Issue

Kick-Ass #1

When I walked into the comic shop this week I had no intention of picking up a new book, even one with as snazzy a title as Kick-Ass. (I actually got two new books, this one and Ed Brubaker's Criminal #1.) But it's action packed cover and bold title caught my eye. When I saw that it was written by Mark Millar and drawn by John Romita Jr., I thought I'd give it a shot. Millar wrote some of my favorite stories including Civil War, Ultimates 1 & 2, and the amazing "Enemy of the State" arc in Wolverine. Romita Jr. has been a Marvel mainstay for years and always done quality work.

Kick-Ass is an Icon book, which is Marvel's creator owned imprint. That means it doesn't take place in the Marvel universe. In fact, it happens in a world not unlike our own. Kick-Ass asks a question: With all the crazies in the world why has there never been anyone to put on a costume and fight crime? In this book, Dave Lizewski does just that.

What's so special about Dave Lizewski? Nothing at all. He's a high school student. He loves comic books. Other than that, he's a pretty nondescript guy, just sort of fading into the background of life. He decides to become a costumed hero not because he has any special ability or anyone to avenge, but just because he's bored. He spends a few weeks in the gym then buys a wet suit and a ski mask and heads out to fight crime. He has no combat training, no name, and no idea what he's getting himself into. Needless to say, it does not end well.

The main character doesn't seem particularly smart or likable, but he's the right kind of crazy to make you wonder what he's going to do next. And when the first issue ends with the hero bleeding to death in the middle of the street after being stabbed in the chest and hit by a car, you have to wonder what issue two will bring. I'll stick around for that, at least.

Ten Reasons "One More Day" Is the Worst Spider-Man Story Ever

#4 - The Spider-Man Swings Alone

As much as the intended purpose of Civil War was to tear the Marvel Universe apart, it did an excellent job of bringing things together. After setting it up in House of M, Civil War established an over arching theme to the entire universe. You really got the sense that all of these characters, even in their own books, existed in the same universe at the same time. What happened in books like Captain America and Iron Man had ties to what happened in other books like Wolverine and New Avengers, and so on. Not in the sense that you had to read everything to get the whole story but that you’d get some bonus insight and background information if you did. One can argue that Marvel’s always been like that, but to me it seemed much more prevalent post Civil War. I was such a fan of this newly integrated universe that I started collecting five new Marvel titles after Civil War.

Right there in the thick of things was Spider-Man. This was a relatively new place for him. Before joining the New Avengers Spidey had mostly swung solo, sticking to his own book(s) and doing his own thing, barring the occasional team-up or special guest appearance. He was sort of where Daredevil is now, and even he has some dealings with The Hood to tie him into New Avengers. I, for one greatly enjoyed the character’s wider integration into the universe over the last couple years. Peter’s friendship with the Avengers, his mentor relationships Captain America and Iron Man, and even the new spin on old connections brought about by the unmasking. Realistically, what more could you have done with Spider-Man and J. Jonah Jameson?

"One More Day" and the resulting "Brand New Day" storyline have effectively wiped away those stories and pulled Spidey back into his own corner of the Marvel U. All of his relationship and character developments over the last twenty years, but specifically the last three, have been called into question. Who does Spider-Man know and not know? What did he do and not do? How will writers tackle the issue of Spidey's place in the Marvel Universe without throwing their hands up and saying "It's magic, we don't have to explain it."? Will it even be attempted or will Spider-Man just stick to his own books and drop by New Avengers merely to shoot webs at something and say a funny one liner? My money's on the latter.

Five points to think about:

Here are five quick thoughts off of my head to spur some thought in yours.

1. The Iron Man movie will not be big enough to launch a second series and countless minis.
2. Wonder Woman needs a costume change. Sure, her look is iconic but the character would benefit from having a more conservative outfit in the "world of men".
3. At least one Wolverine series will be cancelled within a year. My money's on First Class.
4. One of the three new X-Books (Young X-Men, X-Force, Cable) will not make it to issue #20.
5. People have gotten over One More Day well before Casey's countdown has finished.

X-Force

The first of three shiny new books for the X-Men line, X-Force hit the shelves yesterday (Cable debuts in March and Young X-Men follows in April). The new title, written by former New X-Men writers Craig Kyle and Chris Yost, has been heavily hyped since before the start of Messiah CompleX. Hell, a big chunk of the story served as a preview of X-Force. So the title finally debuts, albeit a week late. So how was it? Was it worth the hype? Well, no – not really.

The theme of the book is quite simple: after Messiah CompleX (and apparently all the events leading up to it) Cyclops has decided that desperate times call for desperate measures and has put together a team that will get the job done with a sense of finality. In a nutshell, it’s a killing squad. This plays right up Kyle and Yost’s alley (as they have great trouble getting through a story without killing someone) and it also gives another opportunity for a Wolverine-headlined book (as if Wolverine, Wolverine Origins, the upcoming Wolverine: First Class and countless mini-series weren’t enough). So okay – it’s new for the franchise, and in theory it could work.

The problem here is the execution. X-Force was basically thrown at readers during Messiah CompleX to hunt down and apparently take out Cable. It really didn’t work then, as they had no evidence that Cable had caused anything, save have possession of the baby, yet Cyclops still gave the "any means necessary" order. The lineup was strange as well – Wolverine and X-23 – being the bloodthirsty animals they are – fit. Warpath, Caliban and Hepzibah were odd, but could possibly work (even though Caliban apparently was just there as cannon fodder). Wolfsbane was about as ill a fit as you could get. In no form of the character could you justify having her there. So X-Force spent Messiah as more of a tracker group than an "any means necessary" group.

X-Force opens with a look into Wolverine’s thoughts. I’m not going to go into his point of having never been to Colorado (Really? Wolverine?), but it’s supposed to be a big deal that X-Force disbanded after Caliban died. That’s right, a team that had been together for one mission – and obviously not very long, since Caliban and Hepzibah were members – and it’s a big deal that they’ve split.

Then Cyclops makes the point that Emma doesn’t know he’s doing this, which makes me scratch my head. Emma Frost is the 2nd most powerful telepath in the world, and she shares a bed with Cyclops – can see into his subconscious – yet he’s hiding this. And what for? Emma is amongst the more cold-blooded members of the team. She was the one that first brought up offing the Scarlet Witch at the beginning of House of M. She was the one who broke Cassandra Nova’s neck. Why would she not go fully with the idea of permanently removing villains who pose a threat to herself and her students? The tone of "secret missions" is set for no particular reason besides that it seems cool.

So the team gets back together – sans Hepzibah who’s not even mentioned – and off they go on their mission against the Purifiers, who have apparently infiltrated SHIELD to get the head of Bastion – something I’m going to have to wait and see on. The issue has the apparently obligatory heavy-blood fight (complete with blades through the face, for good measure) and it ends with the overused Kyle/Yost device of making it look like someone gets killed for the cliffhanger. We’ve seen this too many times to really even matter anymore.

There are three things beyond the details of the issue itself that concerns me about this book. First are the comparisons to the original X-Force series launched by Rob Liefeld back in 1991. Obviously I have strong doubts about this, but I don’t think it’s fair to argue that it shouldn’t be called X-Force because it doesn’t have the same premise as the original. Hell, the original lost the original premise within 20 issues. The "Cable makes soldiers out of the New Mutants" bit ended when Cable vanished after X-Cutioner’s Song and they began setting their own place in the world. Yet, that Liefeld concept is what I keep reading about. This is not going to be that – quit trying to think that it should be. It’s actually the third appropriate use of the title – the second being when Warren Ellis took the book on in 2000.

My second concern is the book’s art, courtesy of Clayton Crain. Don’t misunderstand me on this one – I think the art’s flat-out gorgeous. But with such wonderful art usually comes long delays in a book. Take examples from Jim Lee on All-Star Batman and Robin the Boy Wonder, whichever Kubert is working on Action Comics or Bryan Hitch on Ultimates. I’m not familiar with Crain, so perhaps he’s above the mold on this one, and I certainly hope so. The book’s art is amazing and definitely a drawing point.

Finally, I’m concerned about the premise of the title. The "desperate times call for desperate measures" idea is somewhat new to the X-Men mythos, especially taken to the level that it seems to be here. However, how long can you really draw this premise out? Surely, some villains will have to be killed to give the book some sort of credibility, yet does that mean all X-Men villains will be hunted as the book continues? How can you justify them being X-Force worthy? If they all are, then why bother with X-Men at all? Will new villains be created just to be killed? This seems like much more of a mini/maxi series premise than an ongoing. I can see two or three story arcs coming out before the title begins to drag.

So go ahead and give this title a try if you like the premise and enjoy great art. I’m obviously not optimistic about it, but hey, only one issue’s come out thus far. I’ll keep getting it to see where it goes – and hopefully many of my concerns are unfounded.

The Wolverine book nobody asked for...

Because one pointless Wolverine title (Wolverine: Origins) apparently wasn't enough, it looks like Marvel will shortly be launching a second come March '08. Apparently in the spirit of the surprisingly good X-Men: First Class, the new title will be Wolverine: First Class, and if what the linked interview with writer Fred Van Lente is all coming to pass, then I am not looking forward to it.

If you've missed it (and you're missing out), Jeff Parker and Roger Cruz's X-Men: First Class takes place during the...uh...First Class of Professor Xavier's school (Cyclops, Beast, Iceman, Marvel Girl, Angel) while they were still teenagers. When this time period actually happened in the comics, it was in the middle of the 1960s, and nobody (from the Stan Lee/Jack Kirby founders to later creative teams) seemed to be able to write these kids as, well, kids. They read just like any other Marvel characters at the time (with the exception of Spider-Man) and the joys of youth were completely lost.

First Class allowed news stories during that time period (story-wise) as if the kids were living in the late 90s, early 00s. The premise of the book is not to insert into continuity, but rather to tell the kinds of stories that have the same back story, and allow the reader to have fun with the characters they know.

Wolverine: First Class seems to be missing the point entirely. While saying that this all fits into continuity, by starting out the story right after the close of the Dark Phoenix Saga, the characterization of Wolverine and the relationship between hm and Kitty are off. It feels like he's trying to use the Wolverine of now with the Kitty of then, giving them a mentor/sidekick relationship that did not exist until much later in the book (around the Claremont/Romita era, after their mini-series).

Around Uncanny X-Men #139 (where this story apparently is set), Wolverine was not the trusted veteran that he is today. He was still brash, mysterious, and overly arrogant. In that very issue Wolverine tells Xavier of his intent to return to Canada to sort out his troubles with Department H, Xavier sends Nightcrawler along to chaperon, not fully trusting Wolverine.

Why then would this story have Xavier sending Wolverine on "solo missions" and sending Kitty along for the ride? There is no way that Xavier would subject Kitty to that - especially at that period of her life. Hell, he's the one who demoted her to the New Mutants after he founded the team. The whole concept falls flat. If he's going for the relationship of Wolverine and Kitty after their team-up mini-series, then it needs to be set at that period. To do so at this point, then claim it's in continuity, is wrong - and dumb. I have to ask just how this was allowed.

As for the relationship itself - such a tight bond between the two characters did not come until much later...though it still took me some looking to see how it got so strong. Kitty initially bonded with Storm, then turned to Colossus as she became more comfortable on the team. In fact, the turn was a factor in Storm going to her 'punk look' after Wolverine's wedding. While Wolverine, like Cyclops, Nightcrawler and Angel, all loved Kitty like a little sister, the bond that's being shown in this title just wasn't there until much later.

My point on this? If you want to have this book, then follow X-Men: First Class's example and just tell fun stories in the time period. There's no need to try to push it as in continuity. There's just no way you're going to be able to make that work. It's going to end up like other attempts (X-Men: The Hidden Years and Untold Tales of Spider-Man) as a random memory in the hardcore collector's mind.

Definitely not going on my buy-list.

The Weekly Pile

Top of the Pile: Mighty Avengers #5

It's a shame this book has been so delayed. With the extended periods between issues it's hard to keep up any kind of storytelling pace. The most you can hope for, aside from the creators getting their asses in gear and putting the book out on time, is that the issue is good when it does come out. Mighty Avengers comes through in that department.

Bendis' decent drama and snappy dialog always make his books an entertaining read. His use of random thought bubbles is a great way to give an extra dimension to the characters without having to delve into a lot of expository writing. Frank Cho's art continues to look fantastic and it's sad to know he's the reason the book's so delayed.

The Rest of the Pile

Captain America #31 - This book was very close to being the Top this week. Ed Brubaker continues to craft a compelling story even though the title character's been dead for more than six months.

Captain America: The Chosen #3 - Continuing the story of an aging Cap searching for his replacement.

Countdown #28 - See this week's Countdown Countdown

JLA #14 - The Injustice League, a large gathering of villains who seem to have gotten together just to get together. This may sound weird, but it reads more like a cartoon than a comic book.

Marvel Zombies 2 #1 - Nothing special here, just the same gory fun as the first series. Robert Kirkman continues to be one of my favorite writers.

Ultimate Fantastic Four #47 - I'm torn about this book. It hasn't been bad, it just hasn't been interesting.

Wolverine: Origins #18 - Wolverine fights Nazis with Captain America, Bucky, and a young Nick Fury.

The Weekly Pile

Top of the Pile: Green Arrow/Black Canary #1

My favorite book this week wasn't even on my list when I went to the comic shop. I collect somewhere around eighteen books a month and only three of them (not counting Countdown, which I'll address in another post) are published by DC. Two others are published by Image, the rest by Marvel. I'd been meaning to address this disparity, wanting to read more DC but I had no idea where to turn. I considered Batman, Flash, and Green Lantern but the fact that they're all far into their current titles was a bit intimidating. I like to start at the beginning, and I'm a bit of a completist. I wanted something I could jump right on and didn't have to spend an arm and a leg for back issues if necessary. I'd always liked Green Arrow, and when I saw a #1 with his name on it I thought I'd give it a shot. I couldn't be more glad I did. Writer Judd Winick and artist Cliff Chiang won me over and DC earns another spot on my list.

The Rest of the Pile
Booster Gold #3- As confusing as the may be, I love time travel stories. And I love Booster Gold, so this book's always enjoyable.

Friendly Neighborhood Spider-Man #24- Part two of One More Day. It seems like they're building toward some huge deus ex machina to undo the tragedy of Aunt May and somehow affect Peter & MJ's marriage. I've got a bad feeling about this.

New Avengers #35- An inside look at the Hood's new criminal organization. Not much of the Avengers, though.

Punisher: War Journal #12- Frank protects the innocent citizens of a New York neighborhood from a rogue soldier from the Hulk's army.

Wolverine #58- This story is leaning more toward the mystic, which failed so spectacularly with Jeph Loeb's Evolution. Why can't we just just get a good Wolverine story where he plays Dirty Harry and slaughters the bad guys? I guess that'd be too simple.

Casey's Top and Bottom of the Pile: 8-22-07

TOP: Wolverine #56
This book gets top of the pile honors this week for simply being a breath of fresh air after writer Jeph Loeb's lackluster, continuity error laden, and often boring six-issue run. New writer Jason Aaron tells a decent story, but it doesn't really matter since he's only filling in on this one issue before Marc Guggenheim returns. Howard Chaykin's art is solid, though not as pretty as Simone Bianchi's. His style fits the tone of the book, so it's a good thing he'll be sticking around to work with Guggenheim. Here's hoping Wolverine can get back on track.



BOTTOM: The Sensational Spider-Man #40

This wasn't a bad issue, it just felt like filler until the big One More Day event kicks off next month. We get a flashback to Spidey's origin and some of the bigger moments in his life. He then has a chat with "god" who tells him that what he does makes a difference in the world. With this being the last issue before the final issue of the series it seems like a missed opportunity. Cover artist Clayton Crain does the interiors on this one and the whole thing is absolutely beautiful. I really hope Marvel keeps him around for more Spider-Man work on the new Amazing Spider-Man.


The Rest of the Pile: The Amazing Spider-Man #543, Countdown #36, Ultimate Fantastic Four #45, Invincible #45, The Walking Dead #40