Film review: Iron Man 3 (2013)

I am openly conflicted about “Iron Man 3.” On one hand, I am desperately trying to achieve objectivism in my review. I enjoyed it. It had a solid plot, it tied wonderfully to Joss Whedon’s “The Avengers,” and a majority of its special effects are a technical marvel. I thought that the casting was superb, and personally the inclusion of Sir Ben Kingsley and Guy Pearce always make a filmbetter. All-in-all, the quality of the film sits snugly between the first and the second Iron Man films.

However, on the other hand, I was incredibly dismayed to learn that, “Iron Man 3” would be Robert Downey, Jr’s last standalone Iron Man film. In this context, “Iron Man 3” disappoints. It doesn’t invoke the same sense of finality that I experienced when watching Christopher Nolan’s “The Dark Rises.” “Iron Man 3” felt like a strong mid-entry to the series, but not the epic conclusion that should be expected from the franchise. However, it has been pointed out to me that Robert Downey Jr. will reprising his role for “The Avengers 2,” so maybe a more adequate ‘conclusion’ to Iron Man will present itself within the confines of an Avengers film.

Personal reservations aside, “Iron Man 3” is a topnotch Marvel film. It dives into the character by making Iron Man fallible, resulting in a two-hour character exploration--One of both his weaknesses and strengths. The Mandarin (Sir Ben Kingsley) and the founder of A.I.M. (Aldrich Killian played by Guy Pearce) are excellent villains and far superior than “Iron Man 2’s” subpar Whiplash (Mickey Rourke). I also enjoyed Marvel Studios’ deviation from the more-famous Iron Man comic book plots. It held true to the character (for the most part), but was removed enough to surprise comic book and films fans alike.

I thought that the special effects were top notch, save for the fire effects used for the A.I.M. henchmen. The were starkly different from the other special effect heavy scenes, which made them appear dated and cheap. The end sequence was gorgeously rendered and nearly all of the scenes involving the Iron Man armor were meticulously dazzling; they were fluid and excellently scripted.

My only complaint, besides the shoddy A.I.M. fire effects, is that Stark seems to break character towards the end of the movie. The script alters the very core of the character’s personality, and it as-if the exploratory elements of the film override the source of Iron Man. I am curious to see if Joss Whedon carries this new ‘Tony Stark’ into “The Avengers 2,” or decides to follow a more comic book-like rendition of the character that was presented to audiences in the first two Iron Man films. Whedon will be struggling between cohesion and character integrity, but with his directing and writing chops I am sure a happy median exists.

Overall, “Iron Man 3” is a good film. It is better than the last and is on par with the other Marvel Universe films. Besides my own comic book snobbiness and reluctance to see Robert Downey, Jr. leave the mantle, “Iron Man 3” is more than worth the price of a couple of movie stubs.

I give “Iron Man 3” four-stars-out-of-five.

(SOURCE: Film review: Iron Man 3 (2013))

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Review: Nova #2 (2013)

First off--I absolutely love the cover for Nova #2. The first one was stellar as well, but Ed McGuinness, Dexter Vines, & Mart Gracia out did themselves with the second issue. I particularly love the background image. While paying homage to classic Science Fiction it manages to also respect older space opera Marvel titles. It is very reminiscent of late 90s Infinity Gems/Gauntlet and Warlock comics; it strikes a nostalgic chord, which I very much enjoyed. It is one of the many reasons that this title has skyrocketed to the top of my Marvel NOW! pull list.

The narrative has some amazing symmetry to it, whether intentional or not it is always appreciated due to the cadence created for the reader. Loeb starts the second issue right where the last left off, with Rocket Raccoonand Gamora standing over Sam Alexander’s bedside. Sam (still new to the whole Nova gig) is caught completely off guard and mistakenly calls Rocket Raccoon a “Raccoon,” which leads to one of the more amusing moments of the issue. I was a tad disappointed thatRocket Raccoon and Gamora didn’t have a larger role to play in this issue, but this isn’t necessarily a critique in the strictest sense, it is the comic fanboy in me wanting to jump the gun rather than allowing the story to naturally build and climax as Loeb intends it.

After the brief tussle between Rocket Raccoon and Sam, the issue dives into the typical young hero finding out about his new found powers. For those not familiar withNova this issue provides excellent insight into his basic skill set. Throughout the years various Novas have expanded upon these rudimentary abilities, which have resulted in some very interesting and clever combinations, but for Sam he is completely new to the whole affair. However, from a writing standpoint it creates a unique opportunity to alter and change the character’s power set. The series might start off a little slow, because the writer has to simultaneously introduce a new character to a knowledgeable audience as well as introduce a character to his new found powers, but odds are within a couple of issues the character will become more rounded out and the series will become more action-packed than ever.

This issue is definitely about the transformation and development of Sam Alexander into Nova (aka the Human Rocket). It is his origin tale, and getting characters caught up to speed on the ‘things’ bigger than themselves is a difficult task. I always enjoy reading an origins tale to see how the writer tackles this predicament, because the writer has to essentially balance the fact that the audience knows more than the character knows. Loeb is juggling pacing with character building. He needs to keep an audience with a slower narrative, but in the long run it will provide him the foundation to build a ‘new character from the ground up, which will eventually increase the pace.

The beginning and the end of Nova #2 were my favorite portions of the issues, but the fill-in is necessary and I hope readers don’t drop off because it is a bit too slow--Stick around, it will pick up. I think Loeb is doing a brilliant job reeling people in at the end, while character building in the middle.

I give Nova #2 four-out-of-five stars.

(Source: Review: Nova #2 (2013))

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Review: Guardians of the Galaxy #1 (2013)

Before the Marvel NOW! relaunch news of it was spreading through the newswires like crazy. The buzz was there, and the marketing gurus hired by Marvel were doing their job--and doing it well. In particular, the stories pertaining to Nova and the Guardians of the Galaxy intrigued me the most. I am a Star Wars and Science Fiction nerd-a-holic, and the idea of Marvel rebooting their space opera series with some their most underrated and coolest characters was tantalizing to say the least.

Rocket Raccoon and Nova are some of the best comic book characters ever created, yet in modern times they have fallen from the mainstream. However, sometimes a lull in characters is a good thing. It allows for a generation to forget narrative mistakes and embrace a reboot by allowing the time necessary to solely remember and focus upon the more interesting aspects of ill-fated characters.

The central theme to Nova, Iron Man, and the Guardians of the Galaxy is Guardians of the Galaxy. For those uninitiated, theGuardians of the Galaxy are a motley crew of superheroes that protect the galaxy. Their roster has changed a couple times over the decades, but the current line-up includes:Gamora the assassin, Peter Quill (aka Star-Lord), Groot, Drax the Destroyer, andRocket Raccoon (supposedly Iron Man will be a temporary member of the Guardians of the Galaxy as he meanders about the galaxy in search for something grander than himself).

Nevertheless, the characters are superb and it is an excellent ensemble script. Star-Lord is the leader of the group and stems from galactic royalty. His father is leader of the galaxy, while his mother was human. Created from a seemingly arrogant, uncaring alien father, Peter is the product of a tortured childhood and immense power. He vows to thwart his ambivalent father, while following a strict code of ethics. This willpower and charisma attracts the aforementioned characters to his side and thus the Guardians of the Galaxy were born. The group has always had close ties to Nova and the Nova Corps (a space cop agency of sorts), so with the relaunch of Marvel the titles of Nova, Iron Man, and Guardians of the Galaxy have all become increasingly intertwined in an effort to cross promote and explore characters that have either hit a wall or need a refresher.

The first issue of Guardians of the Galaxy starts off as an introduction to Peter Quill (Star-Lord) and his tumultuous relationship with his father. Brian Bendis starts small and then expands as the issue wanes to encompass the rest of theGuardians as well as setting up for the much larger issue at hand-- the protection of Earth.

Personally, I am not a huge Bendis fan, but my only exposure to him was his pre-Marvel NOW!work with the Avengers. However, his narrative here is exceptional and from a technical aspect incredibly polished and logically outlined. Steve McNiven’s artwork doesn’t draw that same nostalgic Science Fiction feel like Ed McGuinness does in Nova, but its scope is amazing the panels hit when they need to. I particularly liked the splash page featuring the Guardiansentrenched in a space battle with an alien ship. I am not a huge fan of the new Iron Man armor that Stark has been using since his journey into space, but I am not entirely sure who is responsible for the design. I am guessing that Iron Man artist Greg Land was instrumental in the design, and that other, follow-up artists are just following suit for continuity’s sake, but I have no hard evidence for that conclusion. However, I did enjoy McNiven’s character model for Peter Quill. I loved the first couple pages of the issue because it setup Star-Lord perfectly. He was unshaven and gritty, and having him introduced in a shady bar at the end of the galaxy harkened to Han Solo in the Catina in Star Wars Episode IV: A New Hope. Bendis and McNiven provide respect to those that deserve respect, while also creating a world of their own.

Overall, the issue is solid. The plot builds appropriately, and the art hits where it is suppose to. Thus far, I prefer Jeph Loeb’s technique in Nova over Bendis’ in Guardians of the Galaxy, but only by a hair. Ed McGuinness seems to focus more on Science Fiction nostalgia in Nova, whileSteve McNiven is driven by the moment. Both of which I appreciate, so as for favorites goes it is difficult to definitively decide. I would recommend giving both a whirl--you can’t go wrong.

Guardians of the Galaxy gets four-and-a-half stars out of five.

(SOURCE: Review: Guardians of the Galaxy #1 (2013))

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Review: Nova #1 (2013)

In my opinion, Marvel NOW! has been a smash hit. The quality of the content has been phenomenal, and in retrospect it makes me sad to think of DC’s NEW 52. There were some gems to be gleaned from those 52 new titles, but Marvel has managed to best them at their own game with essentially the same core writers and artists. At the moment, they seem to have that small publisher feel, but with the backing of a large one.

The reboot of Nova and Guardians of the Galaxy were the series I was most looking forward to and their respective creative teams didn’t let me down. Nova #1 is a fresh take on the title character and its artists have filledNova’s glossy pages with classic science fiction art that I have been missing since I was a child.

Nova #1 centers around Sam Alexander.Sam leads a life that not many would be envious of--he is the laughing stock of his school due to his father’s janitorial position and repeated drunkenness. Sam believes that his father’s bedtime tales of the Nova Corpsand his adventures are fabricated, but whatSam doesn’t realize is that the Corps is real and the root of his dad’s depression and irresponsibility. His dad’s fantastic tales of heroism, talking raccoons, and deep space battles are all true, and it isn’t until his father goes missing and the Guardians of the Galaxy come a calling that Sam begins to believe in his dad’s tales.

Jeph Loeb spins a classic science fiction tale that bridges the prior Nova volumes with a logical, new character that is obviously destined to be the new Nova. Ed McGuinnesscompliments Loeb’s story perfectly by creating a ‘Last Starfighter’ vibe to the series. His facial expressions are incredibly appropriate to the characters he is recreating; they are not overly complicated, but they always seem to convey the proper emotion of the character within every panel. Also, to note, the coloration (Marte Gracia) and inking (Dexter Vines) are particularly vibrant, which add to the nostalgic, classic sci-fi tone to the artwork.

Not only does the story modernize Nova, the artwork and inking tie it to its roots, creating a stellar transition from the past to the present. I can’t recommend the Nova series enough. Nova #1 receives five-out-of-five stars.

(SOURCE: Review: Nova #1 (2013))

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On Comics.

Comics are cathartic for me. They conjure up images of the impossible. It is a fantasy that strikes at the heart of social and political change without even trying. It bundles escapism with reality--and does so elegantly and masterfully. It is an underappreciated art with very few equals. I am hopeful that the film industry can revive the crippled comic book industry by injecting some cash into its dwindling coffers.

It is such a fascinating industry, and it would be an incredible shame to have it lost to capitalism and poor support. I am a creative writer at heart, meaning dusty ol’ tomes are my bread and butter, but being uttered, I have read some of the most innovative literature and viewed some of the most stunning pieces of art within the pages of a comic.

We have literary giants among us, but they get overshadowed by the misconceptions of the masses. Comics aren’t for kiddies anymore, kiddies. They’ve grown to encompass American culture and thus cultures across the globe. They hit on hard topics before society even recognizes them as a ‘hard topic.’ They’re cutting edge, and almost everyone seems interested (due to the films), yet like most-things Americans they tackle it with apathy and feigned knowledge.

Comic books have the amazing ability to bridge the large with the small. They find context within chaos. At a personal level, I rely on them. I find personal solace within the twenty-or-so pages of glossy awesomeness. They are nuggets of escapism. You can devour the by the truckloads or read one or two between coffee breaks--revelatory moments captured in mere minutes.

I’ve been a bit behind on comics over the past several months, and it has been my own undoing. I’ve let my greatest hobby slip away from me as-if it were nil, and I deeply regret it. I’ve yet to crack an issue of “Age of Ultron” and I am more than a month behind on all of my comics, but my goal is to catch-up and begin producing strong, well-structured articles--to get a conversation going, again.

I was busting out several articles a week without a sweat, yet now I can barely get one out a month. My personal life has been tumultuous to say the least, but in times of strife we should all fallback on our greatest loves--partners, family, and the arts.

At the writing of this I have a wall of comics to my left, a head full of ideas, and a heart finally ready to get back into the game. From henceforth, I intend to be a bit more personal. I’ll be writing my usual comic book news and reviews, bit every once in a while I’ll throw an editorial piece this way to let you know what is going on either in the industry from an opinionated source or about my life and comics from an incredibly opinionated source.

Cheers,
      A.R. Schultz

(SOURCE: On Comics.)

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Review: New Avengers #1 (2013)

Jonathan Hickman is a genius--plain and simple. Never before have I read a comic book riddled with comic universe defying discontinuities that baffle me, but simultaneously entrance me. I always crave more at the end of a Hickman comic! -Like a drug fiend pleading for more, but eventually forgetting the “Why?” of it all- It is a truly curious affect that I attribute to quality writing. Like aforementioned, “plain and simple,” Hickman does it right. Pre-Marvel NOW! Hickman gave fans a remarkable Fantastic Four run, that inevitably spawned the equally spectacular series, Future Foundation. And, as much as I enjoyed these endeavors I always found something to be missing--as-if Hickman was merely scratching the surface of greatness, but never truly embracing it.

With the New Avengers, Hickman now has the opportunity. He is developing the most rich characters of the Marvel Universe with the same sort of reckless disregard for continuity that Grant Morrison does with Batman & Robin in Batman, Inc. They are both creating compelling tales on their terms and their respective companies allow them creative freedom because they sell comics.

New Avengers #1 sets the stage by breaking character a bit. It takes Doctor Strange, Iron Man, Mr. Fantastic, Namor, and Captain America into a dark place. Specifically, into a secret organization called the Illuminati. Their sole purpose being: to rule society in secret in the best way possible. This organization is of course self-appointed and perfectly ‘qualified’ to do so. At the onset, the Illuminati sought to recruit the Black Panther into their midst, but due to the self-evident flaws in a secret society ruling humanity, T’Challa refused.

Primarily Hickman’s first issue focuses on the Black Panther, which is something that I have long-looked forward to. T’challa’s status within the Marvel Universe has grown these past few years to include large-scale Marvel events. The New Avengers takes bold steps in a good, ‘new’ direction. It may change how we view certain characters (even at times defying them), but it does not do so idly. It all has a purpose--you just have to trust Hickman.

The New Avengers headlines the top tier of Marvel NOW!--five-out-of-five stars. While you're at it, checkout Hickman’s Fantastic Four graphic novels and complete Future Foundation collection at Merlyn’s Sci-fi and Fantasy Shop in downtown Spokane.

(SOURCE: Review: New Avengers #1 (2013))

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Magazine review: The Walking Dead, The Official Magazine #1

It’s rich, it’s original, it’s decomposing-ly fresh.

“The Walking Dead” is fantastic. It is a sales juggernaut, a creative spin on the undead, and is fast becoming a cultural icon. As a comic book series “The Walking Dead” is probably the only property outside of DC and Marvel to put ‘em on their heels, and as a television show their viewership and ratings has knocked AMC into a whole new stratosphere. With a toy line blossoming under the banner and two video games in utero it can be a bit difficult to keep the mythos and the news straight.

That is where “The Walking Dead, The Official Magazine” comes in.

Titan Magazines and Skybound are producing one of its more ambitious projects, “The Walking Dead, The Official Magazine,” and it aims to streamline all of the most update “Walking Dead” info into one slick, reasonably priced package. This ongoing magazine will feature all manner of materials relating to “The Walking Dead” universe, whether it be interviews from AMC’s “The Walking Dead” cast and crew, the latest news from the creators of the comic series, original artwork (fan or otherwise), the latest toy and video game announcements, or (as in included in the first issue) a short story bridging “The Walking Dead” novels together. Whatever little nuggets of information “The Walking Dead” has to offer one thing will be certain: it will be available courtesy of “The Walking Dead, The Official Magazine.”

Here is Robert Kirkman’s take on the magazine:

This magazine will be your one stop destination for all the news pertaining to the comic, TV show, video game, toys, games, and whatever else exists in the ever-expanding Walking Dead universe! If it's happening, you'll find out all about it right here!

Issue #1 of “The Walking Dead, The Official Magazine” is currently available in the U.S., and will be available in the U.K. November 8th and in Australia & New Zealand December 8th! You can buy all 100-pages of the magazine for $9.99 online or wherever magazines are sold. Released alongside the U.S. print version of the magazine was the digital edition, which can be downloaded anywhere in the world for your iPad, Nook, or Kindle--just search for ‘The Walking Dead Magazine’ in the app store or newsstand.

Also, as a special promotion and homage to the comic book industry “The Walking Dead, The Official Magazine” will come in a myriad of variants. Here is a list of participating stores and their very own alternate covers (attached to this article is a slideshow, which includes all of the variant covers listed below):

Comickaze Comics, San Diego, CA - www.comickazeonline.webs.com

Forbidden Planet, London, U.K. - www.forbiddenplanet.com

Midtown Comics, New York, NY - www.midtowncomics.com

Redd Skull Comics, Calgary, Canada - www.reddskull.com

Ultimate Comics, Durham, NC - www.ultimatecomics.com

Ultimate Treasures, 11240 Village Lane Clinton, MI 49236-9595

Wade's Comic Madness, Levittown, PA - www.comicmadness.com

Titan Magazines is also offering up a snazzy subscription offer through their online store. If you subscribe to the print edition of “The Walking Dead, The Official Magazine” fans of the series will receive a FREE “Walking Dead” T-shirt! Head on over to Titan Magazines to subscribe now or view more information on their incentive.

You can also keep tabs on “The Walking Dead” magazine and their latest offers and news by following them on either Facebook or Twitter.

(SOURCE: Magazine review: The Walking Dead, The Official Magazine #1)

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Indie spotlight: Point of Impact #1

“Point of Impact” is a four-part miniseries that is as much a crime drama as it is a study of the human condition. The first issue begins with the death of a woman.

A couple sits tentatively waiting for that goodnight kiss, when suddenly a body strikes the roof of their car, crunching the roof and the body in unison. The following page is a full page spread of the woman’s body lying atop the destroyed car, and the two passengers standing on either side taking in the horror. All of this is depicted in a scant five panels on the first two pages. It is a startling beginning, but it sets the tone of the series immediately.

The rest of the issue unfolds by introducing the key players--all the individuals tied to the woman...and perhaps her death. Her husband, her paramour, and her cop friend (who is investigating her murder).

The lead-up is fairly simple; it could be the pilot episode to any new cop drama on television, but what makes it unique is its execution. Writer, Jay Faerber, solidly composes the first issue by depicting the event (the murder) and then ties the main characters to that event. The transition between narratives is fluid and does not lead to any confusion, which is difficult to pull off when writing an ensemble. Ensembles are always the sought after choice when writing practically anything, but to properly weight each character accordingly and create audience interest in each character is a valuable and acquired skill. Faerber pulls it off masterfully.

However, like any comic book...there is always another side to the coin. The writing is superb, but what really rounds out the issue and pushes it to ’11’ is Koray Kuranel’s artwork. As the artist for the book as well as the cover, Koray creates tension and drama by removing the color and focusing on the stark contrast of a black and white world, that as written by Jay Faerber is metaphorically filled with gray. It creates a beautiful noir atmosphere that naturally fits the crime drama genre.

Charles Pritchett is the letterist for “Point of Impact,” and personally his artistic touches to the series do not detract or add in any significant capacity. Maybe that is the mark of a great letterist? Like in poetry the rhyme should be hidden, but present--just never overtly. Regardless of the intention, or the mark of a great letterist, the print is present, but never distracting or flamboyant.

All-in-all, this is a great indie title that I think will unfortunately be missed if not plugged more. Image Comics is producing some amazing titles. It isn’t all about “The Walking Dead”--their entire lineup is topnotch, and in quality compares and perhaps exceeds what DC andMarvel are producing. Image Comics has that small publisher feel, but with the potential to reach out to their readers like the large publishers can.

Pickup all of your Image Comic goodies at your local comic book store. If you support local, you support your city as well as its people.

(SOURCE: Indie spotlight: Point of Impact #1)

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Indie spotlight: The Massive #1

The Massive is a subtlety. It lies entrenched amongst the indie explosion, but still along the fringes. This is not to imply that it ebbs into the mainstream superhero front, but rather the opposite. The Massive is a comic about the environment, activism, politics, social change, and so much more. It focuses on serious topics framed by a series of cataclysmic events that leaves the Earth alive, but limping. After the world turns its heels against humanity is humanity still supposed to protect its dangerous mistress? Writer Brian Wood would say, “Yes.”

Published by Dark Horse Comics, The Massive focuses on Callum Israel, the enigmatic leader of an environmental activist group, Ninth Wave. Ninth Wave has in times past been considered a radical environmental group that has been unfortunately labeled as a terrorist organization by numerous world agencies due to prior events that are removed from the present storyline.

While out at a sea a world shattering series of natural phenomenon decimates much of the world. Leaving millions dead, coastlines re-written, and the world economy left in ruins. The Massive takes place roughly year after the start of these events, and focuses on Callum Israel’s crew and lead vessel, The Kapital, searching for its lost companion ship, a supertanker by the name of TheMassive. Whilst searching for The Massive, The Kapital, (during Dark Horse Comics’ three-issue introduction) contends with marauders and pirates, missing ports, government agencies, and countless other natural perils that ultimately disable The Kapital from effectively findingThe Massive and their missing crewmembers.

Throughout these issues Callum continuously questions his primary directive, but as the first story comes to close he realizes that now more than ever the world needs an active environmental group. People all over the globe are banding together and piecemealing society with the refuse of the old. In the eyes of the Ninth Wave, it is the greatest environmental movement ever conceived.

The art is a refined series of sketches. Kristian Donaldson’s panels are crystal clear, but they embody the nature of the content beautifully by incorporating muted tones (Colorist: Dave Stewart) and incomplete lines to depict the notion of Armageddon--all the while, being framed by lofty ideals and subtle constructs written by Brian Wood. The writing is simultaneously coherent, but not. I found myself re-reading the issues in order to find out all of the little nuggets of information, but in the end it fleshed out the completeness of the plot that was well worth the re-reads. It was as-if I was searching for The Massive’s own Easter Eggs, and for it me I found it to be quite enjoyable. I loved the subtleties and foreshadowing that came along with the well-conceived plot.

The Massive is not action-packed by any means, and like the slower periods in Robert Kirkman’s Walking Dead it instead focuses on the seriousness of the obscene. If zombies existed how would humans stay humane? Brian Wood queries the same-type of question: If an environmental apocalypse occurred would environmentalism still exist?

If you can stand a strong and deep narrative, rather than nonstop action and violence, then pickup The Massive. It is incredibly poignant and just as James Cameron re-packaged environmentalism in his hit film, Avatar, Brian Wood has done the same type of re-packaging except within a different medium. With this in mind I give, The Massive, four-and-a-half stars out of five.

Stay local and buy/order your copy from your local comic book shop. I am positive that they will appreciate the business. If you are a Spokane resident I highly urge that you hit up Merlyn’s Sci-fi and Fantasy Shop on Main in downtown Spokane for your comic and gaming needs. They’re friendly, they’re affordable, and they’re local. Stayed tuned for more reviews...here at the Examiner.

(SOURCE: Indie spotlight: The Massive #1)

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Martian Manhunter leaving Stormwatch?

As probably assumed, I am an avid comic book reader, and even though my tastes may wax and wane as creative teams get shuffled about there are still a of couple characters and teams that I always love reading about.

One such character is the grossly underappreciated Martian Manhunter.

For the uninitiated, Martian Manhunter possesses similar strength and speed to that of Superman, but he is also laced with strong psychic powers and has the ability to shift into any form. Pretty snazzy, right? Personally, I have found it frustrating that the Manhunter from Mars has not hit the mainstream populous, but due to the lack of an early fan base and some unusual character development choices throughout the years he has largely remained along the sidelines when compared to the Trinity and Green Lantern.

He led the Justice League of America for many years in the 1980s and Grant Morrison’s JLA in the late 90’s/early 00’s, in perhaps his most influential runs, before being cast as the martyr in DC’s Final Crisis. Finally reemerging during DC’s famously complex Final Crisis the Manhunter from Mars was slain, but like all superheroes and villains with potential, he was revived in Geoff John’s Brightest Day maxi-series.

With DC relaunching its universe in September of 2011 the Martian Manhunter became an integral part in Wildstorm turned DC franchise, Stormwatch. Paul Cornell, who is an amazingly talented science fiction writer, grabbed reigns of the new ongoing series, but was sadly yanked from the run after only one story arc, and replaced by Peter Milligan.

Unfortunately, I have a huge stack of recent back issues that I have been meaning to read, but just not gotten around to. However, this morning I was able to start cracking into my monstrous pile with a nice cup of Seattle’s Best. One such unread title that I got to peruse and finally read was Stormwatch #12, which primarily focuses on Martian Manhunter wiping the minds of his fellow teammates, so that he could leave the team without any repercussions. The Shadow Lords (the otherworldly benefactors of Stormwatch) allow him to break their coveted rule of ‘no one leavesStormwatch alive,' but in return they ask a favor of him. This little plot detail leaves a nice open-ended plotline for the Martian Manhunter to follow as time progresses.

For me this plot twists came as a complete and utter shock. First off, I only started reading Stormwatch for Paul Cornell’s writing and Martian Manhunter. Now, with the proactive missing in action I see almost no other reason to continuing reading the series. Besides the unfortunate turn of events in an otherwise solid series a more important question comes to mind: What will DC do with Martian Manhunter?

It stands to reason that the creative team behind Stormwatch could be leading up to a story arc that would better fit a solo working Martian Manhunter. This would create a unique split narrative that might better flesh out the character development of those in Stormwatch, which would imply that Martian Manhunter would return to the team (in an official capacity) at the conclusion of the plotline. Also, Geoff Johns’ and Jim Lee’s Justice League has made slight references to Martian Manhunter, so his exodus from Stormwatch could merely insinuated that his introduction to the Justice League is imminent. Or, with DC’s cancellations coming up in September Martian Manhunter could be thrown a bone and receive his own title, or even a group to lead that would be comparable to the stellar (but, unfortunately canceled!) Justice League International.

Honestly, who knows what DC has in store for the good Martian, but one thing is for certain they better include him in something. He is a stellar character who is slowly garnishing the attention that he deserves. He is gracefully reaching the upper echelons of awesomeness.

I love the character so much I even named my personal comic book blog after him. So, to not see him in anything reoccurring would be practically maddening for a fan boy like me.

Check out character bios over at the DC Comics' website, and do not forget to check back here—I have a surprise hitting the Internets tomorrow.

(SOURCE: Martian Manhunter leaving Stormwatch?)

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Review: Avengers vs. X-Men #6 of 12 (2012)

Avengers vs. X-Men has been a chaotic mess of inconsistencies, and a mish mash of Marvel Architects. Thus far, there have been few glimmers of hope, but overall Marvel has continually lowered the bar. However, after reading issue six of Avengers vs. X-Men, the glimmer seems to be sparkling a bit brighter now. Jonathan Hickman dives into the narrative with this issue, and manages to piece together the odd turn of events from last issue’s finale. He pushes the plot forward with a wonderful bit of finesse, while straddling the line between the old and the new. Also, this issue marks the passing of the art baton as Romita, Jr. hands it over to Olivier Coipel, resulting in some slick splash pages and magnificent panels.

Avengers vs. X-Men #5 concluded with the Phoenix Force being splintered and siphoned into five prominent X-Men characters due to a failed attempt to stop the Phoenix Force by Tony Stark’s wannabe Transformer. Hickmanpicks up from Fraction’s awkward ending and begins the issue by finally formerly introducing Xavier to the events of Marvel’s Avengers vs. X-Men. Hickman cleverly uses Magneto to bridge the gap between the story arc and the inclusion of Xavier.The rest of the issue unfolds in two parts like prior issues. One half showcases the Phoenix Five as they transform the world in their image. Some spectacular panels and splash pages penciled by Coipel detail the Phoenix possessed X-Men as they transverse the globe in a dash of reformation and peace. The other half depicts the Avengers and Iron Fist as they desperately try to piece together legend with prophecy in a last ditch effort to stop the Phoenix Five from world domination disguised as peace.

I found Jonathan Hickman’s writing to be in fine form here, and it was as-if I were reading one of his stellar Fantastic Four/Future Foundation arcs. The Iron Fist lore is incredibly appropriate and timely; I was glad to see a little more Iron Fist, especially in such a large-scale comic book event.

Olivier Coipel’s art is a welcome relief. Normally I applaud John Romita’s work, but I was disappointed with his pencilings in the first couple issues of the series. In particular, I loved Coipel’s Iron Fist pencilings. Coipelcaptured the essence of Iron Fist perfectly. Along with his excellent character models Coipel also created some brilliant splash pages for the issue—two pages specifically come to mind: one focusing on Magneto when he first greets Xavier, and another depicting Colossus standing atop a freefalling missile amongst dozens of other falling missiles. Olivier Coipel has definitely started off with a bang, and I am incredibly excited to see where he takes his artwork next.

I give Avengers vs. X-Men #6 four-and-a-half stars out of five. This has been the best issue by far, and I am incredibly hopeful that the rest of the run will finish off phenomenally. 

(SOURCE: Review: Avengers vs. X-Men #6 of 12 (2012))

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Review: Avengers vs. X-Men #5 of 12 (2012)

Avengers vs. X-Men #5 is by far the worst issue to be released in the series. It tries to be edgy and on the cusp, but unfortunately it dives into the weird and starts to bend continuity to the breaking point.

I thought that the opening was just as stellar as the prior issue, but it was all down from there. It was definitely a great throwback to X-Men: Schism and seeing Wolverine burnt to a crisp (yet alive) is both wrenching and a testament toLogan’s awesomeness.

Continuing with last issue’s moon battle the (now standard) duels have carried over while the Phoenix Force speeds towards them. In traditional Stark fashion Tony has ‘hopefully’ devised a way to stop the Phoenix Force via a technological innovation. As a writer, this avenue is logical and fits fairly well into Stark’soverall character.

However, Stark’s invention looks incredibly like an early Transformers' Autobot. I found it an unusual path to take considering that within the world of science there were so many other possibilities that would have been more viable. Also, this precludes another contention: Where is Reed Richards during all of this? He would be the perfect asset to assist Tony Stark and would have been more than willing to help evade a world-destroying event, yet he is mysteriously absent. His expertise and knowledge are practically unrivaled, and it is disappointing to see him omitted from the plot line.

As the Phoenix Force appears, key individuals are depicted throughout the globe being affected by the God-like energy. Interestingly enough Charles Xavier (Professor X) and his son are shown within a single panel. It was out of place, and I hope that he has a larger role in the issues to come; otherwise he’ll become just another plot inconsistency.

SPOILERS

The issue concludes with Tony Stark’s Transformer splintering the Phoenix Force into five separate energies, resulting in the force possessing Cyclops, Emma Frost, Namor, Colossus, and Magik. I am curious as to why the Colossus and Magik were chosen to be apart of the ‘Phoenix Five,’ when considering that there are other more prominent members of Cyclops’ X-Men such as Magneto. Overall, this plot twist is grossly unexpected and (yet again) redefines the entity known as the “Phoenix Force.”

END OF SPOILERS

Matt Fraction’s dialogue was acceptable, but the plot points are muddled, and the general direction of the series is blatantly disregarding the Marvel Universe’s continuity.

Even with all of the narrative splices, John Romita’s artwork takes the leap in, and represents some of the best work that he has produced for the series. The cover is also incredibly apropos and appropriately sums up the intrigue of the issue. Jim Cheung and Justin Ponsor have really outdone themselves and created some spectacular covers for the series, and I am excited to see what they have to offer for future issues.

Avengers vs. X-Men #5 receives a flat three-out-of-five stars.

(SOURCE: Review: Avengers vs. X-Men #5 of 12 (2012))

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