Comic Reviews 10.12.2020

 

Hey y’all. Welcome back to my biggest Comic Reviews yet! That’s mostly because it’s three weeks worth of issues, including every X of Swords issue thus far. It was a ton of fun to work on and I hope you enjoy. I’m back from my (unexpected) hiatus so expect regular posts. Before we jump in, check out this moving tribute to Chadwick Boseman that ran in every Marvel comic this week.

 

Spoilers For: X of Sords: Creation #1, X-Factor #4, Wolverine #6, X-Force #13, Marauders #13, Miles Morales #19, The Flash #762, Mighty Morphin' Power Rangers #54

 

X of Swords: Creation #1

 

Writers: Jonathon Hickman and Tini Howard

Artist: Pep Larraz

Colors: Marte Gracia

Letters: VC’s Clayton Cowles

Design: Tom Muller

Cover: Larraz and Gracia

This comic is an enigma. Simultaneously, nothing happens and everything happens. There is a significant amount of recap but almost all of it also gives some new information. Characters are moved around and setup for the next TWENTY-TWO chapters. Which, by the way, is an absolutely unnecessary number of issues. Plus, there were several prelude issues of X-Men and Excalibur. It’s a lot.

Tournament Arc incoming, baybee!

So, the big events in this issue are that Otherworld is being invaded, Apocalypse’s original Horsemen return (And seemingly kill Apocalypse, Rockslide, and Rictor), Saturnyne leads Cable, Cyclops, and Jean Grey to the Peak, and a temporary truce is reached as it is decided the invading army and the X-Men will gather a bunch of swords with badass names (Hello Grasscutter) and do battle to determine the outcome of the invasion. That’s accomplished in about 60 pages. Did it need that much? Probably not. Am I upset about it? Absolutely not.

This comic is just cool, weird fantasy fun. It’s not a situation you often see the X-Men in, so it feels fresh. It helps that Hickman and Howard imbue the dialogue with a sense of fun while retaining the gravitas much of the story deserves. Of course, Pepe Larraz and Marte Gracia help that by being maybe the best art team at Marvel. Every character is so expressive both in their faces and body language. The layouts are fun and eye-catching. The color palette is incredible. It’s dynamic and draws out all the excellent details of Larraz’s art. This comic just looks great.

Also, the Peak being the final sword because it’s the former home base of S.W.O.R.D is pure genius.

 

X-Factor #4

Writer: Leah Williams

Artist: Carlos Gomez

Colors: Israel Silva

Designer: Tom Muller

Letters: VC’s Joe Carmagna

Cover: Ivan Shavrin

Are all these issues supersized? That would make this event even longer than expected. It’s fine for now, as this comic is really good, but I’m sure some parts of the story will drag.

So, everyone returns to Krakoa to regroup. Rockslide is dead, Rictor dies, and Apocalypse is in critical care. Xavier orders the priority resurrection of war casualties and Rictor Rockslide and Rictor return. Except, it turns out, Rockslide is a combination of every possible Rockslide because he died in the multiverse because he died in Otherworld, the nexus of reality. Our Rockslide is dead but there is a Rockslide hanging out.

Creating Stakes

The rest of this issue is dedicated to Polaris grieving and figuring out who the Champions are. Polaris has been a really good character in X-Factor thus far, but this issue really allows her to shine. The focus on her grief and guilt over not being able to save Rockslide. This culminates in her turning resolute and becoming the key as she figures out how to determine the Champions, figuring out what to do once they have the swords, and building the Sanctum Sacrum from Rockslide’s remains. It’s all very cool and even makes Rockslide a central part of Krakoa and this story.

The art is quite good. I have no experience with this Gomez, but they do an impressive job drawing the X-Men, especially since they are dozens of them in this issue. It’s quite a large cast but they are all represented accurately, both in design and body language. Everyone just feels right. A big piece of that is Silva’s colors maintaining a cohesive look for the series while David Baldeon is away.

 

Wolverine #6

Writer: Benjamin Percy

Artist: Viktor Bogdanovic

Colors: Matthew Wilson

Designer: Tom Muller

Letters: VC’s Cory Petit

Cover: Adam Kubert and Frank Martin

So, I’m beginning to get worried. Not because this comic was bad. It’s fine. There isn’t much story here and it ends on a cliffhanger that will undoubtedly be picked up in X-Force, the next part of the crossover which has an almost identical creative team. Its just an issue of Wolverine doing boring narration over his journey to find Muramasa so he can make a sword Logan. The shocking cliffhanger: Logan finds him. Also, we’re introduced to Wolverine Arrakii counterpart; he could be interesting.

This looks really damn cool

On the plus side, this comic looks gorgeous. If you’ve read enough of these reviews, you’ll know my tastes tend to lean towards less realistic but still detailed art with cool framings and expressive characters. This is a prefect example of that… except for the expressiveness. Characters are too often covered in shadow and those you can see are stoic, so it lacks that. Otherwise, pretty close to ideal.

 

X-Force #13

 

Writer: Benjamin Percy

Artist: Viktor Bogdanovic

Colors: Matthew Wilson

Designer: Tom Muller

Letters: VC’s Joe Carmagna

Cover: Dustin Weaver and Edgar Delgado

 

Why wasn’t this the majority of the Wolverine issue? It directly continues the story, gives some depth to the characters, and setups the future fight between its dual protagonists. It’s fantastic.

"Why don't just exposit at you for a minute?"

Solem and Wolverine spend this issue hanging out, getting to know each other as they search for Muramasa blades. They also fight the Hand, who seem to be doing some weird stuff that’s set up for a later story. It’s got some cool action and adds some layers to Solem. He’s arrogant, somehow even more so than Wolverine, but also clever and know how to take advantage of opportunities. Basically, Solem seems fun and I hope he sticks around after this crossover.

At the climax, Wolverine is captured by the Hand and Solem has both Muramasa blades but offers to help Wolverine for a price. We don’t get to see what that price but Wolvie returns to Krakoa with the blade in hand, so he paid it. I have no clue what it could be, but it has me excited for their showdown.

As for the art, see the above Wolverine #6 review. Although Matthew Wilson does get to use some warm colors this time, which is a nice contrast to mostly cool colors of that issue.

 

Marauders #13

 

Writer: Vita Ayala

Artist: Matteo Lolli

Colors: Edgar Delgado

Letters: VC’s Cory Petit

Design: Tom Muller

Cover: Russell Dauterman and Matthew Wilson

 

Did y’all know Storm is cool? This issue really wants you to know. It successfully demonstrates it on numerous occasions, but it really stresses it, to the point of annoyance. Otherwise, this issue is fantastic. Storm is no where near my favorite X-Man but when a good writer focuses a story on her, it’s always great. Good news: Ayala is a good writer.

So, Storm goes to Wakanda to ask for their legendary sword that first Wakandan king used. She is told no by T’Challa’s mother and Shuri, who are acting rulers while T’Challa’s out Avengering. Storm will just have to wait for him to return. Later that night, Shuri comes to have dinner with Storm and they have a tense exchange about the importance of the blade, how it leaving could affect Wakanda politics, and their relationship. It’s great. There are a ton of stories about Storm and T’challa, but not many that focus on the relationship of these two women, which obviously would be important to both of them.

After being denied the blade, Storm sneaks into the temple that holds Stormbreaker rather easily. Upon reaching the room holding the blade, Shuri attacks Storm. In what is essentially a continuation of the dinner scene, the two try to reason with each other while fighting. It’s all very cool and serves to show the two are equals in several regards.

Storm wins in the end and then T’Challa shows up. He’s mad at Storm but understands she needs the sword. So he lets her leave, with the implication that all is not right between them, but it will have to wait for another time. It’s a nice coda for an issue that is primarily about Storm and Shuri.

Normally, I’m not a huge fan of Lolli because his women often have the same face. For whatever reason, that is not a problem in this issue. Everyone does have a plastic-y sheen to them that is mildly off-putting though. It isn’t too detrimental but definitely distracting.

 
Miles Morales: Spider-Man #19

Writer: Saladin Ahmed

Artists: Carmen Carnero and Marcelo Ferreira

Inks: Carnero and JP Mayer

Colors: David Curiel

Letters: VC’s Cory Petit

Cover: Javier Garron and Curiel

 

I’m very far behind on Marvelous Ms. Marvel. Is that series avoiding Outlawed as much as possible too? From just this series, it seems like the creative team is not interested in that story at all. It’s been handed to Miles’ friends to have an entertaining, low-impact B plot. Of course, I wouldn’t want the Ultimatum story to be sidelined so it’s fine by me.

Speaking of which, Ultimatum finally revealed his plan: He’s pushing his new drug to create an army of Ultimate Green Goblins that will take out all criminal competition. Also, he’s mad about Miles taking his shine so he’s going to send every Ultimate Universe character back to their old home. This is some high level supervillainy. It’s both grounded and cosmic. I love it.

Except this panel, where he is not.

Elsewhere, Ganke and the gang’s sit-in got them arrested but their Congresswoman called in Captain America and he pulls some strings to get them out. It’s a neat story that ends with a nice moment where Cap lets the kids know that their passion and willingness to stand up for their beliefs is what keeps him going. It’s sweet and I definitely wouldn’t mind an Ahmed-written Cap series at some point.

Art wise, this issue looks great. Carnero and Ferreira have styles that go together well. Of course, David Curiel is ever present on this series and his colors definitely help blend the two styles together. Everything looks great and tells the story well

 

The Flash #762

 

Story by: Joshua Williamson and Howard Porter

Color: Hi-Fi

Letters: Steve Wands

Cover: Porter and Hi-Fi

The Flash #762 marks the end of Joshua Williamson’s 100-issue run on the series and it’s…. fine. This issue is mostly wrapping up the final story arc and it’s conceptually quite good. Unfortunately, there has been no buildup to it and it all feels rather hollow. The most important thing here is that the entire Flash Family (sans Wally) is back and can be used in future stories.

About the end of the Finish Line story: the idea is so incredibly good. The only way for Barry to end his conflict with Eobard is not to kill him, but to forgive. To let go of all the hate he’s been carrying. To give Eobard the validation he has been seeking for years. It’s too bad there has been no setup for this turn. Also, it’s ruined by some Speed Force mumbo jumbo that doesn’t actually make sense. This ends up retethering Eobard to the timeline so this iteration dissolves and now Eobard Thawne is now the curator of the Flash Museum having never been Reverse-Flash. It’s a cool idea.

I really wish this felt earned

The remainder of the issue ties up some loose plot threads that don’t amount to anything except teasing August Hart is alive now. Finally, Barry resolves to be more positive and a symbol of hope. Again. Every story of the past 50 issues has ended on this same note so it doesn’t feel as impactful as it could.

The art in the first half of this issue is really nice and exactly what I expect from Howard Porter. It’s clean, expressive, and dynamic. In the second half, it’s expressive and dynamic, but definitely feels like Howard may have been rushed. The faces in particular are bad. The big Flash Family cookout, which should be the highlight of the issue, has a bad case of same face and that face is ugly.

Overall, I’m thankful for Williamson’s time on this series. I feel it has rejuvenated the title and, as you may recall from my Top 5 Flashes list, Barry Allen. The last 20-30 issues had quite a few down spots, but the ups were really fun. The Flash Year One was definitely the highlight of that period for me and ranks as my second favorite story of the run (Behind the opening Lightning Strikes Twice story). It’s time for a new writer though and I can’t wait to see what the new creative team does.

 

Saban's Mighty Morphin' Power Rangers #54

 

Writer: Ryan Parrott

Artist: Moises Hidalgo

Colors: Igor Monti with assistance from Sabrina Del Grosso

Letters: Ed Dukeshire

Cover: Jamal Campbell

Why didn’t this comic end with the finale of Necessary Evil? It has just been the opening story arcs of the upcoming Mighty Morphin’ and Power Rangers series since then. And they haven’t been great stories. They have moments (like the Kim-Drakkon exchange a few issues ago) but overall, their lacking.

This is a Power Rangers villain?

Take this issue for example. It’s one big fight with the Empyrean, an alien god bent on burning unworthy civilizations so that potentially worthy ones may grow on top. What defines worthiness? No idea. Why is this Empyrean’s responsibility? Well, he works for someone.  That will certainly be the true focus of the Omega Rangers upcoming spinoff. For now, we get a very boring, very long fight before the Omegas decide to return home and consult Zordon.

Another note about Empyrean: I don’t know who designed him, but it’s not great. Not only is it just kind of generic, it doesn’t fit with the Power Rangers aesthetic at all. The art team do their best to make him dynamic and interesting but, unfortunately, it doesn’t work.

 

As always, feel free to give your thoughts in the comments or on Twitter at @alexraysnyder. And if you like what you read here, consider throwing a couple bucks my way on Patreon to help cover costs.