Comic Book Review: Moon Knight #5


An abandoned hotel in New York contains a single abductee and upwards of twenty armed mob enforcers. Moon Knight is going to go inside and rescue the abductee. Alone.

Titled simply Scarlet, the night’s greatest detective is on the hunt for a missing girl in Moon Knight #5. Already known for its tight done-in-one plots, sparse dialogue and unique graphic execution, this is the kind of story that only works in Marc Spector’s strange and brutal world. While at times the brevity of Ellis’ scripting has left me craving more depth and character development, this issue is a masterful example of the self-contained narrative.

With the girl held captive on the sixth floor of an abandoned building, Spector launches a brutal one-man assault on the unsuspecting thugs holding her hostage. Floor by floor, Ellis and Shalvey’s collaborative beat-‘em-up unfolds through expert storytelling and dynamic combat, never falling flat as every page provides new foes for Spector to dispose of in increasingly visceral ways. The variety of weapons and attacks thrown at Spector keep the fight fresh as he loses own weapons along the way, forced to improvise with whatever he has at hand to satisfying results.

Interspersed with short and entertaining dialogue, Ellis once again proves himself to be a master of short-form storytelling, but the real strength of this issues comes from Shalvey’s page design. The continuous fight sequence takes up nearly all twenty-two pages and evokes many other well-known fight scenes; foremost in my mind is the long take hallway fight in Old Boy, for the sheer fluidity of the violence from panel to panel. Each movement or action is connected to the next, emphasizing the physicality of these clashes and never allowing the reader to simply get lost in the action.

Rarely do I encounter fight scenes in comics that read so thoughtfully, conscious of motion and space. Shalvey uses these elements to their fullest potential, and with Spector’s eerie white silhouette slicing through the drab palettes and textures of the abandoned building, he and Bellaire complement each other beautifully. Once again, this creative team has produced a dynamic and highly satisfying issue. One of the best yet, and it’s only #5.

Comic Book Review: Ms. Marvel #5


How does a young girl from Jersey City become the next biggest super hero? Kamala has no idea either. But she’s comin’ for you, New York.

As her first rescue mission goes awry, Kamala’s transformation from unassuming fangirl to superhero kicks into high gear in Ms. Marvel #5. Her powers are still on the fritz due to an untested healing factor, and battling her way through an unstoppable wave of mini robots, Kamala quickly finds herself unable to pull Vick out of the Inventor’s clutches. Defeated, she slinks home in the middle of the night, only to be confronted by her worried parents. Despite a much-needed heartfelt talk with her father, Kamala is still grounded, but that doesn’t stop her from putting her plan in motion.

Turning to Bruno for help, the ensuing training montage yields a brand-new costume and a greater sense of purpose for Kamala. Ready now to rescue Vick, she uses her newfound control over her shape-shifting powers to defeat the Inventor’s teenaged henchmen and escape with Bruno’s brother. This victory is short-lived, however, as Kamala finds herself with her very own nemesis on her hands. All in all, not bad for the teenaged hero’s first day on the job.

Once again the creative team of Wilson, Alphona and Herring collaborate for a purely enjoyable reading experience. Alphona and Herring bring Kamala’s story to the page with joy in every panel, developing this airy, pastel-tinged world with all the charm and whimsy of a storybook. The action scenes sequences are dynamic and satisfying with all the skittering robots and embiggening going on, but it’s the little things that make this book truly shine. Little details such as Kamala’s scrunched expressions of determination, her oft-exaggerated posture, and the cartoonish execution of her powers bring humor to the story and help to define her personality in visual shorthand.

Wilson’s characterizations continue to be heartfelt and endearing, following Kamala’s slow but steady coming-of-age. Every underestimation and misstep contributes to Kamala’s growing understanding of her powers, as well as her place in the world of heroes, taking responsibility for her actions and learning from her mistakes. And she does make a lot of mistakes, all of which help to carve her into the hero she was meant to be. I also love that, despite the typical social awkwardness and uncomfortable experiences of being a teenaged girl, Kamala’s origins are modest. She’s well-adjusted, has good relationships with her family and friends, and isn’t bogged down by generic anguish and strife that clutter the backgrounds of many heroes. Her life and experiences are realistic and relatable, from the embarrassing lows to the uplifting highs, and that makes this book all the more compelling.

Comic Book Review: New Avengers #20


How far is Doctor Strange willing to go to protect the Earth from the Great Society? Too far…

The end of days has finally come for the Illuminati. With the fate of two planets in the balance, the team goes to war against the Great Society in a battle that will cost them more than they bargained for. This has been a showdown in the works for the entirety of this title’s run, but, to their credit, Hickman and Schiti deliver. Just how much longer this title can logically carry on after this heavy-weight bout, however, remains to be seen.

Even with their doomsday weapon on their side, the team is hit hard by the Great Society. With their skills and strategies honed by battle after battle with planet-killing invaders, Hickman makes a compelling case for this evenly matched conflict, giving the Illuminati a run for their money. Just when the odds look their bleakest and the team is beaten down, Doctor Strange emerges as the dark horse to tip the scales. This is where things get interesting. After Strange all but disappeared from this leg of the book, relegated to the background for several issues, the true extent of his quest for ultimate power becomes clear. As seen in New Avengers Annual #1, in stores this week, Strange has done a great and many terrible things to come to this point, opening himself up to unspeakable evil. Unleashing the demon on the Great Society, Strange vows to do whatever he must, and pay the ultimate price, to save his Earth once and for all.

Following the battle with interspersed flashbacks of Strange’s quest, Hickman successfully integrates this subplot into the story with satisfying results. I had been very critical of the lack of Strange, who had seemingly fallen by the wayside amid many other conflicts and clashing personalities, but Hickman folds him back in with a bold move that will likely alienate some fans. These flashbacks, cool blue-tinged scenes to contrast the feverish red tones of the battle sequences, provide useful exposition without slowing down the action. They explore both Strange’s desperation to gain the power to stop this madness as well as his resignation to this loss of self, making the final page so much more unsettling.

Coupled with the events of the annual, it certainly makes for a compelling read for a character who has been otherwise largely ignored up until this point. The only part were Hickman really stumbles this issue is with the continuous use of in-battle monologues, which range from the short and punchy to the long-winded and melodramatic. I understand that without dialogue this issue would be a single, almost completely uninterrupted fight, but some of the lines feel clunky and unnecessary.

Schiti’s pencils in this issue are lovely throughout. His lines are clean and his shapes full, instilling a sense of weight and resolve in the characters on the page. After several issues of tense conversation and quiet reflection, it’s nice to see Schiti stretch his creative legs with a no-holds-barred fight between such equally matched heroes. As much as I enjoy Hulk-smashing and face-punching, however, the flashback sequences were the loveliest and most well-designed pages of the issue, wonderfully complemented by the palettes of Martin and Mounts.

Starting Books, Finishing Books, and Other Things


If you’ve followed me around online for any period of time, chances are you know I’ve been working on a superhero fiction series called The Crashers. I’ve talked about it pretty in-depth already, for those who may recall. One part urban fantasy, one part vaguely sci-fi romp, and one part love letter from my inner eight year old to my jaded comic book reviewing adult self, this six part series is the culmination of a lot of things going on in my life, for better or worse.

This series was what got me back to writing, after about a year of feeling really out of sorts and unsure of my next move, if I even had one. It got me working again. Back in May, I wrapped up typing the longhand manuscript, worked out the major plot issues and glaring stupidity staring a hole in my head, and sent the story off to a couple of trusted beta readers to get some feedback before the next leg of the process. The next leg of that process, of course, being another round of edits before shopping the story around to literary agents.

And, yes, this terrifies me. A lot. I’ve never seriously queried agents before and I basically have no idea what I’m doing, but, hey — I have a GED and a give-’em-hell attitude, and I’ll figure it out. In the meantime you can read the first chapter of the book on my Tumblr today, because it’s all free to read and junk. So if you’re into that kind of thing, go forth. All the feedback I’ve received so far has been really enthusiastic, and if you enjoyed my last book at all, I think you’ll get a kick out of this series. And if you like what you see, let me know.

With that evil bitch known as summer now upon us and the first book chilling in my drawer, I’m well on my way into the next book of the series, Koreatown. And that’s crazy coming from me. The turn around between Fleshtrap and Crashers was painfully, probably idiotically long, due to a lot of personal frustrations and my ongoing struggle between crippling self-loathing and unchecked megalomania. But now that I’m getting into the full swing of this series, it’s getting easier and easier to write. The first book was all origin story, all vegetables and set-up. It’s the why of everything; getting the feel for who these characters are, how their powers work, and how they grow and change to become something better than they are now. It’s basically the boring stuff I didn’t want to do.

Now in this book, with the larger overarching plot of the six books underway, we’ve finally gotten to the meat and potatoes. The core stuff. The fun stuff. All the hijinks and jokes and escapades that I so desperately wanted to get into with the first book but couldn’t, that’s finally on the table. And that feels really good. That’s what writing is about to me: Not the plot, not the tale itself, but the often underwhelming daily lives of these sort-of heroes and the stupid things they get up to.

And if I can actually get this book finished faster than the last, well — that’ll be pretty great, too.

Comic Book Review: New Avengers Annual #1


The Incursions aren’t the only horrors threatening to end the world! DOCTOR STRANGE has faced the impossible time and again as an Avenger and the Sorcerer Supreme, but when he is called upon to fulfill an old debt to an enclave of techno-monks high in the Himalayas, even the good doctor may be beyond his limits! Written by acclaimed young writer Frank J. Barbiere (Five Ghosts, The White Suits) and illustrated by the illustrious Marco Rudy (Swamp Thing, Marvel Knights: Spider-Man), this oversized annual is one you won’t want to miss!

Every once in a while, usually when I’m feeling a bit tired of the state of cape books, I read a comic that gets me excited again. New Avengers Annual #1 is that comic for me at the moment. From writer Frank J. Barbiere and artist Marco Rudy, this Doctor Strange-centric oversized annual fills in the frustrating blanks of Jonathan Hickman’s recent post-Infinity storyline. But that doesn’t quite do this annual justice, does it?

Barbiere’s script follows Strange’s personal journey to take on ultimate power and finally stop the incursions that have been threatening 616 Earth since the beginning of New Avengers. This story has been missing from series continuity for several issues as Strange all but disappeared, relegated to the background amid the clashing egos of Black Panther and Namor, the philosophical waxing going on between Tony Stark and Reed Richards. His absence has been a peculiar one, still struggling as he is with his possession by Ebony Maw during Hickman’s Infinity event, rocked by this violation of his sense of self.

The story itself straightforward and to the point, juxtaposing Strange’s desire to take on ultimate power with the hubris of his younger self in a compelling and poignant way. It makes for a fitting comparison between conceit and fortitude as Strange resigns himself to his choice for the sake of the planet. To do the unthinkable and make a deal with a demon to save the soul of a possessed princess, becoming its new host in exchange for untold power. Barbiere’s scripting is solid if but a bit lacking in the dialogue, the issue having its fair share of flat characterization and awkward lines. The real storytelling, however, is in the graphic narrative.

Rudy’s artwork is nothing short of phenomenal. His style reminds me a lot of artists like Bill Sienkiewicz, Jon J. Muth and Kent Williams, and I mean that in the best way possible. The story unfolds in lush pages of undulating patterns and organic shapes, panels bleeding into one another without gutters or borders to separate them. Time and space don’t exist in Rudy’s vibrant, feverish world of color and texture, a psychedelic exercise in line, shading and weight. Each and every page is strikingly different from the last, employing different visual and stylistic choices to develop the nightmarish planes that Strange must traverse to face the demon. The narrative is visually disjointed, yes, but it also feels fresh and engaging for these same reasons. You never know what to expect when you turn the page, your eyes following every inviting curve and violent stroke like you would a painting up close in a gallery. Rudy makes you work for it, and I appreciate that.

There is no sense of safety here, no comfort in predictable page design as colors run together in full painterly gestures and unpredictable qualities of line. Some may argue that the issue is too busy, too weird; I would argue we need more cape books like this. I imagine this kind of work is painstaking and time-consuming, but damned if it’s not gorgeous. Damned if it doesn’t play with the narrative possibilities of a cape book and impart something lasting even after you close the cover over and set it down. Damned if it isn’t just fun to look at, and, sometimes, that’s enough for me.

Comic Book Review: Elektra #3


The seductress of the sai makes the hunt look easy–but this might be one quest Elektra’s not prepared for. Further plunging into the deep crevices of the Marvel Universe, her quest for Cape Crow becomes murkier, as the hit is not what it seems. Will Elektra do what she’s never done before–and protect the mark?

The hunt for Cape Crow puts Elektra on a collision course with Bloody Lips that forces both killers to face their sins. This surreal chase story takes another sharp turn as Elektra and Kento travel to the sunken city of Shicheng to trace Cape Crow’s steps, finding only the abandoned catacombs that entomb Kento’s mother and fresh flowers on her grave. Having just missed the elusive killer, there’s no time to regroup as Bloody Lips appears in an all-out assault. Elektra is able to save Kento but in fighting Bloody Lips they both seemingly drown, only to find themselves at the gates of the underworld where those they’ve killed await their revenge.

Though the age-old cliché of the seasoned killer coming face to face with one’s victims is certainly well-trodden territory, Blackman and Del Mundo make the most of this trope through captivating storytelling. Blackman’s scripting, while too slow for some critics, gradually unfolds the dual narratives of Elektra and Bloody Lips with prose-like sensibility through further exploration of memory and identity. The full scope of Bloody Lips’ powers is better developed in this issue, left previously as the somewhat vague manifestation of his violent madness, as we learn he’s a cannibal who gains the memories and knowledge of those he consumes.

While Elektra has lost a part of herself over the course of her long and bloody career, Bloody Lips has taken from others, establishing an interesting parallel that brings them together to face their pasts. Blackman also takes this parallel one step further by having Elektra confront her dead mother, just as Bloody Lips faces his own murdered family, only to be told that Elektra’s first victim was her mother during childbirth. It isn’t the most original idea, but repackaged in this surreal world that Elektra now finds herself, it works.

Once again, Del Mundo’s pencils are truly outstanding. The dynamism of his lines beautifully detail Bloody Lips’ mental landscape of stolen memories, a wildly contrasted and playfully grotesque jumble of color and texture. Bloody Lips’ peculiar design, a tribal hunter with simple, almost childlike features beneath a beastly headdress, has become one of my favorite elements of this storyline. That highly stylized face, with its cartoonish expressions, perfectly straddles the line between the absurd and the otherworldly that this series has struck so far, at once grimly humorous and inhuman.

Comic Book Review: New Avengers #19


It’s the battle you didn’t know you wanted to see—until now! As the New Avengers take on the combined power of the Great Society—and only a single parallel Earth can survive!

After months of preparing for the inevitable, the Illuminati must face the impending horror of their actions as they finally meet the Great Society. Hickman has gone to great lengths to set up this fight, developing the heroes of this parallel Earth and humanizing their struggles to save their doomed world despite insurmountable odds. Floundering in their own hubris and petty squabbles up until this point, the Illuminati’s resolve is beginning to falter in the wake of Uatu’s death as Tony Stark is the first to finally crack beneath the weight of their scheming. As the team meets with the Great Society to find a better solution than the destruction of their world, Namor attacks the Rider, demanding that they all meet their fates head-on and leading to the very fight the Illuminati was trying to avoid.

After nearly twenty issues of laboring with these philosophical questions, Hickman delivers with a well-scripted and fascinating showdown that addresses these problems in substantive ways. The tension between the two teams is striking as the fissures within the Illuminati’s ranks play out, the clashing egos that have always been to their detriment rearing their ugly heads to all but assure the death of the world in question. Meanwhile Maximus is still roaming about the Necropolis, and his secret plan to revive Corvus Glaive poses new threats (and questions) to this already beleaguered team. Considering how the events of Original Sin will surely impact the team moving forward, I’m curious to see where this confrontation takes the team in coming issues.

Schiti continues to be an asset to this title. His pencils are clean and composed, his strong sense of storytelling evident in his intelligent panel compositions and attention to detail. His skill for hair is especially impressive, in that every character, from Black Swan to Namor, Hank McCoy to Reed Richards, has very distinctive hair with varying textures and weight. It’s a detail that I rarely see, as many artists have fairly bland and routine styles for hair that they use character to character. It’s such a small and seemingly unimportant detail, which is why it’s lovely to see Black Swan’s soft and voluminous tresses on the same page with Maximus and his stringy, oily-looking hair. It serves to further develop these characters on the page, grounding their lofty characterizations in such tiny and often overlooked minutiae.

Comic Book Review: Captain Marvel #4


Captain Marvel has a hunch about the REAL reason behind the forced resettlement of the Rocket Girl’s people and sets out with a new crew to find proof! Turns out Carol’s got a history with the man behind the plot. Rut roh. What time is it? When the bad guy tries to blackmail our hero and use the Avengers against her…Could it be PAYBACK TIME?

Intergalactic diplomacy isn’t one of Carol’s strong suits, but that’s not going to keep her from doing the best she can in Captain Marvel #4. It’s become clear that the refugees on Torfa can’t even come to a consensus for themselves, let alone one with the Spartax as the empire threatens them with yet another relocation. Lacking the resources to care for their sick people but unwilling to leave the dying behind, having lost too many people already, the population is desperate and hopelessly deadlocked.

As J’Son continues aggressively strong-arming Eleanides to leave the planet, Carol comes up with a solution: assemble a fleet of ships and take the sick with them to establish another ring world, like the one lost to the Builders. With the help of a charming team of pilots and runaways, Carol must navigate rising tensions, political intrigue and pirates as she tries to get a fleet of working ships together and keep her word to help the refugees. Because this is Carol Danvers, and she has the uncanny ability to underestimate her opposition, all of this is going to be much easier said than done as she draws the attention of some nefarious interlopers, putting her makeshift crew in increasing danger.

The continued partnership of DeConnick and Lopez is a delight to read, beautifully realized by Loughridge’s color palettes. With her usual strong characterization and knack for dialogue, DeConnick develops Carol’s rag-tag team with fun and capable characters, who serve well to humanize the struggles on Torfa. Jackie is especially memorable and a classic DeConnick secondary character, whose dashing temperament and character design evokes a very Star Wars-esque feel, and totally works for the tone of the story. Lopez’s pencils are as solid as ever, with his diverse range of alien designs and beautiful attention to detail, and are wonderfully complemented by Loughridge’s color work.

In a sea of tedious cape books, Captain Marvel is an example superheroing done right. This book is funny, heartfelt, and always well-balanced by strong scripting and impressive artwork. I’m so glad this book hasn’t missed a step, even with the renumbering.

Comic Book Review: Black Widow #7


Fresh off her last adventure, the next chapter in Natasha’s story begins in San Francisco, with all the pangs of nostalgia the city has to offer. With her new job bringing her to Matt Murdock’s current stomping grounds, her past continues to nip at her heels, darkening the margins of her life. What begins as a routine gig quickly turns into a set-up as Natasha finds herself in an assassin’s crosshairs, leading to a chase through the city and a reminder that Natasha’s determination to do things alone doesn’t always work to her advantage.

Escaping death, the pursuit puts her Daredevil’s path as she hunts down her would-be assassin. Prefaced by a tense flashback at the beginning of the issue, the relationship between these two heroes remains cold, with Murdock unsure of what to make of Natasha. Despite her quest for redemption, she still brings violence with her wherever she goes, and Murdock isn’t having any of it in his city. Meanwhile Isaiah is back home in New York, where, even for his unwavering loyalty to Natasha, it’s clear to him that his life will continue to be in danger because of her.

Edmondson and Noto deliver another slick and introspective issue as Natasha’s burned bridges continue to haunt her. A straightforward action story gone wrong, not unlike the formula of previous issues, #7 hinges on some interesting scenes between Natasha and Matt, as well as an ongoing conversation between Isaiah and his sister. After seeing her support network develop in the form of Isaiah and Maria Hill, Daredevil’s conflicted guest appearance serves to remind Natasha that she still needs friends, even the ones she’s lost along the way. The growing tension of Isaiah’s story as it quietly unfolds in the background continues to be of interest, and I’m looking forward to seeing just what comes of his loyalty to Natasha despite the warnings against their professional and personal relationship now coming from all sides.

Edmondson’s scripting is cool and composed with great dialogue and narration throughout. As always Noto’s storytelling is as compelling as it is beautiful, and cleverly incorporates Murdock’s heightened senses into panel compositions. The visual use of Natasha’s heart beat as lie detector, as well as the red outlines of people and objects during scenes with Murdock, signify his perceptions without breaking up the narrative or changing perspectives, seamlessly folding them into Natasha’s story. It’s little touches like this that make this one of the best books on the shelves, and one of the best creative teams at work for Marvel.

Comic Book Review: Moon Knight #4


Moon Knight goes somewhere even more messed up than his own mind. Something is happening to the subjects of a sleep experiment that’s driving them all insane. Go with Moon Knight to the Mushroom graveyard planet for the most troubling and disturbing issue yet!

For weeks Moon Knight #4 has been talked up in previews and solicits as a dark psychedelic trip, and Ellis and Shalvey certainly deliver an issue worthy of the hype. Spector’s latest case brings him to the doorstep of Dr. Skelton, an associate of the late Peter Alraune, and his makeshift research lab. Skelton’s patients, subjects of a highly unusual sleep experiment, are having the same terrifying dream and it’s driving them all insane. Spector’s experiences with Alraune’s research make him as qualified a detective as Skelton can find, and so he plunges himself into the hallucinogenic dreamscape Skelton’s patients have tapped into.

What awaits Spector is a nightmarish world of fungal infestation, a forest of spores and toxic growth that overtake the superstructures of bones and cities. In this hell a dead man waits dreaming, a wandering ghost who can’t leave the facility, his trapped consciousness dreaming this plane into existence and pulling others in with him. Spector’s journey beyond the veil is one of the most unsettling and visually pleasing sequences I’ve seen from this already satisfying title. Shalvey’s rendering of the dreamscape is truly unearthly, a place beyond time and space, made of bones and flesh and city blocks that is both everywhere and nowhere. Bellaire’s vibrant palettes bring these strange landscapes to the page in surreal contrast to the negative space Moon Knight invites into the panel, using the whites of the gutters to invade the surreally colorful world they define.

Ellis is at the top of his game with this issue, from the dialogue to the pacing, to the final disturbing revelation, You’ve been breathing in his dreams. From the first page to the last, this was the best scripted issue yet. Emerging from his dream state, Spector returns to the waking world where he confronts Skelton about the source of his patients’ nightmares. Trapped beneath the floor of the ramshackle lab is the body of a patient who died during the experiment, his body and brain overtaken by a fungal infection. Hiding the body in the floor, Skelton told no one of the patient’s death and allowed him to be consumed by the fungus until the spores released into the air, taking the man’s consciousness with them.

While the previous issues felt a little rushed in their endings, stopping just short of a more natural conclusion, the sudden end works well here. The abruptness of the finish hits like a punch and leaves the reader genuinely unsettled as the spores drift around Spector’s pure white silhouette, a subtle but lasting reminder of the dead man’s endless dreams. Wonderfully scripted and visually stunning, Moon Knight #4 is an unsettling journey into the unknown and the best issue this creative team has offered so far.