BOUGHT some solar jewels/THOUGHT about charging 'em, November 16, 2011

[TheCorpulent1]

I figure they avoided bringing the original Vision back so they wouldn't confuse readers with two Visions due to Heinberg's ridiculous delays too. Which sucks because it makes me want to hate Vision 2.0, but he's a decent character.

But yeah, although I'm happy the Vision's back, his being in Bendis' series isn't exactly a win for me. Would've been really awesome if he went over to teach at Avengers Academy...

 

[TheCorpulent1]

Oh, I meant to get other people's reactions on the Prep and Landing strip in the back of this week's Avengers. I know some people are gonna claim that it's Disney finally starting to exert influence over Marvel and the beginning of the end and whatever else, but I found it pretty fun. If more corporate synergy ads were like this, I wouldn't mind them. The Iron Man Roomba was particularly good.

 

[JewishHobbit]

I never bother with added material in the end if it isn't an actual comic book back up story. I honestly didn't even know it was there until you mentioned it.

 

[TheCorpulent1]

Well, it could kind of serve as a little comic relief backup, what with the elves prepping Avengers Mansion for Santa and Christmas just around the corner. No worse than those Mini-Marvels stories with Blue and Pink and Orange Hulk.

 

[Themanofbat]

Oh, I meant to get other people's reactions on the Prep and Landing strip in the back of this week's Avengers. I know some people are gonna claim that it's Disney finally starting to exert influence over Marvel and the beginning of the end and whatever else, but I found it pretty fun. If more corporate synergy ads were like this, I wouldn't mind them. The Iron Man Roomba was particularly good.

I thought it was fun...

 

[Keyser Soze]

BATMAN #3

As hard as it may be to believe, not everyone is in love with Scott Snyder and Greg Capullo’s Batman. Those who have been reading my reviews will know I’ve been highly vocal in my praise for the first two issues of the relaunched series, and that I’d rank it as the best of the current Bat-titles, a field that’s actually proven to be pretty competitive. But I’ve talked to a couple of people who have expressed disappointment, saying that after the dark, psychological tone of Snyder’s Detective Comics run, Batman has felt more like standard blockbuster superhero fare. Those critics might be more satisfied with the sinister turn the narrative takes in this third chapter. With the steady build in dread over the course of the issue, Batman #3 is paced a lot like a horror story.

Scott Snyder has been very methodical with his pacing and his plotting, but now the pieces are falling into place and the scope of the threat Batman faces is starting to become apparent. In my review of the last issue, I talked about how Batman’s utter confidence in his deductive skills and his knowledge of Gotham City was being reframed by Snyder as a kind of hubris, an inability to accept that there could be anything at work in Gotham beyond his understanding. That very much comes to the fore here, and though we do get an excellent action scene set in an underground railway tunnel, for the most part the challenge to Batman here is a cerebral one, and this is a case that will push his deductive abilities as “the world’s greatest detective” to the limit.

The threat of the Court of Owls is almost entirely off-panel in this issue. They are built up through insinuation and recollection of old folklore and superstition, rather than a physical presence. But in spite of this – no, because of it – they are built up to be a terrifying threat. For now at least, they are intangible, unknowable, and, as a result, unfightable. Snyder draws once more from his Big Book of Trivia to Make You S**t Yourself to come up with some unsettling facts about owls – they are natural predators of bats, they take the nests of rival birds rather than building their own – that when applied to the context of the story make them seem even more formidable as a foil for Batman. The closing sequence of the issue really hammers home how omnipresent the Court of Owls are, and how deeply ingrained they are not just to the history of Gotham, but to the Waynes. And the ranting of Alan Wayne in the flashback to 1922 that opens the issue – “Their nests are all around! They’re in my home! My home!” – foreshadows that their influence could soon prove to be even more uncomfortably intimate, and the old nursery rhyme’s warning that, “They watch you at your hearth, they watch you in your bed” could turn out to be eerily accurate.

Indeed, if there’s any small complaint I have with the narrative of Batman #3, it comes with the final page. At first, I thought the second last page was the end, and that was satisfying. The revelation of how far-reaching this menace was, and the challenge Batman faced in getting to the bottom of it, ended things on a note of quiet dread that really left me wanting more. But then I turned the page, and was met with a rushed, cheap cliffhanger that I really don’t think the issue needed. I can appreciate the reasoning behind it, though, and it wasn’t enough to hurt my overall enjoyment of what was otherwise a perfectly structured instalment of this saga.

Once again, the art of Greg Capullo is stunning. In fact, this could very well be his finest work on the series thus far. His work has always been slick and stylish, but here Capullo really starts experimenting with his layouts and angles in a way that makes this a visually dense, rich reading experience. The inventive layout of having the various Wayne buildings in the Gotham skyline framed inside a guilded owl’s eye was striking, and the transition from what could be a pair of glowing owl eyes in the darkness in 1922 to a pair of train headlights approaching in the present day is one of the best match cuts I’ve seen in a comic in a while. Perhaps my favorite angle used in a panel comes on page 9, where we get a POV shot of Bruce and Alfred talking in the Batcave from behind Batman’s mask, which has been left sitting on Bruce’s worktable. We see the pair through the narrow slits of the eye-holes, adding an off-kilter, sinister dimension to the talking heads scene.

These were the standout artistic flourishes on first reading. But upon repeat reading, it became apparent that there is a real visual motif of watching and observation going on here, and once you become aware of it, it’s everywhere. There are a couple of instances when people are talking about the Court of Owls, where the angle shifts to an overhead shot that feels eerily like a POV shot from an unseen observer. And there is a big focus on eyes. Not just the aformentioned owl eyes, but lots of close-ups on human eyes, and things and people reflected in those eyes. And once you’ve got eyes in your head, eye-like circles start popping up everywhere! The shot from the blackness below, looking up through the open manhole cover, the railway tunnel at the bottom of page 4 with the far end looking like a little pupil, the circle honed in on Luka Volk when Batman is using lie detector technology on him, the insignia on the Talon’s blade, Batman silhouetted against the full moon on page 13, the device Batman uses to cut a hole in the floor on page 14, the giant owl insignia we see looming behind Batman or over his head in the scenes that follow. It all reminds us of the Talon and his circular, owl-like goggles. And it enhances this pervasive sense that the Court of Owls are everywhere, always watching. This is a perfect example of art and writing going hand-in-hand and creating an immersive experience for the reader.

It would be negligent of me to not also continue praising the work being done by inker Jonathan Glapion and colorist FCO. As I’ve mentioned before, Glapion’s heavy blacks are a major part of this title’s overall aesthetic, and that applies in this issue more than ever. His sharp lines also serve as the perfect compliment to Capullo’s distinctive style. Similarly, FCO’s muted color palette – making precise use of earthy browns/oranges and cool blues – gives Batman its own unique feel that sets it apart even from the other Bat-titles. The whole creative team come together to ensure this is just a great-looking book.

It’s getting hard to review this title on a monthly basis, without just repeating the “it’s great!” hyperbole. My conclusion for this issue is the same as it was for the last one, and I imagine next month I’ll be saying the same thing: Batman #3 is the best issue yet, building on what came before and steadily ratcheting up the tension. It’s so rewarding when a comic doesn’t just coast on the power of the title character’s brand name. The writing is striving to provide fresh insight into Batman’s character, while the art is innovative and charged with a desire to explore new and exciting possibilities the comic medium makes available. This is comics done right.

 

[Dread]

After a break last week, this week is back to business as usual with about six books. Let's get on with the spoilers!

DREAD'S BOUGHT/THOUGHT FOR 11/16/11:

HAUNT #18: Where to begin? Not only is this issue months behind schedule (at least two or three, perhaps), it is the final issue by much of the creative launch team. Writer and co-creator Robert Kirkman is leaving the title to continue writing his own SKYBOUND imprint as well as “THE WALKING DEAD” TV show, among other projects at Image. Artist Greg Capullo ditched this series to draw BATMAN for DC Comics, and the sudden gap is likely why this issue is so late. There are no less than five artists credited with pencil art, including Capullo and the series’ co-creator and inker, Todd McFarlane. In theory this should be the last issue of the arc as well as the end of perhaps this “season” of HAUNT, but it spends a lot of time leaving obvious story beats to be picked up by the incoming writer, Joe Casey. The result is a finale that doesn’t feel like a finale, but an advertisement for the next set of creative talent. In fairness, that is probably the best way to go. Rather than risk a “jumping off point” for readers – which is inevitable to a degree anyway – the issue at least attempts to make it a tough choice. The outcome, however, is an issue that feels quite busy and doesn’t have a lot of focus.

Summary? The dull and borderline self-satire villain Cobra seemingly stabbed and killed mob boss Hurg last issue, only it’s another one of Robert Kirkman’s fake death sequences (which INVINCIBLE has become fond of), so Hurg isn’t dead. The voodoo woman Alegria - who existed to do T&A poses, deliver magical exposition and re-use character sketches McFarlane had left over from Calypso in the 80’s who seemingly died last issue – isn’t quite dead, either. Even her GHOST has to embrace T&A by being naked. The Kilgore brothers (Daniel the live and Kurt the ghost) discuss things while their current and widowed lovers, respectively, chatter away. Haunt has an obligatory appearance and Hurg turns himself over for witness protection now that his own criminal empire wants him dead. Hints that the agency that employs Haunt has dark secrets are laid thicker than concrete. It feels more like checking off details on an editorial sheet than a narrative – even if there are a few good lines there.

Despite five pencilers and two inkers, the art is mostly consistent, aside for some panels which appear rushed. My favorite of the five pencilers is the one who is credited as simply “Mr. Sheldon”. Why so shy, Shelly?

Joe Casey is joined by artist Nathan Fox, with Todd McFarlane being the only remaining figure of the launch team aboard this franchise, which may as well call itself SPAWN 2.0. The positives is that this is still a $2.99 priced series that isn’t getting a reboot or a fresh #1 on the cover for a creative staff change. If one is deeply invested in the franchise, this issue will likely ask more questions than answers for you about the series. However, if you’ve been leaning on the fence with this series, now may be a time to abandon ship and cut losses.

HAUNT’s been fine, overall. Nothing bad nor anything too exceptional. Kirkman’s talent merged with McFarlane’s visions is interesting, to put it simply. Not as good as INVINCIBLE, or as light hearted and fun as SUPER-DINOSAUR. It makes me miss ASTOUNDING WOLF-MAN more.

AMAZING SPIDER-MAN #674: It was a tough choice between this or AVENGERS ACADEMY #22 (see below), but in the end this issue by regular writer Dan Slott and third rotating regular artist Giuseppe Camuncoli, who replaces Marcos Martin on AMAZING SPIDER-MAN's schedule (Martin has since gone on to DAREDEVIL). This issue could be seen as a bit awkward, because it has a task which is hardly ideal. It is the next issue after the finale of the eight issue cross-over event SPIDER-ISLAND which provided the most over the top threat Spider-Man and his friends had faced in this title in years. How does one simply jump back into business as usual from there? Thankfully, Slott doesn't flinch from that burden and continues with his usual solid, serial storytelling on this series. It has officially been his and his alone (barring some co-writers or two issue guest stints) for over a year now, and Slott continues to steer this ship into interesting waters.

As expected, this issue does start to deal with the ramifications around Peter Parker's cast as well as New York City in general after the events of SPIDER-ISLAND. While some people used the experience of transforming into a spider-monster to gain perspective on Spidey, others (especially the NYPD) see it as yet another reason to hate and be suspicious of Spider-Man. Carlie Cooper breaking up with Peter after finally realizing his secret also comes up again here, as the two of them wind up investigating the same series of crimes from different angles and are almost forced to collaborate for the greater good. But what puts this issue above the pack is Slott's clever new idea with one of Spidey's oldest enemies - Adrian Toomes, the original Vulture. Ol' Toomes debuted in AMAZING SPIDER-MAN #2, and was literally the second costumed villain Spider-Man ever fought after Chameleon. There have been at least three other versions of the Vulture, including a cannibal version created by Mark Waid in 2009. This doesn't even count the Vulturions, who are basically thieves who wear knock-off versions of Toomes' flying harness as a flock. At any rate, the gimmick with Toomes here might remind some of what the Penguin through in "THE NEW BATMAN ADVENTURES" circa 1998. Given how old Toomes must be (even in "Marvel Time", Toomes must be pushing eighty), it was about time that he sat back and played the role of the mastermind instead of henchman. He is offering his trade to a new generation as well as establishing a legitimate setting. There is an interesting plot detail in that random runaways and desperate people are suddenly entering Manhattan in hopes of getting Spider-Powers, ignorant that the plague is over. Toomes exploits this, as well as the "teen goth" movement, to make a play at the old Oliver Twist plot. It is similar to the Vulturions gimmick, only with Toomes retaining control of his technology rather than some random prison mook imitating it.

There are some hiccups. There is a bit with Mary Jane in a nightclub which is a little awkward, and one might argue that Peter's supporting cast JUST HAPPENING to attend Toomes' club for a night is the sort of TV show cliché we have seen too often. There is a scene where Kingpin whines about losing his own spider-powers which is shockingly out of character. One could even argue that Spider-Man's battle with the armored Anti-Spider cops is mostly there to provide a fight sequence (especially since, as Peter, Spidey helped design the armor so he knows all its flaws). Now that people can figure out who Spider-Man is again, shouldn't he not exploit knowledge only someone from Horizon Labs should know as much?

Camuncoli's artwork is amazing, especially when matched with Klaus Janson's inks and Frank D'Armata's colors. The opening bit setting up the "murder mystery" works well, and after a mega crossover it is nice to take a breath and deal with some ramifications as well as more street level developments. Above all, the ability to use Spider-Man's old villains in interesting new ways is part of what makes Slott's work on this series exceptional. The Sinister Six are set to return next year, to fulfill their own slow burning subplot across this series (and AVENGERS ACADEMY) for the past year; Toomes was a founding member of that team and isn't in the current incarnation. Thus, it makes some thematic sense to see whar he's up to before we see his cohorts again. This should be a short arc, but after SPIDER-ISLAND, that is just the sort of thing to break up the tension. As usual, solid issue to a great run.

AVENGERS ACADEMY #22: This is one of several titles which "double ships" this month, which is welcomed because it means an extra week of a good read. There are not one, but TWO vague crossover banners on the cover to this issue; "Shattered Heroes" for post-FEAR ITSELF stuff, and "Regenesis" for the post-SCHISM stuff. Can you tell an editor is worried about sales figures?

At any rate, this issue continues Christos Gage's exceptional run (and launch) of this title, as well as the last issue which will be drawn by Sean Chen. Tom Grummet's first issue will be January's issue 24, and Tom Raney will handle the next issue in December. Chen and Raney have shared art chores on the book since Mike McKone left with issue nine, with only one fill in issue between them. While this issue picks up after the murder mystery cliffhanger from the previous issue, its focus is more on the relationship between Quicksilver, his protégé Finesse, and Pietro's father, Magneto. In summary, Hank Pym has invited the X-Men to the Academy because Magneto is the best option for gathering clues on the mystery. Since Cyclops' new team consists of former villains such as Magneto and Emma Frost, some of the Academy figures (especially Hawkeye) are on edge and suspicious. The emotional strain between Pietro and Magneto are laid to bare and result in quite a verbal and physical confrontation. In the end, what holds this issue back is that aforementioned physical conflict. It is the second issue in a row in which the primary action sequence consists of a "misunderstanding brawl" among the teenage heroes and older "heroes". While Gage is perhaps wise to include an action sequence in every issue to keep things brisk, this is one of those sequences which seems more obligatory than natural. The issue is better with the dialogue and the interactions among the characters. While the focus is squarely on Magneto, Quicksilver, and Finesse, there are also some amusing exchanges between the various students, Hawkeye to them, as well as Frost with the even-MORE-scantly-clad Tigra. While an appearance by the better selling X-Men could be seen as a gimmick, this also lays ground work for Gage's upcoming run on X-MEN: LEGACY.

More than anything else, this issues helps showcase that without being overly dramatic about it, Finesse has grown quite a bit in the last twenty issues, or at least become more emotional despite herself, and is beginning to act more like a character who cares about things (even if she doesn't realize it) and is beginning to become easier to root for. In terms of artwork, Chen's work will sorely be missed, as he excels in both static and action sequences; alongside Jeromy Cox's colors, his art always pops. He also has a nice handle on Marvel's more film inspired costume design for Hawkeye. While this issue is merely one step on the road to Gage's general arc about evil future versions of his cadets, it stands on its own as a character piece and a story unto itself, like good comics should.

CAPTAIN AMERICA #4: This is the penultimate chapter of Ed Brubaker and Steve McNiven's first arc on this relaunch of the Star Spangled Avenger's ongoing title. While it is commendable that Brubaker has often sought to keep his arcs less than six issues on this series - most of his arcs average four or five issues - part of me does wonder if this arc is an issue too long. Unlike a few people, I have actually enjoyed this arc overall. I suppose it is because it has some over the top elements that I tend to enjoy in comic books when well executed, and drawn as well as McNiven is. There is also a lot of action for the four bucks in most issues.

Yet does this arc seem to hit all of Brubaker's writing tics almost in a row? Yes. Does it feature a new villain whose significance is bolstered by a sudden retcon? Yes. Does it feature Captain America fighting an evil version of himself? Yes - actually twice if you count the cameo by Ameridroid in earlier issues. Does Sharon Carter remain the most incompetent high ranking SHIELD agent ever, getting captured almost immediately? Yes.

Agent Bravo is basically an evil version of Captain America, only in a slightly less obvious sense as Ameridroid or Grand Director were. He's a super-soldier from WWII who was frozen in time during a mission that went bad and has suddenly been revived in the modern day. Only while Rogers eventually adjusted and continued the fight, Bravo wants to destroy the present and turn it into a false utopia via the reality warping powers of the ancient Jimmy Jupiter. I suppose it could be argued why Bravo couldn't be appeased by simply returning to Jupiter's "reality", but that's simple. He's a fanatic, and like most fanatics, he can't usually be appeased with compromise. At the very least, I was glad that this was his motivation and not envy that Peggy Carter chose Rogers back in the 1940's, as prior retcon flashbacks hinted. The only villain I accept as being petty enough to go on reality warping missions just for being dumped is Proctor. Still, even the duel between Cap and Bravo in the alternate universe comes close to Rogers fighting Red Skull within his own mind in CAPTAIN AMERICA REBORN.

Yet despite it all I continue to enjoy Brubaker's tales overall. I know all the tics but it hasn't reached the point where it overwhelms the rest of the story for me, at least not a majority of the time. I feel he gets Cap so I guess I can endure him repeating himself a lot. While I feel WINTER SOLDIER will be stronger work, CAPTAIN AMERICA remains solid. I do wish it wasn't $3.99 for no purpose, though.

THUNDERBOLTS #165: The time flung adventures of the T-Bolts escapees in WWII era Europe continue from Jeff Parker and Kev Walker. Baron Zemo (the original) has captured and crudely duplicated the original Human Torch, and has unleashed them against Capt. America and Namor. The T-Bolts are caught in the middle hoping to not effect history and even wondering if such a thing is possible. They can't allow either side to die, so they do what is best - eliminate the threat of the month and allow both parties to escape. Moonstone takes some liberties to ensure Helmut is born as well as get some action with Cap, while Satana performs a "ritual" to revive Namor. Between this and her last appearance in HEROES FOR HIRE, a lot of Satana's spells seem to involve her getting naked. In Japanese comics, this is called "fan-service". Normally, the lack of a major antagonist has been a problem here, but Parker's new set up compensates for that. The T-Bolts (Moonstone, Satana, Centurius, Boomerang, Mr. Hyde, Fixer, and Troll) have successfully escaped the Raft along with Man-Thing's hibernating new form. However, they have escaped through time into the past, and will likely have more time travel adventures. In the .1 issue, Luke Cage, Songbird, and Ghost learned from Valkyrie of their fate, and it may be inevitable that there's more of a chase to be had. The next issue promises a visit to the late 1800's and a fight with Jack the Ripper, who in Marvel is a demonic figure. This arc has been an improvement, now that the cast is down to a manageable size and it suits Parker's style. I'd have preferred Shocker remained on the team, but he was needed for SPIDER-ISLAND. Given that titles that have sold better such as X-23 and DAKEN have been canned lately, the fate of this series in early 2012 isn't assured. Hopefully it doesn't end on a cliffhanger so these villains at least can remain in circulation. Still, next year this series should hit issue #170, so you can't say Marvel didn't give it a long run. Hopefully Parker's run ends on a better and more conclusive note than ATLAS did.

VENOM #9: While there is no trade dress to symbolize it, this issue serves as an epilogue to this series' crossover with AMAZING SPIDER-MAN's SPIDER-ISLAND for the past several issues. Fortunately, writer Rick Remender makes sure to keep the events of that other book as details while he focuses on the real meat of his star character, Flash Thompson (the latest, military organized Venom). In the midst of the chaos among giant spider-monsters, Flash's abusive and alcoholic father re-entered his life only to suddenly succumb to liver cancer soon after. The strain of being Venom is putting a major dent in Flash's relationship with Betty, who he loves but always has to abandon and hide things from. Considering that Betty was not only Peter Parker's first girlfriend, but that her brother was killed by mobsters and her husband was framed as the Hobgoblin, the poor reporter's had a rough life. At any rate, Flash (as Venom) is searching the city for Betty, hoping she was still in the hospital with his father and not dead or naked somewhere. Unfortunately, a random new villain called the Hijacker has capitalized on the lull after the chaos to rob banks with a giant tank, caring little for mowing over pedestrians. Given how easily the alien symbiote can gain control of Flash when he gets angry and that Flash was already on the bring to begin with, the results aren't pretty. The guest artist for the issue is Stefano Caselli, one of the regulars on AMAZING SPIDER-MAN, and as usual he (alongside Frank Martin Jr.'s colors) do a stand out job.

While many may have dismissed this series as yet another Marvel relaunch of a franchise that was popular in the 90's, Remender has molded this into an engaging read in which a character who had played a supporting role for decades is now the super-powered star, and working with it seem as if it was the most natural thing in the world. This issue works as both a done-in-one issue as well as an epilogue to an arc. While it is violent, that is usually what one expects of VENOM. This has been the best selling ASM spin off in years, and deservedly so. It will be interesting seeing where Remender takes the franchise from here.

 

[Phaedrus45]

Wonder Woman #3

In this issue, Azzarello changes the origins of Wonder Woman. (At least, I think this is a new origin. I'm not that caught up on all of DC's history.) Where as we've been told how Diana had been made from clay, this issue Wonder Woman discovers that it's all been a lie to keep her safe. The truth is that Zeus and Hippolyta did the beast with two backs, and thus Diana was born.

This issue does pop around a bit, and I had to reread it to get a real feel for how much I liked it; but, I did. Azzarello does a great job with his storytelling; and, while the book has a slightly different feel from that first issue, it's all coming together nicely. It is one of my favorite from the New 52.

Justice League #3

So, for the first storyline, we're getting introduced to a new member of the original Justice League with each new issue. This one, it's Wonder Woman. And, I must say, a much different Wonder Woman than we're seeing in Azzarello's comic. This version has far less substance, and acts more two dimensional. She wants to fight, regardless of the damage caused. It's all about the action for her.

That's the way Johns is writing his book. Lots of pop and flash; but, beyond that, there isn't a whole lot more going on. The characters are all very cartoonish representations of themselves. They don't seem that different from one another. It's all ego and power. That even continues on the last page, when we get introduced to Aquaman.

Beyond all that, we're told who is behind all the destruction: Darkseid. It's a good first time villian; and, much better than Starro.

Supergirl #3

This comic just follows a formula. Like with Green Lantern issue 2, we saw the usual fight between two characters who will eventually have to learn to work together. (In Green Lantern #2, it was Hal vs. Sinestro. For Supergirl's second issue, it was Superman vs. Supergirl.) That means that issue #3 is where our hero starts to discover answers to all their questions. (Like with Justice League #3, where we learn about Darkseid.) For Supergirl, she finds out about the destruction of Krypton, and discovers that Kryptonite can sap most of her energy.

Did they have to start all over with this character? No. Still, I find Action Comics a much worse book. For that, I give this issue a mild . Here is the main problem with some of the DC books. For trying to start something new, they are falling back on old, tired tricks.

Avengers Academy #22

This issue had a lot of humor in it. I liked Emma Frost giving fashion advice to Tigra and the implication that the gal from Power Pack is gay. Of course, DC isn't the only ones to follow old tricks. We get the usual fight between two groups over a misunderstanding. What's nice is that Gage writes it all very well. Plus, it's a nice tie-in with Genesis. Gage is continually advancing his storyline, which makes the dramatic elements of his comic just as important as the action.

Good issue! Not the best I've read, as those early issues stood out as something fresh a lot more than these latter ones are. Still, I love how we're getting peeks at various characters we haven't seen for a while, like Sentinel. A strong !

Generation Hope #13

I worry about this comic now. It's lost the one character who was really the best part of it, Indie. I almost wanted to write it off; but, the newest issue still shows that when a company gives a writer and a comic a chance, sometimes things just get better and better. In this, they've almost gone for a darker humor. Like with Avengers Academy, great emphasis is being paid to building relationships, and we get some great ones this issue. Kenji and Martha Johansson was brilliant. Primal and The Cuckoos was hilarious. Still, trading Indie for Pixie seems like a huge step back. Marvel is determine to make us like Pixie; but, I'm hoping in some event in the future, she's killed off. She does zippo for me.

Can't wait for the next issue, and finding what happens with the suicide bomber in Pakistan.

Incredible Hulk #2

I don't know about this book. Sure, it's nice to get away from Pak finally; but, I'm just not feeling this new version. First, we open with a scene between Betty and Bruce; and, I just want to scream, ENOUGH! I'm so sick of seeing the continual fights over the same crap. It's seriously time for something new. Sadly, what's new is a version of Bruce Banner that I just don't believe. Bruce wants to be the Hulk? And, Hulk is intelligent without having the Bruce persona to fall back on?? I don't buy it. I think if you separate Bruce from Hulk, you would get a version of Hulk who is similiar to a mindless brute.

A mild .

End Of Nations #1

One issue is enough of this garbage. It's based on an Online Game that's upcoming ... or, maybe it's already available. Either way, I never heard of it, and if it's anything like this first issue, I can care less. It was boring, dull, and lifeless. Don't buy it. I doubt another comic will rate worse than this one for the week.

 

[Phaedrus45]

Green Lantern Corps #3

As Guy says, this issue was the Green Lantern equivelant to Custer's Last Stand. We get a load of action, a decent story, and (thankfully) a little more focus on other Corp members. Still, the main focus is Guy and John. (And, still, that focus does seem more interested in Guy than John. I have yet to see a story from DC that makes John interesting.)

I was pretty pleased with this issue. If you're going to have Corps in your title, it needs to be about more than just the Earth Lanterns. Issue #1 failed at that; but, I see the comic starting to spread out a bit more, and it increases my enjoyment. Plus, this issue's death was nicely handled.

Batman #3

Snyder just keeps doing it. For him, the story is what's important. The mystery is being brought back in a Batman comic. And, the city and history of Gotham is just as important as any hero or villian. This isn't all glitz, glam, and shock value. It's more than a comic, like Detective Comics, which tries to hook you by having Joker's face ripped off; or, like in Batman And Robin, where we get the same tired interactions between Bruce and Damien, without any sign of growth of the characters. Nope, Snyder seems to love the art of storytelling.

Another dang good issue, where we learn about Alan Wayne, his mania, and his death.

Catwoman #3

Another good issue. I've always been a Catwoman fan; and, I was so happy that DC brought her book back. I'm guessing the adventures in this book are not current. I believe it was noted that what we're reading is 3 years after Selina became Catwoman; and, this issue shows the first death that Selina can attribute to her own actions. There is a lot of focus on her affair with Batman; but, since it's in the past, she doesn't know he's Bruce Wayne.

Of course, I wonder what problems this causes in the future. We have all these separate comics that take place at different moments in time; and, there isn't any real timeline to follow. Eventually, are they all going to meld together, as if there is no difference between books, especially when DC has their next event? It's still that nagging question at the back of my mind; and, any time a comic brings up the issue, it takes me out of the story.

Oh well. This is one of my favorite Bat-books; and, I found I enjoyed it just as much as Snyder's Batman.

Walking Dead #91

This comic is such a soap opera now. Every once in a while, Kirkman throws us a bone ... or the occassional zombie; and, I'm finding that AMC is now doing a better job with their tv show than Kirkman is doing with his comic. The show knows to throw in some zombies with each issue, even when the focus is mainly on the drama. (Like the episode with the zombie in the well.) It also seems like the show will deviate from the comics. I like that. Shane is a great character; and, it doesn't seem like they'll be killing him off any time soon.

This is one of my favorite shows on TV; but, I find myself getting bored with the book. A mild .

Bionic Man #4

Does anyone really care about a comic written by Kevin Smith nowadays? Heck, is this book even being written by him much? It seems like Phil Hester is associated with all of Smith's books now, especially at Dynamite. Smith has the idea, and Hester writes it up. This comic just drags out. In the latest issue, Steve is finally turned into the Bionic Man; and, we're also introduce to Max, the Bionic Dog. (I completely forgot about the dog!)

I actually cancelled this title from my pull list after the first horrid issue. My shop owner still stuck it in my box; and, I figured it was until it hit the point of him not ordering me a copy. Nope, he forgot, and told me I can just stick it back on the shelf; but, I had to get to this point, at least. Now, I'll probably stop. Bad book.

Nightwing #3

The comic is a little better than its first issue; but, I'm still not a fan. It just seems silly seeing Dick interested in his past suddenly; and, even though I know it's for dramatic purposes, it just feels like a desperate attempt to bring back the past, where I see Dick would be more focused on other things. It's the kind of storytelling that makes me bored with DC comics.

 

[Phaedrus45]

More reviews. I ended up watching quite a bit of football, getting through some DVRed shows, and read a good number of comics.

Carbon Grey: Origins #1

When the first issue of Carbon Grey was released, it looked beautiful; but, it also was extremely choppy in its storytelling. I think it hurt that so many different people were working on this one book that was 10 years or so in the making. The problem was that I didn't let my shop know to stop putting it in my file. Thus, issue 2 and 3 came out, and this week I finally got around to reading them. Surprisingly, I was getting hooked. Thus, when the new Origin issue came out, I was more than happy to keep the book on my list.

This is a nice issue. We see the two Grey sisters when they were much younger; and, it gives us some insight into who they are. Plus, other people are explained in more detail. With the first three issues of Carbon Grey devoted to getting readers into the main story and ending the first story arc, this is a nice break from the action and lets readers discover more about the characters. I'm surprised to say it; but, I'm a bit excited to see what comes next.

Severed #4

Severed might not reach the heights of Snyder on Batman; but, he tells a dang good horror tale that's very much in the vein of Stephen King. I cannot say I enjoyed this issue that much, especially since it seems Samantha might have just ended her time in this book; but, I'll hope a miracle happens. (Ah, but what would a book be if they all had happy endings.)

Maybe no happy ending for that character; but, I was on the edge of my seat, just wanting to yell "Don't go in there, Sam!!!"

Haunt #18

What's so ridiculous about this title is that we waited so long for the last two issue to come out; and, this is the crap Kirkman and Capullo give us. I'll be happy to see what Casey and Fox give us (and, hopefully, it will be on a more timely basis); because, this last issue of Kirkman's run was absolute garbage, very choppy and it didn't flow.

Red Hood And The Outlaws #3

I'm surprised I'm liking this comic as much as I am. After the first appearance of Red Hood, DC writers have handled the character very badly. But, this brings out a new side to Jason. I'm interested in him again; and, more than that, I like his two partners, Kori and Roy Harper. (Although, I'm not sure if Roy fans will enjoy the new direction for his character.) I really liked getting a peek into the three main character's pasts this issue. And, the art looks so nice.

Morning Glories #14

I'm still not too sure what this school is all about; but, I get the sense that things are starting to finally come together. (Eh, who am I kidding? We're just getting more mysteries added to our already burning questions.) Spencer keeps me interested, and I think his writing on this book is improving. What's really cool is that this book might be the best bargain on the comic shelves today. (With each issue, we get 32 pages for only $2.99.) I can't wait for the next issue, and find out what happened to the kids in the woods. (Heck, I'm not even sure what the heck game they are playing.)

Tons of mystery, very little answers, and too many characters for me to remember. Yet, I'm enjoying it. (I just couldn't recommend it to new readers. If I'm confused after reading for 14 issues, and new reader would be completely lost.)

Avengers Origins: Luke Cage One-Shot

Not as good as the previous two one-shots. If you're curious about how Luke Cage became Power Man, it might be worth the $3.99 price; but, for me, it didn't bring anything new to the table.

A very mild .

 

[Phaedrus45]

Punisher #5

I hate to give this review; because, I want to enjoy a Rucka Punisher title so dang much. But, I must admit that this book is doing very little for me. The direction of that first issue seemed interesting, focusing more on secondary characters than on Frank Castle. That changed, though, with issue #3, where we get the average supervillian vs. superhero battle between Punisher and Vulture. Since then, my interest is seriously waning. This current issue didn't do much to help that. (The two female characters, though, did make me want to keep reading.)

I'm holding out hope that things improve. It's just disheartening that PunisherMax got cancelled this week, and it's clearly the much better book. I do have a bit of a problem blaming Marvel, though. If nothing but a loyal group of fans are keeping the book around, why should they feel compelled to put out stuff that people just won't buy ... especially when those loyal fans keep telling others how great a book is, and still nobody helps increase readership. Aaron can put out a new Wolverine book, and it gets more readers than the better PunisherMax.

What's more maddening is that people can read glowing reviews on this board (I cannot think of a single reviewer on any of the Bought/Thought threads who haven't showered this book with praise), and yet I still don't see any new readers. I know Dread will complain about some of his favorite books not being picked up by readers, like Avengers Academy; yet, he's just one of the many who really won't give hyped books on these threads a try. (Once in a great while, he'll do it; but, for the most part, I think rave reviews will fall on deaf ears.)

This is a business. If the public won't shell out their money and tell the comic companies what they want, why should those companies waste their time on it? Marvel is just giving readers what they are paying for. You can argue that Marvel isn't giving readers enough time to find the book; but, I think that is bullcrap. Comics loved by devoted fans, like Spider-Girl and PunisherMax, have been around for a long time; and, yet, their readership never increased. In the end, it's all about certain characters, events, or promotions (like New 52) that are designed to get our bucks. (And, with New 52, I think we'll see some of my favorite books are the ones that get cancelled first. Omac surprised me by having such a fantastic first issue, and everyone who read it seemed to agree it was darn good. Yet, it was the worst selling book of DC's bunch, I think. And, the second issue didn't gain any new readers. In fact, it went from 33,581 to 29,434.)

Okay, got off on a tangent. My review of Punisher #5 is a very mild .

DC Universe Online Legends #17

This idea sure tanked for DC. Usually, there Twice-Monthly books have done some good business; but, issues 15 and 16 tracked at #148 and #151 on the Diamonds sale listings. What's idiotic is that while a comic tied to a video game might do well at first, eventually these online games lose quite a bit of their business. (Lego Universe Online just announced their game is calling it quits in January. How many people are even playing DC's game any longer?)

Now, they must be trying to breathe a bit of new blood into the book. I'm not sure if Wolfman and Bedard will be associated with it any longer. The past two issues have been written by someone new, Tom Taylor (who?), and I'm thinking they are now just trying to finish this book without shoveling too much into it. It doesn't matter. The book was getting worse and worse. It began with a story set in the future, with glimpses about what happened in the current past. Then, the future storyline was scrapped, and Wolfman and Bedard only told the past storyline. NOW, we get the Braniac storyline continuing; but, it's turned into an offshoot of that, focusing on the Green Lantern Corps. The good news is that this Green Lantern storyline has sparked my interest in the book again. Turns out whoever Tom Taylor is, he can write a good comic. I hope it continues. (And, I still wonder if the future storyline will ever be mentioned again.)

for issues #16 and #17, which is the new Green Lantern storyline; but, really, DC should almost be embarrassed by this book, especially if everything doesn't wrap up with the original storyline by the final issue.

Deadpool #46

Deadpool vs. Evil Deadpool; yet, the real evil lies in what Way has done with this title. It's seriously become sick and depraved. Ever since the Whitby storyline began, it seems like Way is turning Wade into a man who's has anger issues with women. It went beyond anything I ever thought I'd see witht this character, and makes me wonder what the hell Way is thinking lately. I was hopeful with issue #44, the storyline would be buried and forgotten; but, just like the chopped up pieces of person in Whitby's refridgerator, it's still around. (I cannot even explain what I feel about Whitby taking her own life at the end of issue #44. It was one of those situations, where you tell yourself, "This comic can't get any worse" ... and, yet, it does.)

Marvel seriously has to take Daniel Way off this book. It's the most offensive storyline I've read all year, and I cannot remember being this disgusted in a long, long time. It's too bad this book wasn't cancelled, instead of the other Deadpool titles. Deadpool Team-Up was a much better book, and it says a lot when the Leifeld book was even better. Even my worst rating, , doesn't give my feeling justice.


I still have six issues I wanted to review; but, this posting has taken on a complete negative feeling with these three reviews. Deadpool did me in. How in the holy hell can Marvel cancel PunisherMax and keep that garbage around??!!??

 

[Dread]

What's more maddening is that people can read glowing reviews on this board (I cannot think of a single reviewer on any of the Bought/Thought threads who haven't showered this book with praise), and yet I still don't see any new readers. I know Dread will complain about some of his favorite books not being picked up by readers, like Avengers Academy; yet, he's just one of the many who really won't give hyped books on these threads a try. (Once in a great while, he'll do it; but, for the most part, I think rave reviews will fall on deaf ears.)

At least we sort of agree on HAUNT #18. You were harder on it than I, but it's likely my least favorite series I've read of Kirkman's since his terrible run on ULTIMATE X-MEN that I abandoned. I'm comfortable walking away from HAUNT now.

I am sorry Marvel is canceling PUNISHERMAX. It always sucks when those great little books you love die.

As a little reality check, while we like feel a sense of accomplishment when we believe we convince someone else to try a small book we like, a handful of extra people won't save a book. If every single poster on SHH - assuming that every account isn't dead - bought one series collectively, that'd equal about 31k sales - which is less than VENOM sells. I've done my part to get a handful of people onto AVENGERS ACADEMY but I know it will take more than a few people here or there to save some books.

I do give hyped books on SHH a try. Off the top of my head I started reading INVINCIBLE, Brubaker's CAPTAIN AMERICA, INCREDIBLE HERCULES and UMBRELLA ACADEMY based on reviews here. I can't speak for everyone here but certain things often are barriers towards me trying a new book:

- Money. It's the biggest one. I can only try so many $3.99 first issues, which is mostly a Marvel dilemma. I only have so much money and it only stretches so far.

- Continuity. If it is a new run on a long standing ongoing series, I usually have to really like the particular writer to bother. I made the jump onto T-Bolts for Parker and I'll likely try X-MEN LEGACY for Gage. But by and large I hate doing that because I hate jumping in cold. I won't understand a thing that's going on in terms of past references and when I have to scim Wikipedia just to comprehend something I've just bought, that is a major turn off. One of the issues of BATMAN BEYOND: HUSH had a Catwoman who duplicated herself and she was supposed to be the kin of some DC hero or villain that the reader was expected to know off hand, and I had to Google it to find out. That irritated the living daylights out of me. Usually Dan Slott is good with summarizing things he's pulling from past ASM stories I didn't read (like the BND era).

- Franchise interest. I have to have enough basic interest in the character and/or franchise to make the plunge. Sometimes not even a writer I adore can get me onto a book or franchise I haven't cared for. The last time I read a Punisher book, it was for Matt Fraction before he sucked. I don't think I'd bite again.

- Timing. Unless I bite on a series when it is new, I often am several issues behind by the time I try it, and either have to chase down back issues and/or buy the trade or a few trades. This merges with the Money and Continuity issues, as well as convenience and time. Sometimes I don't feel like running across Brooklyn or Manhattan for an entire day just to get all those issues of AMAZING WELL REVIEWED MAN that I missed.

That said, I do try to prioritize. I try to give new Marvel characters a chance, and I do try to give indie's a chance when they're put to my attention by a creator or some other means.

 

[Phaedrus45]

As a little reality check, while we like feel a sense of accomplishment when we believe we convince someone else to try a small book we like, a handful of extra people won't save a book. If every single poster on SHH - assuming that every account isn't dead - bought one series collectively, that'd equal about 31k sales - which is less than VENOM sells. I've done my part to get a handful of people onto AVENGERS ACADEMY but I know it will take more than a few people here or there to save some books.

And, that is what proves the point more. All the complaining about how Marvel won't give comics a chance; but, in reality it's the readers who are equally to blame. We can make up so many excuses not to pick up a struggling title; but, then people go up in arms when they get cancelled.

With a lot of people, I would slightly agree that them picking up the book won't necessarily save a book; but, I have two arguments against that. First, when it comes to you, Dread, there are some people who just love your reviews and will pick up a book solely on your recommendation. Not only do you post reviews on The Hype; but, as I remember right, you also post on a certain website. So, a good review by you could start a (all-be-it) small increase in regular sales; and, hopefully that small increase would send a sign that it's possible the comic has a bit of staying power. (That's better than seeing slow declines from a company.) Why is Avengers Academy sticking around? Maybe reviews, like yours, have actually helped it quite a bit. (And, who knows, maybe Marvel does see the support it gets online, and that helps also.)

Second, if you have a shop owner like mine, when I put in an order for a comic series that has caught my interest in Previews, it gives my shop owner pause. He takes another look at a book; and, sometimes I truly believe I see a book on the shelf simply because I have asked him to order a copy for me. (Now, he doesn't order a lot of the title, usually just an issue or two; but, it's more than a single comic increase in sales.)

 

[RockSP]

Mudman #1 - New Image series by Paul Grist of Jack Staff fame. This first issue is the first chapter in the title character's origin story. Not mindblowing, but interesting enough that I'll be back for #2.

Xenoholics #2 - Don't remember if this is a mini or ongoing. Either way, I'm enjoying it. The premise is a support group for people who've been abducted by aliens. Similar to Powers, the cartoony artwork may fool some into thinking it's a "kiddie" book at first glance, but that's definitely not the case.

Six Guns #2 - Cool action flick comic set on the outskirts of the marvel universe. So far the only superhumans to show up are Tarantula (haven't seen her since the previous Heroes for Hire series) who started out in issue one cuffed in the back of a cop car, and spends issue two tied to a chair by the bad guys who "liberated" her from the cops...and Knight Vision, who I assume is new and really is only there to the be collar of the the bounty hunter introduced in this issue. I believe we've been introduced to four of the six guns, so far. If you dislike gunplay than obviously this mini ain't for you. If you're not a wussbag you will probably enjoy it.

 

[hippie_hunter]

How many people are even playing DC's game any longer?

Actually ever since DC Universe has gone free to play, the game has added over one million new players. I'm actually hoping to check it out pretty soon.

 

[hippie_hunter]

And, that is what proves the point more. All the complaining about how Marvel won't give comics a chance; but, in reality it's the readers who are equally to blame. We can make up so many excuses not to pick up a struggling title; but, then people go up in arms when they get cancelled.

Actually I blame Marvel 100% on this one.

Marvel has killed their lower tier books with the $3.99 price point and double shipping of their upper tier books, giving regular Marvel readers less free income to spend on lower tier books. Fans who have long running collections of books like Avengers, Amazing Spider-Man, Captain America, and Uncanny X-Men are more likely to drop books like Avengers Academy, Ghost Rider, and Alpha Flight than books that they have long running collections of. Readers who like to follow the major events of the Marvel Universe are more likely to drop the lower tier books in which nothing major happens over the books where something significant happens.

They also had a tendency to kill books off within 5 issues, so why would readers want to get emotionally attached to books that are going to get quickly cancelled? If Marvel isn't going to give a damn about these books, why should readers?

 

[JewishHobbit]

Yup, if Marvel embraced $3 instead of $4 I'd have round abouts $12 or more extra in a month. You know what I'd likely spend that on? Things like Avengers Academy and other lesser titles. I think most people would agree that they'd do the same. Sales for the upper books (that don't necessarilly need the sales) might dip some but the lower tier titles would skyrocket I think instead of plummit.

 

[TheCorpulent1]

Actually ever since DC Universe has gone free to play, the game has added over one million new players. I'm actually hoping to check it out pretty soon.

I created two characters last night. It's all rightish. At least it isn't totally uninteresting if you want to play on your own, like some MMOs can be. But it's definitely not changing my overall negative opinion about MMOs in general.

 

[Phaedrus45]

Actually I blame Marvel 100% on this one.

Marvel has killed their lower tier books with the $3.99 price point and double shipping of their upper tier books, giving regular Marvel readers less free income to spend on lower tier books. Fans who have long running collections of books like Avengers, Amazing Spider-Man, Captain America, and Uncanny X-Men are more likely to drop books like Avengers Academy, Ghost Rider, and Alpha Flight than books that they have long running collections of. Readers who like to follow the major events of the Marvel Universe are more likely to drop the lower tier books in which nothing major happens over the books where something significant happens.

They also had a tendency to kill books off within 5 issues, so why would readers want to get emotionally attached to books that are going to get quickly cancelled? If Marvel isn't going to give a damn about these books, why should readers?

You do have a point; but, I still call bunk on it. If you are upset about the bigger name books double shipping each month, then the consumer should show their displeasure by not buying them. Instead, support the book that gets rave reviews, but very little sales. It's still all determined by the readers.

If you owned Marvel and could easily triple your sales by dropping a low selling title and putting out another Avengers or Wolverine book, you'd easily choose the path with more cash. If you put out a book that is $3.99 and wouldn't really gain that many more sales by dropping it to $2.99, why would you take that extra buck away?

For example, I looked at two titles I knew were $3.99 and dropped to $2.99. One is American Vampire. In December, sales for American Vampire were at 19,019 for a $3.99 comic. The next month it dropped to a more reasonable $2.99, and sales plummetted to 16,969. Another comic was Batman: Streets Of Gotham. December, sales were 21,684. When the priced dropped, it went to 21,592. Not as steep; but, the $1.00 price drop didn't do diddly. In fact, it still lost sales.

So, you can scream Price, Price, Price; but, when DC dropped their prices, readers obviously did not scurry to new books. What does get sales, though, is events, new titles with established stars, and a great promotion, like the New 52.

 

[Phaedrus45]

I created two characters last night. It's all rightish. At least it isn't totally uninteresting if you want to play on your own, like some MMOs can be. But it's definitely not changing my overall negative opinion about MMOs in general.

Free, huh? Now, that's a huge selling point! I hate these online games that I have to pay a monthly fee for, like Lego Universe. I might now try out this DC online game. (I only wish it was on X-Box, and not just PS3, for a video game system. I'm not big with playing online worlds on my computer.)

 

[hippie_hunter]

You do have a point; but, I still call bunk on it. If you are upset about the bigger name books double shipping each month, then the consumer should show their displeasure by not buying them. Instead, support the book that gets rave reviews, but very little sales. It's still all determined by the readers.

I'm sorry that I and many others don't want to drop books that we've been getting for a very, very, very long time.

If you owned Marvel and could easily triple your sales by dropping a low selling title and putting out another Avengers or Wolverine book, you'd easily choose the path with more cash. If you put out a book that is $3.99 and wouldn't really gain that many more sales by dropping it to $2.99, why would you take that extra buck away?

The problem is that it's now impossible to find the sleeper hit in the lower tier titles like Incredible Hercules and Avengers Academy. Marvel has killed their entire lower tier books. And even now Avengers and Wolverine spin-offs are not doing well at all.

For example, I looked at two titles I knew were $3.99 and dropped to $2.99. One is American Vampire. In December, sales for American Vampire were at 19,019 for a $3.99 comic. The next month it dropped to a more reasonable $2.99, and sales plummetted to 16,969. Another comic was Batman: Streets Of Gotham. December, sales were 21,684. When the priced dropped, it went to 21,592. Not as steep; but, the $1.00 price drop didn't do diddly. In fact, it still lost sales.

So, you can scream Price, Price, Price; but, when DC dropped their prices, readers obviously did not scurry to new books. What does get sales, though, is events, new titles with established stars, and a great promotion, like the New 52.

You need quality and promotion to go along with the price cut. The price cut didn't help DC at first because the quality on a lot of their books then were piss poor. But with the New 52 where there is a lot of promotion and quality, the $2.99 price point is a big help.

 

[TheCorpulent1]

I was curious when I heard that SHIELD had been resurrected with Daisy Johnson at its head, and I happened to be in a comic shop today, so I decided to finally buy and read the final issue of Secret Warriors. I almost wish I'd stuck with the series straight through. It was a really great final issue, speaking volumes about all the characters involved. Nothing explosively innovative happened, granted--the Howling Commmandos PMC reorganizes into the new SHIELD under Daisy and HYDRA's infrastructure was apparently dismantled in the arc leading up to the issue--but it was a good ending to the series. There's a speech from Cap to Fury about 2/3rds of the way through that perfectly sums up both characters--Cap has the luxury to remain idealistic because he got to sleep in ice for decades. Fury had to witness the end of WWII and then see the world change--for the worse, in a lot of ways--in its wake and, moreover, he had to adapt and learn to fight in that new world. Fury as the "one man" who can change the world with the strength of his convictions is a nice retrospective on the character now that it seems they're putting him back in the toybox for a while. Well done all around.

 

[JewishHobbit]

I was curious when I heard that SHIELD had been resurrected with Daisy Johnson at its head, and I happened to be in a comic shop today, so I decided to finally buy and read the final issue of Secret Warriors. I almost wish I'd stuck with the series straight through. It was a really great final issue, speaking volumes about all the characters involved. Nothing explosively innovative happened, granted--the Howling Commmandos PMC reorganizes into the new SHIELD under Daisy and HYDRA's infrastructure was apparently dismantled in the arc leading up to the issue--but it was a good ending to the series. There's a speech from Cap to Fury about 2/3rds of the way through that perfectly sums up both characters--Cap has the luxury to remain idealistic because he got to sleep in ice for decades. Fury had to witness the end of WWII and then see the world change--for the worse, in a lot of ways--in its wake and, moreover, he had to adapt and learn to fight in that new world. Fury as the "one man" who can change the world with the strength of his convictions is a nice retrospective on the character now that it seems they're putting him back in the toybox for a while. Well done all around.

That whole series was just fantastic. How far did you make it before dropping it? Honestly, it was a little frustrating at times but once it finished up and I thought of it as a whole it was just a phenominal read. And yeah, that Cap/Fury conversation in the end was one of my favorite scenes in the whole series.

 

[TheCorpulent1]

I got through like 2 or 3 issues before the mind-boggling stupidity of making Fury so incompetent that he didn't realize SHIELD had always been an arm of HYDRA overwhelmed me and I dropped it. Then I came back for a couple issues when Ares was guest-starring, but I promptly re-dropped it after that because of that SHIELD-is-HYDRA plot point again.

 

[JewishHobbit]

Don't worry, that was all resolved by the end of the series. I'd suggest picking up the trades and giving them a read through.