Catch-Up Mini-Reviews

Captain Britain and MI:13 #15

Britain

Thus ends one of Marvel’s strongest ongoing books.  Cornell and Kirk wind down their title with the massive “Vampire State” arc that should’ve been cheesy as hell but ended up being gripping, exciting and just downright fun.  The issue is packed with excellently written and drawn action set-pieces that build off of everything that’s come before to give the issue the emotional closure it needed without sacrificing the excitement.  Top quality work.

Grade: B+

Runaways #12

Runaway

Immonen still hasn’t brought the energy of her absolutely fantastic Patsy Walker: Hellcat mini to the title, but her second issue shows a small amount of improvement over the first.  Pichelli’s art renders everyone and everything in the title improbably pretty, if overly cartoonish, but she handles the issue’s dramatic moments quite well.  Nothing spectacular yet, but more than good enough to keep giving it a shot.

Grade: B-

Final Crisis Aftermath: Ink #3

Ink3

Ink continues to be the surprise of the Final Crisis Aftermath titles for me as it uses the conventions of the gritty crime drama to tell the story of a supervillain seeking redemption.  Wallace and Fiorentino make the tale a little more complicated than it needs to be by having Richards’ tattoos come to life, but the metaphor is apt: escaping a life of crime is already hard without having those closest to you trying to drag you back into it.  

Grade: B

– Cal Cleary

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Captain Britain and MI:13 #14

Runaways #11

Final Crisis Aftermath: Ink #2

Final Crisis Aftermath: Ink #1

Review: Captain Britain and MI:13 #14

Captain Britain

Ah, good old Captain Britain and MI:13.  No matter what else is going wrong in the Marvel Universe, you’ll always be here to make it better, won’t you?  Well, unfortunately not – the book only has a short while left to live.  So, the question becomes: can Paul Cornell and co. give us a satisfying send-off to one of Marvel’s strongest titles?

This arc, titled “Vampire State” suggests that they can.  Dracula has been breeding an army of vampires on the moon and allying himself with all manner of supernatural menace before he begins to make his final move – conquering Britain in the name of his vampire army.  Despite the seemingly inherent camp in the premise, Cornell plays it straight and it pays off.  Rather than coming off as a post-ironic dig at a more innocent age, the issue suggests why the semi-realistic grim ‘n grit so often feels terribly false – this isn’t our world.  It’s one infinitely more scary, and infinitely more wonderful, and we see a little bit of both aspects in this issue.

After a quick turnaround from the seemingly doomed ending of last issue, we learn that our heroes at MI:13 have managed to pull one over on Dracula and buy themselves some time to fight back.  They use that time well, and Cornell brings us an action-packed issue with crisp, excellent art from Syaf and Kirk and and a parting ‘gift’ from Doctor Doom that sets up the issue to come and reminds us all why the good Doctor can be such an effective villain.

Captain Britain and MI:13 is far from flawless, but even at its worst, its an exciting book with solid characterization and fun, clever arcs – and this issue is far from the book’s worst.

Grade: B+

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Foilball’s Review Roundup #38 – Somebody Call the WAH-ambulance!

100 Bullets #93 (****)

Finally! Something awesome happened that doesn’t require tons of back-story for the uninitiated to understand!!! Or, does it…

This is the minuteman.

This is the girl he wants to kill.

Here is the man who wishes to protect her.

This is his breathing machine.

This is the entrance to the panic room where girl and protector are hiding. That is the assassin approaching.

Now, this is what happens when you back old security protector guy in a corner.

…and, also this. OUCH, and yet very, very awesome!

What a fricking cliffhanger, right?? This was just a great little action issue and it was more than welcome. I’m hoping the final seven issues are this good or better.

Captain Britain and MI13 #3 (*****)

Three issues, Bendis! Three mother-effing issues!! Look at all the shit that Cornell has accomplished in three issues!!! Bendis, you hack.

That’s it. No need to beat a dead horse. Go away. Now.

The Incredible Hercules #119 (****1/2)

I love this book. LOOOOOOOOOOOVE IT. Besides all the awesome god action and the interesting way this book ties into the Secret Invasion event, this page  perfectly sums up why I love Hercules and also why I couldn’t give two shits about the Hulk anymore.

Quick Hits:
Amazing Spider-Man #565-566 (**1/2): Kraven’s daughter? Sister? Cousin? Who gives a shit? I like the switcheroo device, or mistaken identity as “they” say, between Vin and Peter. The art by Phil P. is excellent of course, but beyond that, I’m kind of bored with this idea. Part 3 needs to wow my socks off to salvage this arc in my eyes.
Brit #7 (**): Didn’t I cancel this book? This issue was fun, but it was basically your garden variety hero vs. hero misunderstanding plot. WHOA, how original. If not for the fairly well-done scene between Brit and his ex-wife, this issue has absolutely no value in any quantifiable form. Stop sending these to me, DCBS!!!
Cable #5 (*): Gets one star for the good art. Loses four for everything else.
Dreamwar #4 (**1/2): So, I was right. The DC characters were pulled from some kid’s dreams. They are not real people. Wow. Great reveal. At least the dialogue is good. Keith Giffen, what a master. Oh wait, the plot still blows.
Powers #29 (**): Um, what’s going? Honestly, I don’t know why I still read this book. It’s actually terrible. It’s tired and it’s terrible and it’s boring. Bendis is taking his sweet ass time with this “powers virus” bullshit. Hasn’t it been like 12 issues so far? Is anyone still reading this book? Why am I here!?!?! Maybe I’ll switch to trade. Maybe it reads better that way.
Wolfskin Annual #1 (*): Once again, completely forgettable. What is Ellis doing with this idea? Is he just writing a cheap Conan knock-off? Does he even have plans for this character? It must be nice to be able to scratch an artistic itch in public and have people pay you massive amounts of money for it. You know, like what Frank Miller did with The Dark Knight Strikes Again. But Ellis is a better writer so why is this shit so bad? This has got to be the most half-assed idea he’s written since, since… Strange Kiss (but I do like the Gravel character). I should stop buying these. They’re not even remotely good or entertaining. Why am I such an Ellis-whore?