This issue made me really want to go back and read the 80’s Question series. I want to know more about Charlie and his life. The first few pages with the recaps of his life and deaths work so well to frame the story. A great kick-off to a great story.

This issue also made me so happy to have a full-sized issue dedicated to Renee’s storyline. I miss that. I miss having so much reading material at my fingertips. I love seeing her spunky and no-nonsense attitude.

But at the heart of it, this issue highlights the life of Tot Rodor. This said a lot about him that he purposefully pulled Charlie back into life and toward him and Renee. There are many questions, while Charlie asks, but it seems Tot’s always been the actual answer-seeker. In many ways, this is the burden of the side-kick. The researcher. The one left behind — whether on purpose or by situation — who tries to fill in the whys.

I love Shiva’s entrance. So her. Of course, she’s just going to show up, demanding a fight from Renee as warm-up, and Tot isn’t going to wonder why. That’s just Shiva.

At first, I wasn’t sure if I was going to like Cowan’s art. His art style isn’t my taste. But surprisingly, it grew on me. I think he was paired up with a great colorist (David Baron), and Cowan does a wonderful job with facial expression and making his characters look different from one another. It makes his sketchy pad style really work here.

Overall, this was an exceptional issue. It worked well in the frame of the giant Blackest Night crossover, but it also stood as a solid story on its own about the passing of the Question’s mantel, including his friends and foes.

Batman: Streets of Gotham #7 by Paul Dini

Yep, sadly disappointed at Dini’s return. Seriously, I bet the only reason for the awesome Manhunter cover was some editor begging Dini not to put Humpty-Santa on the cover.

I’m not sure how the reveal that Humpty’s stealing toys and fixing the ones broke in the process for dead children’s supposed to be ironic or sad or darkly humorous. Humpty is sad; Dick is all ironic acting; and Damien is part wise cracking and part throwing up.

At least this issue serves to move the plot further along.

Manhunter by Marc Andreyko

Oh, Dylan. He kind of deserves to have his leg seared off at the knee by Kate. I just love how scared he still is of her. Like losing his leg wasn’t anything compared to whatelse Kate’s going to do to him.

I loved her covering Dylan’s butt and pretending that he’s an informant for her to Jim and Maggie. Their involvement here has been excellent.

Nice to see Kate ready to kill Two-Face. She doesn’t hold back in either of her professions. Of course, here comes Batman to stop her. Damn, Batman Rule.

Batman: Streets of Gotham #8 by Mike Benson

The one decent thing about this comic was the art. Nguyen definitely has a unique style, and it works pretty well with a Bat-comic. Lots of big shadows and all.

However, the story is epically bad. It felt so, oh what’s the word, inappropriate. Also outdated and offensive. It’s not the early 90’s anymore, Dick would not be referring to Pamela Anderson as a babe. (Even if Benson seems to think she is.) Also, what’s up with Dick’s shaggy hair?

Likewise, Benson seems to have a very juvenile fascination with sex/bdsm clubs and hookers. Which makes Dick’s entire trip there like a very bad caricature. Ugh, the only reason this comic’s still on my pull list is because of the awesome backup story.

Manhunter by Marc Andreyko

Of course, Batman was going to stop Kate from killing Two-Face. You can almost hear the ‘no, you can’t kill a major Batman villian’ in there.

Kate’s passion, both as Manhunter and as D.A., is certainly going to be her undoing in Gotham City. Either she’s going to have a fall and almost die, or she’s going to go through a every dark, tunnel vision period where she forgets about the rest of her life. And then Ramsey’s going to sneak on a bus from L.A. to Gotham. Andreyko definitely can’t leave Ramsey’s powers alone.

I’m interested to see what Two-Face has over Jane Doe.

Batman: Streets of Gotham #9 by Mike Benson

I seriously paid $3.99 to read this crap? (Okay, I actually pick up this comic for the second feature of Manhunter.) But still, this story was dreck.

First, Benson doesn’t understand Batman at all. Batman believes in justice and reforming people. He follows the law. This is the reason all his villains are still alive and kicking in Arkham Asylum. Batman doesn’t for two issues tell people they gave up their rights when they started killing people and then slam their heads into an interrogation table. Pretty sure, Batman is getting extra-special privilege from Gordon to be in the police interrogation cell, and he certainly isn’t going to torture someone just to get a confession.

Second, Benson basically wrote a plot where two exceedingly privileged men (Dick Grayson and Jim Gordon) save a hooker from her two abusive boyfriends and one stalker turned jealous murderer, and then they pay for her bus ticket out of Gotham City and back to her small town life as a nice girl. Not only did they continually use her as bait, but Batman has to argue with Jim about how they need to let her go — instead of charging her with prostitution and robbery — so they can catch the killer, who she’s causing to kill people in a jealous rage.

Fail.

Manhunter by Marc Andreyko

Oh, Manhunter, how you make everything better. Seriously, I love Manhunter so much, but I’m afraid I just might have to hope it all gets collected and/or start picking up this title in quarter bins.

I really enjoy Andreyko playing up the lawyer side of Harvey Dent here. Him representing himself in the case Kate’s brought up against him works really well at showing Kate’s direct frustrations with him. Plus, it allows Harvey to be snarkier in court. Also, there’s a nice look into the Gotham justice system as Kate sees Judge Van Dyke favor Harvey (who he knows) over her.

Oh, Ramsey riding the rails to Gotham City with Thor.

Dylan is so trying to make nice with Kate. Promising her all those new toys and the secret blue-prints to Harvey’s lairs. He also makes a great comedy relief in the sometimes far too heavy-handed and dire Gotham City.

On a side art note, I am not a fan of how Haun draws Huntress’ costume. Yeah, it’s the stomach show-all costume, but seriously she’d need a Brazilian to wear his version.

Note: I’ve decided to take this title off my pull list. The Manhunter second feature will be collected into trade this fall, and I’ll be buying that then. The main title is so awful, I can’t afford to keep this on my list.

Spider-Woman #4 by Brian Micheal Bendis

This is my favorite Maleev cover so far. The colors are gorgeous; I love it so.

The story was a little slow. A little predictable. It would’ve been better if the Skrull was actually somewhat fragile or innocent, not just with the belief that Jessica was actually the Skrull Queen there to rescue him.

I did, however, really like the part where Jessica jumps off the building. And then forgets that she can’t fly. After her big inner monologue about how she’s going to move forward with her life.

Spider-Woman #5 by Brian Michael Bendis

I love the art in this. The scene where Jessica dives off the rooftop to land in a little puddle of water, the water coming off her body is brilliantly beautiful. I love the technique. Simply gorgeous. Oh, how I wish comic art was this pretty all the time.

Of course, Jessica tells herself that she was only going back for her stuff. It’s a good excuse that helps her feel hard inside. So she doesn’t have to feel partially responsible for those policemen’s deaths. Oh, the stories that Jessica tells herself.

Okay, now the Thunderbolts are after her. But why? Why do they care? Jessica’s just a rogue superhero in a place not under the rule of H.A.M.M.E.R. Not to mention it’s also full of corruption.

Spider-Woman #6 by Brian Michael Bendis

This book has a really nice pacing to it. I feel like Bendis is more in his groove here than on his others book. Perhaps I just prefer his writing style in a solo series compared to a team book.

I’m glad it was covered that H.A.M.M.E.R. doesn’t know about Jessica’s involvement with S.W.O.R.D. And I adored the moments with her hiding in the dumpster and texting/im-ing Brand on her fancy iPhone. Running and hiding are probably the best moves Jessica could make against the Thunderbolts.

This issue had my favorite cover so far. It really reminds me of some of the covers in the later issues of the first Spider-Woman solo series. It makes a nice homage, which putting a modern art spin on it.

Jessica sure seems to have a theme of free-falling from tall building at the end of each issue.

My first biggest problem with this storyline is my complete and utter dislike of Jack Horner. Jack isn’t written as a likable guy, and he’s definitely portrayed as a con-man who’d sell his own mother and sleep with his half-sisters. (Which he did the latter.) However, the text continually lets him walk away without any punishment or responsibility for his actions. Okay, Bigby beats him up; but what does that really teach him?

Usually characters like Jack follow some redemptive path, but Jack hasn’t changed since the first issue of Fables. Which is exactly why I don’t read his spin-off, and I was, in general, pretty happy for his departure from the main title. Of course, Jack wasn’t my only dislike with this story.

I have little patience for the meta of a story-writer. Stories by writers writing about writing rarely endear themselves to me. Kevin Thorn was never really a bad guy. He was the writers with a universe they’d created, the characters they’d created, and no ideas left. That much was obvious when Kevin gathered the Genres, Sam(bo), and Hansel for inspiration. As was Willingham and Sturges’ arrogance when they declared all genres trite — and put this story outside the genres and their tired nature. Almost every writer wants to break away from the Genres and would bludgeon his/her Writer’s Block to death if they could. I was so disappointed the story went this way considering how much I’d enjoyed the tying up of the war. I felt that instead of saying “what big evil must all Fables defeat together?,” the writers should’ve gone back to the roots of their storytelling, telling small stories about the characters.

My last beef with this story was Rose Red. I get that she’s upset and depressed about Boy Blue’s death. However, with letting Jack back into her life, her entire existence once again becomes solely about the men in her life. Rose Red falls back to how she started. Clearly, there’s plans for more, but I hope she becomes her own person again.

Now for what I did like: I did like the Page Sisters once they decided to kick Kevin’s ass. Obviously, like any Fables‘ story, Bigby ends up as the hero in the end, but the Page Sisters did a pretty good job as a distraction. Not to mention, they beat Bigby and company to Kevin’s hideout. They also caught action unlike Gary and Mr. Revise. I hope they show up in the books again as more than arm-candy for the Jacks.

Bigby turned into a little girl was actually far more entertaining than I thought it was going to be. The key was Snow White never saying a thing, beyond that they’d fix it. She barely flinched. Which was so Snow White. I’m also hoping she gets more action now that the Cubs are old enough to be babysat by others for extended periods of time.

I loved the scene where Bigby massacred the Genres as a cute little girl. Since they’re immortal, the excess violence plays out graphically humorous instead of horrific. And of course, he turns back into the wolf at that point.

Beauty and the Beast were likewise awesome in this. More-so than they were in Fabletown. I loved Beauty’s line about being shocked during her morning eggs and Chicken Little saying she shouldn’t be eating the poultry unborn.

Was I the only one who was surprised that Jack Horner was actually Jack Frost’s father and they didn’t do a switcheroo at the end to have it be Bigby?

In many ways, I felt Fables Vol 13 had lots of quipy one-liners that moved the story along and entertained me, while having a weak, trite writer’s meta plot. Disappointing because I didn’t find anything “Great” about it, but not failing enough that I won’t read the next volume. This just wasn’t my favorite volume, but it wasn’t the worst.

I recently picked up The Incredible Hulk: The End hardcover for really cheap. This collection includes the two-part “Incredible Hulk: Future Imperfect” by Peter David and George Perez. I’d heard of this story before, and I knew it was supposed to be one of the most renowned Hulk story arcs. Originally published in 1992, Marvel solicits this story as a “career-defining” story from “perhaps the greatest Hulk writer in comics history” that ranks “among the classics in Marvel history.”

“Incredible Hulk: Future Imperfect” #1 by Peter David with art by George Perez

David’s story takes place in the post-apocalyptic city of Distopia. At the start, a group of people are running through the crowds talking about some sort of plans. These must be the good guys! How do you know? Well, for starters, one of the women gets shot in the head by super-future-robot cops by the fifth page!

The good guy gets shot.

And a chase ensues! Our heroes are cornered in an alley where a house they were randomly running by falls down. The heroes make their escape, but a figure rises from the rubble of the collapsed building.

The Hulk appears

Why did the house fall down? Why was the Hulk in there? Why does he randomly attack the super-future-robot cops? Why does a super-future-robot police dog try to eat the Hulk’s head?

Robo Police Dog attacks Hulk

Well, to be fair, the last one’s probably because the Hulk beat up and/or killed most of the other cops. But of course, even a super-future-robot police dog is no match for the Hulk. Eventually, there’s only one policeman left to permanently cripple, but this one gets a message, although I’m not sure how Hulk expects him to deliver it now.

Hulk hopes a broken cop can deliver his message

Cut to a palace. A political minister pushes his way through party full of scantily clad women to give the Maestro some important news. And who is this Maestro, you ask? Apparently, he’s someone who asked “not to be disturbed by affairs of state today” so he could screw a roomful of women into a coma.

Maestro isn't happy

And he also happens to look a lot like the Hulk. Except more in a ‘dirty, crazy, old man who might try to talk to you about conspiracy theories while you’re waiting for the bus’ kind of way.

Anyway, while Maestro’s getting pissy about his orgy being broken up, Hulk’s wandering around in the streets. People look at him, but with a “respect” that he’s not use to. Apparently he likes the treatment that comes along with being a post-apocalyptic tyrant. He meets up with Janis, one of the heroes from the beginning, who might have one of the weirdest hairdos in all of comics.

Janis' awesome hair

Oh, and did I mention that there’s also ultra cool future-type slang! Sliding = Explaining. Scanning = Seeing. Tweaked = Found. Studly = …Hulk?

Future Slang!

Okay, so I was never completely sure what that last one meant. They all use it like it’s slang for some common word, but they only use it when they’re talking about the big, green hunk of man meat.

Apparently the Hulk’s been around for some time, and he knows more about what’s going on than the reader, but he still wants proof. So Janis leads him to the next room.

Rick Jones' creepy room of superhero memorabilia (click for larger image)

It’s a creepy collection of hero memorabilia! There are plenty of disturbing artifacts, like the “Dead Again!” Jean Grey/Phoenix poster (I’m not completely sure why that bothers me so much) on the wall and the cleaned, polished skeleton of Wolverine. But to me, the creepiest by far is dead center in the far background. IT’S THE PELT OF BEAST! That’s right, apparently in Peter David’s future, the Beast was skinned and turned into a rug!

And who would be obsessed enough with superheroes to amass such a morbid collection of artifacts?

Rick Jones: The World's Creepiest Fanboy

It’s Rick Jones! That’s right, Rick “I hang out with superheroes and am completely useless, but remember that one time I saved the universe?” Jones. Bitchin’ indeed.

Back at the Maestro’s palace, Pizfiz, one of the heroes who got captured at the beginning of this issue, is being tortured for information on the resistance. And Maestro brings along one of his sex slaves to enjoy the show. A mind probe lets the reader see the events that led to the Hulk being brought to this time. Apparently the rebels found Dr. Doom’s time machine and decided to go back in time to get someone who could save them from Maestro’s oppressive rule. So Janis is sent to meet ‘90s Rick Jones, who doesn’t understand why some girl with a ridiculous haircut is so eager to speak with him. What ensues is possibly the creepiest fight scene ever.

Naked Rick Jones fights with his great-granddaughter

To convince Rick Jones she’s not just some random crazy girl with bad hair, Janis shows him his Avengers ID that has a special note from his future-self written on the back. And what was the message that Rick Jones wrote for himself to read after fighting a girl from the future with his junk swinging freely? “Shake hands with your great granddaughter, stud.” Not kidding.

Oh, and then Pizfiz effectively dies from the brain scan and Maestro crushes his face for spitting during the interrogation. The expression on Maestro’s girl-toy’s face when she gets “spluch”ed with blood is priceless.

Spluch!

Elsewhere, Rick Jones explains the fate of the world to the Hulk. Some of this I really liked. The Hulk has been transported 90 years into the future. The world has been ravaged in several great wars.

Rick Jones explains the world ending war

I like the concept that even with all of the superheroes going around and fighting off the latest galactic threats, that humanity still destroys itself in the end. Even more so, I like how David explained it. A full page of well-written exposition and interestingly designed plot. And then Hulk asks about Betty Ross…

Rick points him to the corner.

Urns of the dead superheroes

My suspicions are confirmed. Not only has Rick Jones been collecting superhero memorabilia, but he’s also become a rather prolific grave-robber. For the past ninety years (which makes him what, 120?) he’s been digging up dead superheroes and cremating them to amass a collection of superhero ashes to sell on eBay. And with certain interesting bodies he’s taken other mementos, like Wolverine’s skeleton and Beast’s fur coat (damn you, Peter David). Yes, it is confirmed that Rick Jones is a sick, sad little man whose encounters with superheroes have led to a life-long obsession that made him the world’s most sick and twisted fan-boy.

Back to the exposition, Rick “grave-robber” Jones explains that since the Armageddon that killed all of the other superheroes was nuclear, the Hulk not only survived but also had his power enhanced. It might also have made him a wee bit crazy. And while the remaining members of the human race hid underground, Hulk built a dilapidated city for them all to live in! He even built radiation shielding to protect the humans. Why? Well so he could tyrannically rule over them and turn their women into sex slaves! And did I mention that future slang for sex slaves is “Chumlies?”

The Chumlies. Whores!

Anyway, the Maestro now knows where the rebels hide, and he wastes no time attempting to hunt them down. After digging through the streets to get their underground hideout, he sends his men through the tunnels. Various traps — sprinklers filled with acid, poisonous gases, and a room full of lasers — take out most of the men. Of course these obstacles are nothing to the Maestro, but are deadly to his couture wardrobe and his stylish hairdo.

Maestro's gorgeous clothing is splashed with acid

Eventually, the protagonist and antagonist of our tale finally meet.

The two Hulks meet face-to-face

And with that, the stage is set for the second and final issue of the series.

Overall, issue #1 has a decent premise, but the execution is pretty disappointing. So far I can’t say that this issue would “rank among the classics in Marvel history.” But I’ll save my overall review until I get through the entire series.

Atomic Robo made me cry. Actually, the introduction by the author and the artist made me cry. Atomic Robo certainly hits on the trend of people my age being fascinated with the between World Wars era and World War II. Plus, it carries some clear steam-punk sensibilities in Robo’s design and some of the monsters he fights. But I think what Clevinger and Wegener hit on in the introductions is something critics of our fascination miss: our relationship with our grandparents, who lived during that time. We were the “latch key” kids of Baby Boomers, who spent a lot of time with grandma and grandpa. (Perhaps even more than our own parents did with theirs as they grew up when Western peoples immigrated or moved across country.) Atomic Robo is a tribute to our grandfathers: of the good things and the humor. People die, but Atomic Robo isn’t here to remind us about the horrors of the war — except perhaps the steam-punk horror inserted into Robo’s villains — but celebrates the best war stories where the good guys win and the bad guys lose. It helps that Atomic Robo’s bulletproof.

Similarly, “Atomic Robo and the Dogs of War” celebrates the roots of comic books, which made their appearance in popular culture right around World War II. Robo is the same kind of hero as Captain America: brave, brash, and going against the evil supernatural tech plots of Nazis. Of course, what’s different is Robo’s sense of humor and his refusal to accept having a nemesis. In this book, we only see the shadows of Dr. Helsingard, Robo’s self-named adversary. Likewise, the ending where Robo won’t kill Skorzeny really fits how Robo doesn’t kill villains when they aren’t doing anything wrong.

I thought the opening story of Robo against Skorzeny’s robot-tanks went on for longer than it needed to be and was a little slower-paced than other Robo stories. While it’s certainly fun to have a Nazi beat-down, it drags on a bit. Nazi’s are the “safe” villain, so it’s easy to write and illustrate them getting their asses handed to them by the Allies.

My favorite story was Sparrow and Robo’s accidental team-up. I always love a story with a switch-a-roo where the heroes mistake each other for the bad guy, but then realize their mistake and go after the bad guys together. One thing I appreciated about this story was Robo being temporarily shorted out in the fight. In every story before, Robo has been so smash-and-win; this provided a moment for Robo to be vulnerable. And most importantly, he relays on Sparrow on save him.

The addition of Sparrow (and Vanadis) nicely add women to the World War II story. So many of these tales are men’s tales as women weren’t (and still aren’t) allowed on the front-lines. Robo is certainly a front-lines guy, and they certainly weren’t going to give Robo a love interest or a nurse.

The “letter” at the very end from Tesla nicely tied up the story. It gives all the explanations the reader needs so we’re not wondering why humanity’s technology isn’t further advanced. And it gives a nice lead-in to the next Atomic Robo story-ach.

Atomic Robo is an awesome comic, and I highly recommend it to anyone looking for a fun story. I’m really glad I have this in trade with all the extra goodies in the back.

The New Avengers #60 by Brian Michael Bendis

In this little comic-plot detour before the next giant crossover, this book becomes the Luke Cage Show. Now normally, I’d be okay with that. Luke is a character I like a lot. However, a plot about him having a heart attack and a bug/bomb being planted on his heart is just mah. It doesn’t develop his character or move into another storyline. (Even though it did give Jessica a chance to shine in the Annual. Of course, it seems that the Annual was supposed to take place after this issue, y/n?)

I’m so glad Daredevil noticed the bug’s noise. Especially since Bendis was a major Daredevil writer for so long.

There were a far too many five-year-old jokes about bodily functions and tiny men for my tastes. Also, is Bendis ripping the Luke vs his mother-in-law dialog straight from his own life?

I’m still not sure what the point of Doctor Strange no long being Sorcerer Supreme is since he still has his powers, except perhaps the Sorcerer Supreme title needed some affirmative action. As do most mainstream comics.

It was pretty funny to see Norman’s house blow up.

But most importantly, this issue showcases a homophobic joke, and as per my rating “rules,” uncalled for ‘isms in a comic get a rating of one-star automatically. Even if the rest was the best issue ever written, which this wasn’t. Text:

Spider-Man to Luke: Weird. You have two men inside you.
Luke to Spider-Man: Don’t say that again.

Now Luke Cage may not gay himself or waving the pride flag as an allie, but I don’t buy him as homophobic or having such a caustic reaction to someone implying he might be gay. Seriously, he ran around for years fighting crime in a silver tiara with a male teammate who wore yellow booties. You can’t tell me this is the first time anyone’s implied or called Luke gay.

For naysayers out there, what makes a homophobic joke or sarcastic statement is that the punchline is “because he’s gay.” And being gay isn’t inherently funny, just like having the punchline be “because he’s Jewish/black/Latino/blind/female, etc.” Fail.

New Avengers #61 by Brian Michael Bendis

Is Bendis out to get me? Seriously, the ending was the scariest plotline I’ve read since the Killing Joke. (I am not a horror fan in general so I don’t read a lot of horror books or watch horror movies. I get too easily scared.) I am absolutely horrified by monkeys. Yes, I love all animals, except monkeys, who creep me out. Maybe they wouldn’t do so if people didn’t try to personify them as humans by dressing them up or making them act human. Plus, male monkeys will totally try to mate with human woman and well, a tiny monkey humping your leg might be hilarious or slightly horrifying, but think about a gorilla. And here we have a super villain, who is a monkey with the powers to make women do whatever he wants. This is pretty much straight out of a nightmare prescribed to horrify me.

Overall, I thought the plot was going too many different directions at once. I’m sure team books are challenge to write, especially as Bendis ties up loose ends for the New Avengers with the relaunch of all the books coming up. However, it felt fragmented. And really, there were only two main plots: Steve and Bucky and Jessica and Peter. Which makes it seem like the script should’ve been a lot tighter.

Peter really seems to be making it with the superhero women now that MJ’s out of the picture. Of course, that majorly plays into the stereotype of Peter being the Marty Stu of the comic verse. Come on Spider-Man syphilis.

Anyway, poor Steve having all his mementos trashed. I mean, it was bad enough the New Avengers needed a maid, but then they had to blow up the place.

There were just too many villains with mind-control in this issue. Mind-control: the deus ex machina of super villain powers.

New Avengers #62 by Brian Michael Bendis

I’m glad to see Mandrill get bested this issue. As mentioned above, I hate monkeys. I so cheered on Spider-Woman to kill him.

Luke Cage seemingly coming back to save Bucky and Steve was awesome. Even more awesome that he found the pink binkie in all the rubble. Hopefully, Steve found some of what he was looking for. It was awesome to see Cage in action against the Living Laser.

I loved how excited everyone was to see Steve, except Fury. Fury is just a dick. Luke, who really doesn’t know Steve that well, bear hugs him. But my all-time favorite reunion moment is between Steve and Carol. Yeah, shipper as charged. They are just so cute together. I love it, especially since she was on the other side when he died.

I also enjoyed Steve telling them to stop snarking so he could hear the news report about Thor.

Avengers: The Initiative #30 by Christos Gage

Does this mean Trauma is going to the Brother Voodoo comic? Dammit.

I did think for the ultimate evil, Nightmare was a little too easily subdued. Though the backstory on Trauma’s birth and what really happened with his family was most excellent. In that respect, this felt like another good issue in this series.

Yes, Taskmaster is going to be in the charge of Camp Hammond. Awesome socks. I loved him snarking away the Hood who didn’t really want to deal with them.

I was happy that Trauma found Hairball on purpose for Penance, and that Penance is going to rise above everything that happened at Stamford. Even if he wasn’t ready to deal with his teammates.

When is Tigra going to start showing and stop wearing her bikini?

Avengers: The Initiative #31 by Christos Gage

Poor Taskmaster. You have to give it to him that he knows he’s going to get his ass handed to him one way or another. Considering all the big guys he’s beaten in the past, knocking his ego down in a fight was probably the only way Norman could get him under his thumb.

The cleaning up of Camp H.A.M.M.E.R. was nicely ridiculous. Reminds me of cleaning up college dorms right before parents’ weekend. Penance and Taskmaster’s conversation was excellent in how reluctant of a leader Taskmaster is.

Constrictor’s redemption path has been nicely underplayed. His romance with Diamondback being the tipping point works nicely; I like the positive reinforcement of her affect on his life (and hey, writers, she’s still alive to boot).

I loved Taskmaster just going for it when asked about his opinions of how to improve the Initiative when confronted by Osborn. Of course, bringing in the young and impressionable was Skrully Pym’s idea. And it worked well. Which means this book is going to be getting back to what it does best.

Taskmaster’s letter to Constrictor was priceless.

Avengers: The Initiative #32 by Christos Gage

Gage and company have been doing a great job with these last few issues. Taking Taskmaster’s POV has helped tighten up the comics. It’s interesting to see how Taskmaster’s ambition is getting the better of him lately. Though we don’t know if he’s truly a bad or good guy. He was just out for money. But now, Taskmaster wants something more, he wants notoriety.

I also appreciate Diamondback’s POV. It adds a lacking feminine voice in the Initiative, and she’s bending her morals the opposite way of Taskmaster. He’s becoming more good and she’s becoming worse. Constrictor certainly is no Steve Rogers. Not many men are.

Gage also does an excellent job with the battle. Showing bits of the battle versus the entire thing always works better. Especially in super crossovers when I’m not reading the main title.

I think everyone standing around Thor’s “dead” body shocked by the horror. Diamondback and Taskmaster a little more than the others.

Blackest Night: Wonder Woman #1 by Greg Rucka

All I know about the Lanterns is from watching the Justice League cartoon. There John Stewart basically makes big green shapes with his ring. This does not help for the more sophisticated powers and varieties the rings now have.

Rucka’s Wonder Woman is always a delight. (Though I also enjoy Simone’s current Wonder Woman-run as well.) Diana’s strong and thoughtful. I love that her emotion was love, and how she explained that Maxwell Lord does not understand love. Well, yes, psychopaths do not.

The use of the lasso of truth was awesome here. As were the two guards who stood by Diana’s side as part of their duty.

Even though I haven’t been reading the other Blackest Night titles, this was very enjoyable.

Blackest Night: Wonder Woman #2 by Greg Rucka

Several people have already wrote about how horrid this was and how the awfulness of this storyline isn’t Rucka’s or Scott’s faults; in fact, they did a good job considering the material they had. And in rebuttal, others discuss how Wonder Woman and her sexual hang-ups can be the relaunch of the Star Sapphires.

I think I’m rather somewhere in the middle. I do think since all (or almost all) Star Sapphires are women that Wonder Woman as the female DC character gets pigeonholed into the love role. I do think the Star Sapphires need to be turned into something besides those pink sluts. (Granted, be aware that I don’t know a whole lot about the Lanterns.) And from the descriptions of the Star Sapphires on Wikipedia, it seems like for a long time they’ve suffered from the “ooh, powerful women are so scary. Vaginae are scary. Let’s de-power them.” problematic writing. The whole thing kind of hurts my head.

Yes, maybe Wonder Woman would be better suited with blue (hope) or indigo (compassion), but editorial decisions are editorial decisions. Wonder Woman does love the world, and I do believe she loves it more than most other DC characters. She is a bleeding heart character with a lasso of truth. And in many ways, due to her problems with romantic love, Diana does make the perfect female character to give the Star Sapphires some dignity and reclamation of their sexuality.

What I do want to know is who designed the Pink Lantern uniform for Diana? Seriously. When she was a Black Lantern, her uniform looked like her normal, ridiculous, but iconic costume turned into a Black Lantern. Why couldn’t they have done the same for her as a Star Sapphire?

Blackest Night: Wonder Woman #3 by Greg Rucka

It’s odd to see Diana playing second fiddle. I mean, yes, in the end she breaks through to Mera, but still she’s clearly a second-in-command when it comes to the main fight with the Black Lanterns.

My favorite part is Diana figuring out how much more powerful her lasso is than the ring. Which is really nice considering I wasn’t sold on one of the big three needing to become a Lantern in order to fight off the Black Lanterns. Yes, the ring enhances Diana’s power. But she’s pretty freaking awesome on her own. How many others have broken through to a Red Lantern? I’d bet not even Hal.

And then Hal Jordan shows up to be a giant ass and the winner.

Captain America Reborn #5 by Ed Brubaker

I wonder who’s going to win this epic battle between Steve and the Red Skull? Or hey, have I already been spoiled by Steve’s numerous appearances in other Marvel comics?

Of course the cover’s nothing but a tease. Steve and Bucky aren’t going to be fighting anymore.

I almost think that Brubaker wrote this entire comic to have Hitch draw an army of M.O.D.O.K.s lead by Crossbones in a two-page spread. That and the Red Skull as the iconic Uncle Sam. I suppose since the plot’s outcome has already been spoiled, it’s time for writer and artist to have fun.

Captain America: Who Will Wield the Shield? by Ed Brubaker

So why did this get released before the surprise issue #6 of Captain America Reborn? Marvel really needs to do a better job on these release dates. I assume whatever Steve saw in the future — about Bucky dying — is going to revealed in #6?

I really enjoyed the art duo of Butch Guice and Luke Ross. The flashbacks to WWII were extremely well done, and I really liked the styling for Natasha and Sharon. Both women had a ’60s spy look to them. The only art part I did not like was how they drew present Bucky out of uniform. He just didn’t look quite right. Steve also looks a little odd in his ending scenes with Obama; however, in many ways it works with just how much Steve’s body type does not fit in a suit-jacket.

I’m hoping that Steve giving up his shield will be a little different than the last time he did. Last time, it was disillusionment. Which was really the one of two endings for him post-Civil War.

This time it’s supposed to be to save Bucky. However, there’s no way he’s not disillusioned with Norman Osborn’s current rule. I liked Steve’s talk with President Obama. (Even though Osborn running H.A.M.M.E.R. under an Obama administration just feels off.)

I’m also wondering how Steve giving up his shield will work into the other comics currently running. Especially since Steve has made a very special and pivotal appearance already in every single one of them. Though this isn’t to say that Steve hasn’t adopted other personae before.

I like Bucky as Captain America, and I’m fine with him continuing to do so for the time being. However, answering who will wield the shield is not really answering the bigger question of what to do with Steve Rogers in continuity.

Captain America Reborn #6 by Ed Brubaker

While this issue certainly suffered from a completely spoiled climax, I did really enjoy it. One of those how much do I love Steve Rogers things. This makes me happy because Steve is awesome and this is what he does. Even in battle, Steve is still a stand-up man.

The irony of Steve having the perfect Aryan body is always lost on the Red Skull. Though it’s questionable how much Nazi racism is still part of the Red Skull’s manta. Yes, it’s an easy recruitment statement for him to pick up disposable henchmen. Mostly, the Red Skull’s just a fascist. And if anything, fascism is really what Captain America fights these days. Oh, and super villains.

I don’t wonder if Red Skull jumped into Sin’s body. Especially with the whole foreshadowing about her having a burnt face, or her father’s face. That would be a creepy level for Brubaker to take this story to. Plus, she’d be a continuing main villain for Captain America to fight with who’s updated. As we have an updated Bucky as Captain America, it is fitting to have an updated Red Skull as Sin. Both of them essentially taking their father’s places in the struggle for good and evil. It’s a nice symmetry.

Likewise, the killing of the Red Skull makes a nice endpoint to Steve’s journey as Captain America.

I’m curious about Steve’s vision of the future. The death of all the heroes, which is straight out of War of the Worlds. (Could it be the cancer universe from Marvel’s space titles? Or is this just another random apocalyptic world?)

While it’s great to see Sharon so happy, there has to be some lingering PTSD. However, I don’t think she’s going to be trusting therapists anytime soon.