Hi there! Yep, it’s TWIP-time!
This week is a 5th week, which means there’s a few odds and ends, like some DC Annuals, but there’s still some great comics. Grant Morrison’s epic run on Batman comes to an end, Mark Waid delivers a one-two punch of Daredevil and Hulk, The Wake continues, Captain Marvel’s ‘Enemy Within’ crossover comes to an end, and FF features a guest-appearance from none other than Matt Fraction, Mike Allred and Tom Brevoort! You heard me.
As ever, click the links to head to the forum discussions, which this week are mainly about whether or not ‘Uncle Tom’ is controversial. Uh-oh.
Indestructible Hulk #11– Mark Waid’s Hulk run continues it’s upwards trajectory with this exciting new time-travel storyline. Eagle-eyed Marvel fans will have noticed of late that there’s been a whole lot of time-travel happening in a wide range of books, and it all came to a head in Age Of Ultron, where the time-stream ‘broke’ and stuff like Angela happened for some reason. This issue of Hulk sees the problem being tackled, as Bruce Banner is tasked by SHIELD (and their time-travel sub-division TIME) to investigate it. Why? Because Hulk is the only one strong enough to survive going into the now super-fucked-up time-stream.
With this issue, you could see that Waid is having a lot of fun exploring the nature of time-travel, using it in messed-up scary ways, like the tragic fate of the TIME agent who dies in the first few pages of this issue, and also addressing superhero continuity in an interesting way. Zarrko, the future criminal who helps Bruce Banner in this issue, reveals that the real reason why the Hulk acts differently every time he appears isn’t because of stress or whatever, but because of ‘Chronarchists’ travelling back in time and screwing with his origins. This is an interesting idea, especially when you consider the fact that the ‘Chronarchists’ may just be Mark Waid doing meta-commentary on comics writers. Could the fact that Red She-Hulk has been swallowed up by the time-stream and retconned out of existence be because her title was cancelled?
Yes, that’s right, this issue removes Betty Ross from continuity. I’m sure she’ll be back by the end of this story, it’s a big change to the Hulk’s past, and I’ll be interested to see how it all plays out.
Matteo Scalera once again provides excellent artwork here, his style really suits this series, and I really liked seeing a story with a lighter colour palette, the Daredevil two-parter was dark, whereas this one is more colourful. Scalera and Staples are really demonstrating a level of versatility here, and man, the Chronal flux or whatever looked amazing.
Waid also sets up an interesting new dynamic for Banner and Hulk for this story, because Banner could not survive the time-travel, Hulk has to stay Hulk, but in order for him to be effective, Banner’s brain is downloaded into a robot. So now we’ve got both Hulk and Banner at the same time, talking to each other, which should be interesting. I’m always impressed when a writer comes up with a new way to explore the dichotomy of those two.
So, Hulk and Banner jump into the time-stream, and come face to face with… Cowboys (I recognised Two-Gun Kid, were the other two Marvel Western characters?) and Dinosaurs. Oh yes, this is going to be fun. That’s the thing about time-travel, you can get all caught up in the physics and paradoxes of it all, but in the end, you just want to see stuff from different time periods mixing it up, you want it to be fun, and with this story, Mark Waid is having fun and making lemonade out of the Age Of Ultron lemons.
Captain Marvel #14– The Enemy Within crossover comes to an end in a way that isn’t exactly satisfying, but does manage to set up this series for an exciting new direction and show just how much Captain Marvel has grown in stature as a character in the last year or so.
Trapped inside New York with only Captain America for company, Carol finally comes face to face with Yon-Rogg and makes the shocking discovery that I think a lot of readers already knew, that the source powering her enemy’s attacks… was her. The only way to stop Yon-Rogg from destroying New York and turning it into Kree-Lar is for Carol to sacrifice herself. And she does. Captain Marvel flies off into space, saving the day, but, in the process, gives herself a brain haemorrhage and is left for dead, floating out in space. It was a great, heroic sacrifice, and it’s so cool that a once minor character can not only be the anchor for an Avengers crossover, but also finally save the day all by herself. Plus, she got an awesome moment where she finally, for me at least, claimed the name of Captain Marvel for good.
I said that Carol was left for dead, but obviously, she isn’t, this title is still being solicited and stuff is going on. The cover to #15 seems to show her back in her ‘Binary’ form, which will be interesting. I wonder what state Carol’s brain will be in after this haemorrhage. It’s worth remembering that, for a time, Carol’s entire mind was wiped thanks to Rogue, is this a return to that status quo? I’m excited to see what Kelly Sue DeConnick will come up with, she’s really put her own stamp on this character, and I trust her to change things up however she wants.
The artwork for this issue was a little lop-sided however, I enjoyed the pages Scott Hepburn drew, but the stuff from Gerardo Sandoval wasn’t so good. But it doesn’t matter really, the story was strong enough here. I will say that there wasn’t as much of DeConnick’s strong inter-team bantery dialogue in this issue, as the stakes were so high, I prefer her writing when there’s some more lightness to it, but she can do both. So yeah, Captain Marvel is brain-dead, long live Captain Marvel!
Daredevil #29– Yet another brilliant issue of Daredevil, I really am running out of ways to praise this title. I sort of wish Waid would write a bad one just to give me something to write about!
This issue picks up where the surprise ending to #28 left off, as Nate Hackett, Matt Murdock’s childhood ‘friend’ and former Sons Of The Serpent member has been shot by a Judge who seems to be a Serpent himself. What follows is a fast-paced action issue with Daredevil trapped inside the Courthouse surrounded by Serpent members and unable to know who to trust. I really like this new threat posed to Daredevil by the Sons Of The Serpent, and whilst I was looking forward to this series telling some smaller stories after wrapping up the Bullseye story, it looks like we may have the next big arc already. The Sons Of The Serpent have been a part of the last few issues of Waid’s Hulk too, so it looks like they are a big deal.
I also like how Waid choosing a White-Supremacist group fits with Daredevil being blind. Not only can he not trust any white person around him, because he’s blind, he couldn’t tell that two of the people in the room with him were black and asian! He really doesn’t know who to trust.
As always with this series, the artwork was excellent and regular colourist Javier Rodriguez is proving himself to be just as great as a penciler. My favourite sequence in this issue was when Daredevil and the EMT had to jump down the stairs, those pages were so well done, and you really got a sense of a whole creative team working in sync, even the letterer, Joe Caramagna had a big part to play, as the sound effects of the guns were built in to the bullet-trail, awesome stuff.
So, by the end of this issue, we’ve got a new threat for Daredevil, and also a tantalising teaser on the last page, who is the mysterious visitor who seems to have taken Foggy’s job? It can’t be the Silver Surfer can it? I mean, he’s in the next issue! That story promises to be insane, how the hell can Daredevil and Silver Surfer interact in a way that makes sense? Only Mark Waid would do something like this, I love it.
FF #10– Fraction and Allred go all metafictional on our asses with this issue, as both they and Tom Brevoort guest-star in the comic! There’s a long history of this sort of thing happening with the Fantastic Four, going all the way back to Stan and Jack, and it was a lot of fun seeing Fraction poke fun at himself and his colleagues, some of it may have been a little bit too ‘inside baseball’ like jokes about Brevoort’s Formspring, but hey, we got to see Mike Allred show up with a Madman shirt on and say ‘ginchy’, you have to dig it.
The plot here was a lot of fun, as the FF and the FF creative team head down into the microverse as a tour of a new educational scheme Ant-Man has come up with. But of course, there are problems, as Artie and Leech bring along a tiger they stole from the zoo. It’s all very silly, especially with the meta stuff, but it’s fun, and it allows Allred to draw some seriously cool psychedelic backgrounds, which is, of course, ginchy.
As always, there’s a parallel storyline running with the kids, and this one is a lot more serious than most. Old Man Johnny Storm seems to be on to the fact that Alex Power is a spy for Doctor Doom, so Doom tells Alex to kill him, but of course, someone who was in freaking Power Pack has no idea how to kill someone, so he asks the other kids, do they know anyone who’s killed? Ahura has an answer, his Uncle, Maximus The Mad. Before moving onto this stuff, I need to mention how awesome Bentley was on that page where the FF kids were just standing on the rooftops, his movements were hilarious. I love that kid, now that Damian Wayne is dead, he fills the psychotic child hero hole in my heart.
The Maximus scenes here were interesting, not least because while he’s in prison here, over in Hickman’s Avengers books, he’s perfectly free and helping Black Bolt build fucked-up shit. I wonder what the story order is here? Is Maximus in prison because of events in Avengers and Infinity? Or is this the story that shows why he’s free in those books? Hmmm… We all know that the Inhumans are going to play a big role in the Marvel Universe soon, so any scene with them is very intriguing. Plus, I’ve always found Maximus to be an awesome character, you’ve got to love somebody who self-defines as ‘Mad’.
So yeah, once again, this was a really fun instalment of FF, you never know what crazy stuff Fraction and Allred are going to do, and putting themselves into the story is just another great example. This is a series with a unique tone, and it’s great to see it’s not afraid to make fun of itself and it’s creators. If you’re one of those people who don’t like metafictional stuff like this, then you probably won’t have enjoyed this issue, and yeah, it maybe was a bit self-indulgent, but it was FUN, and that’s what the FF is all about, yes, there’s ‘complex family interdynamics’ and ‘capers’ all mixed into together, but most of all, it’s a fun time, with great art.
Guardians Of The Galaxy #5– Just like in the pages of Hulk, the reverberations of Age Of Ultron are finally being felt across the Marvel Universe, as Angela shows up in Guardians Of The Galaxy! But in the end, it doesn’t really feel like a big deal.
I’ve never really read Spawn, so I have no clue who Angela is, and after this issue, I still don’t, and I don’t really care. She shows up, is angry, and fights Gamora a bit, that’s all, it’s not that great. I’m sure she could be an interesting and exciting character, and I have faith in Bendis to do so, but at this point, Marvel are treating Angela like a much bigger deal than she is, and expecting me to care about her as a ‘name’ and nothing else.
That said, the rest of this issue was highly enjoyable, and the other stuff that’s spinning out of Age Of Ultron was much more interesting than some Angel lady. The issue opens with Angela basically repeating her angry spiel from Age Of Ultron #10, but we quickly move onto some more interesting scenes with the actual team, as Rocket Raccoon helps Iron Man rebuild his armour, and we discover just why Tony has a thing for her, and yes, it is because of Star Trek. You all know I’m a sucker for Bendis’ dialogue, so I enjoyed this scene a lot, but there’s more to it than just appreciating lively conversation, as the way this book is using Tony Stark is really fascinating to me. On Earth, Tony is one of the smartest people around, he knows everyone. But in Space… he’s out of his depths, and even a talking Raccoon is smarter than him.
Star-Lord’s role in this issue is also a lot of fun, especially as it feature the return of a former Guardian, Mantis. Bendis has a lot of fun with her psychic abilities, and it makes a lot of sense to use her here, as she tries to help Star-Lord find out what happened with the ‘Timequake’. Plus, once again, Bendis is utilising Guardians history, which should please fans who miss the DnA era, and yes, Richard Rider appears as part of Star-Lord’s time-vision. There’s lots of interesting stuff in that vision along with the former Nova, like Captain Marvel (both Carol and Mar-Vell) and what looks like Star-Lord comforting the time-travelled Jean Grey from All-New X-Men. Is Bendis planning a crossover between this book and his X-books? That would be amazing.
In the end, Star-Lord goes to the one person who can explain what’s going on… it’s only fucking Thanos. This was a brilliant scene, and Bendis really found a way to make the Timequake work for him here, because it wasn’t just Earth’s time that was buggered by Wolverine, it was the whole Universe, which means Earth really does have a target on it. Oh yeah, and Drax tortured a dude, that was cool.
This title continues to be a lot of fun, Bendis has turned the Guardians into a really accessible book that I hope is introducing a lot of new fans to these characters, and really making me excited for a movie with this tone. Sara Pichelli is kicking ass on the art, and now THANOS is involved, things are getting good. It’s just a shame about Angela, but even then, it does hold some promise.
Uncanny X-Men #9– Bendis and Bachalo once again provide an exciting, incident-filled issue of Uncanny, and this one is even better than most because Dazzler: Agent Of SHIELD takes centre-stage.
I seriously love this new development for Dazzler, and Bendis puts it to really good use here, especially with Goldenballs’ sister recognising her and pulling out one of her albums, complete with awesome 80s cover. This is like if Madonna joined the FBI, and it is awesome. I also found it interesting how this issue showed just how shady SHIELD can be. I love it when that organisation has an edge, because as Fabio points out, Cyclops didn’t kidnap him, SHIELD did. Slowly but surely, Cyclops is being proven right.
As for Cyclops, he and the rest of his ‘team’ continue to train, and we find out more about their new recruit, David, who can not only control cars, but also planes and yes, Helicarriers. I like his codename too, Hijack, although, he is on a team that are labelled as ‘Terrorists’ my most of the rest of the Marvel Universe, that can’t be good PR, surely?
Bendis also does something new and cool with the Stepford Cuckoos here, which I didn’t think could be done. One of them (does it matter which?) arrives for the training session with a new hair-do. Unlike her sisters, she is no longer blonde, but has got a pitch-black bob. These characters have often barely been characters, so it’s really great how Bendis is changing them, and actually giving them individualities. How does someone in a hivemind assert their personality? That’s going to be a cool plotline.
Of course, Cyclops’ team go and rescue Fabio, and that leads to let more sort of awkward, sort of amazing mutant allegory stuff, as Cyke labels Dazzler ‘the Uncle Tom of mutants’, which is just… wow… I know this stuff is going to piss a lot of people off, but I love it. These kinds of metaphor have been at the heart of the X-Men concept since the very beginning, and now they are back, and front and centre like never before. It’s making these titles feel truly vital, and most of all, it’s causing a lot of discussion and thought amongst fans. The best science-fiction causes us to question our society, and these days, the X-Books (and Uncanny Avengers) are doing just that.
The end of this issue was also very interesting, as Mystique, who just had her plans foiled in All-New, poisons Dazzler and takes her place. Is Dazzler dead? I hope not, but either way, this is a cool development, I’m really enjoying Bendis’ take on Mystique, as whilst the heroes are all fragmented and fighting amongst themselves, a true villain like her is free to get up to all sorts of shit, and she’s a real wildcard.
I feel like I should talk up Chris Bachalo’s art a bit too, he’s doing some really great stuff on this book, it’s visually different from his previous X-Men work, and I think a lot of that is because of the colours he himself is providing, he’s using a lot of cool colour techniques that I don’t really have the language to describe, but this book looks different than I expected, and that’s a good thing.
X-Men #3– I hope the feminist comics fan community doesn’t hate me for this, but I thought this issue was kind of bad. The novelty of having an all-female team of X-Men has worn off, and what’s left is a pretty uninspired, standard superhero story that ends in clichéd fashion. It’s not enough to have diversity (although this book isn’t actually that diverse, it goes too far the other way) when the story is no good.
In the first issue, Wood reintroduced Sublime and introduced his sister, Arkea, and set up what could be a really exciting, powerful villain, and here, she’s defeated way too easily and the X-Men save the day. Now of course, Arkea probably isn’t actually defeated, and she’ll be back sooner rather than later, but still, it was anticlimactic.
The best scenes in this issue were the smaller, character stuff, like Jubilee interacting with her ‘son’ Shogo. The reason this book should work is not because the cast are women, but because they are great characters with long, rich histories, and stuff like that is where the real quality comes. I also much preferred the scenes at the Jean Grey School, where Kitty really got to shine, and show why she’s the Headmistress, and also seeing more minor, student characters like Bling and Pixie get some more spotlight. It’s a shallow thing, I know, but I particularly liked Pixie’s hat.
I don’t want to bash this book, because I like Wood and the concept of an all-female team is good, but without Olivier Coipel I think I would have really hated this issue, I just love his art, it’s just so clean and exciting, perfect for widescreen superheroics. It’s a shame he’s already off the book, but the replacements lined up in David Lopez and the Dodsons are great too. I hope the ‘Battle For The Atom’ crossovers help improve this title, and perhaps give it a little more focus. It feels to me like this book is coasting along on a wave of ‘yay, women characters!’ without really doing anything special to merit praise, I know Wood can do better, and I hope he can.
Batman Annual #2– Don’t be fooled by the massive ‘Zero Year’ on this book’s cover, there’s at most 3 pages set during that time period. I understand why DC would want to make us think this was linked in with Snyder’s latest epic, but really, this is a much more standalone story. It’s very good, don’t get me wrong, but don’t go in expecting Zero Year.
Just like with last year’s Batman Annual, Scott Snyder is only plotting this comic, and another writer is scripting. I believe this is Marguerite Bennett’s first ever comics work, and on the basis of this issue, she has a bright future. I think it’s really cool how often Snyder brings in new writers to co-write with him, he’s done it with the likes of Kyle Higgins, James Tynion IV, Scott Tuft, and now Bennett. Even though he himself is a relatively new name, he’s already giving back.
The story here is focused on Arkham Asylum, as Batman is invited in by Doctor Arkham to test out the new hyper-secure wing of the Prison. These scenes are a lot of fun, showing not only how bad-ass Batman is, but also bringing up the capabilities of a fair few of his most notable villains.
But the real villain here is a new one, the Anchoress. A woman who, in the process of becoming irradiated, killed her family, she committed herself to the Asylum in the late 19th century, and is actually the first ever patient. I thought Anchoress was a really cool new villain, and her motives get at one of the core themes of Batman. It’s often said that Batman himself is the reason for all of the various freaks he combats. Before he came along, the crime in Gotham was like real-life crime, with gangs and robberies. But Batman upped the ante, and people like the Joker had to exist to challenge him. In the case of the Anchoress, before Batman appeared, Arkham was an actual asylum, a place for mentally ill people to get treatment. But post-Batman? It’s just a prison for evil bastards, Batman did not improve Arkham, he ruined it, and, in her mind, ruined the Anchoress’ chances of being cured. I really like this as a hook for a villain, as she really does have a point, and is almost sympathetic.
I say almost, because really, in this issue she goes off the deep-end into villainous ranting way too quickly. The best scene in this issue was when Anchoress went inside Batman’s head and forced him to relive his traumas. So not only do we get the obvious vision of his dead parents, but we also see Damian and his brother, Thomas. It actually felt strange to see deaths from Snyder’s run and Morrison’s run in the same comic, for too often, they have felt like completely separate stories and characters, but here, they make sense as a whole.
The artwork here comes from Wes Craig, an artist I feel is really underrated, I loved his work on Guardians Of The Galaxy and THUNDER Agents, he has a style that really walks the line between cartoonishness and realistic, and he can adjust his style accordingly. It’s a shame though that his pencils in this issue have 6 inkers working on them, which is just crazy and makes things look a little inconsistent.
This was a solid Batman story, that not only shows the strengths of the character, but also his weaknesses, and introduces an interesting new villain. I was impressed by Bennett’s first comics work, and I am interested in seeing what’s next for her. It’s just a shame that Snyder’s main Batman series is set in the past, because there probably won’t be any follow-up to this story any time soon.
Batman Incorporated #13– And so, Grant Morrison’s epic tenure on Batman comes to a close, and it was quite an ending. Especially since the main message seems to be that, with Batman, there can be no real ending.
There’s a lot going on in this issue, we finally revisit the opening scene of Batman Inc Vol. 2 #1, with Bruce Wayne being arrested by Commissioner Gordon, there’s the final battle against Leviathan, and within that, the final confrontation between Batman and Talia. I was most impressed by the Talia and Batman stuff here, it felt truly momentous, and the fact that they found time to kiss before they began to fight was really interesting. I also found Talia’s dialogue about how she was trying to do this to raise Batman above fighting the likes of the Riddler and Man-Bat, she’s become a truly great villain under Morrison’s pen, it’s a shame that she died here.
Because yes, Talia gets shot and killed by Kathy Kane, which was pretty surprising, but made sense. So, in the end, Talia and Leviathan are defeated, and Batman is supposedly dead. But we all know he’ll be back. Gordon’s narration in this issue is truly excellent, as we see that he probably (definitely) does know that Bruce Wayne is Batman, but he won’t ever tell anyone. This makes sense, and stops Gordon from being seen as a complete idiot.
The message of this series is that Batman always come back, that ‘it never ends’ and ‘it probably never will’. This is not only Morrison talking about how tough and resilient Batman is, but also commenting on the nature of superhero comics. As long as DC are making money and he remains a viable IP, then Batman will never end. Even a legendary comics writer doing a 7 year run isn’t allowed to end Batman. But in the end, that doesn’t matter, because Morrison told his story, which was really the story of Bruce, Talia and Damian and their fucked-up family and that ended pretty satisfactorily.
But did it end? The epilogue to this story is very intriguing, as Ra’s Al Ghul makes his triumphant return, and we see that he has a whole nursery of Damian clones growing in jars. Will Morrison return to tell this story? Who knows, but the symbol at the end of this series isn’t the Batman symbol, it’s the Ourobouros, a snake eating it’s own tail. This story has come full circle.
I’m probably doing this issue a disservice, there’s a lot of complex stuff to unpack, but I think I need to do a re-read, maybe not of the whole Morrison era, but perhaps just the Inc series. But mostly, this was an exciting conclusion to a great story. Chris Burnham’s art was once again excellent, he really has grown as this story has gone on, that splash-page was amazing. Burnham is like Frank Quitely but with the layouts of JH Williams, it’s awesome, and I can’t wait to see what he does next, and man, that cover was amazing, I want a poster of it now. And what’s next for Morrison? It’s certainly going to be odd not having a Batman series from him to read, when the heck do we get Multiversity?
Animal Man Annual #2– It seems strange to say this, but the death of Cliff Baker has really given Jeff Lemire’s Animal Man a new lease of life. The series has been much improved ever since Rotworld, and that’s mostly down to the emotional turmoil Buddy Baker is going through. It’s an awful thing to have a child die, but this is fiction, and it’s making for very strong, emotive stories.
This issue opens with Buddy continuing to wallow in self-pity and getting drunk, and when he spots a trashy tabloid claiming that perhaps his son’s death was a hoax, he flips out, destroying the liquor store. But then he spots a spider, and the real story begins in flashback. Animal Man has always been a strange series in terms of tone, it’s a dark story about a very goofy superhero, so it’s always fun to see what Animal Man was like before things got dark, when he was just a C-List loser having fun fighting awesome villains like ‘Biowulf’ and using his powers in cool ways.
The story here sadly isn’t about Biowulf, but about the Baker family, as this story takes place on the day Maxine was born. Buddy picks up Cliff from school, and as you’d expect, every interaction between them is tinged with sadness. We know that Cliff will die, and it actually made me very emotional. Before they can get to the Hospital, a weird Spider-Monster attacks and kidnaps a load of people, including Cliff. Animal Man goes to fight ‘Anansa’ but it turns out she’s not really a villain, she’s just a part of the red, and she feeds on dreams. Buddy solves the problem non-violently, which is a nice Animal Man touch, and sends her on her way.
Then, back in the present, he goes to visit her in order to see Cliff’s dream that she ate, and man, it’s a sad scene, if you don’t get emotional at the ending here, you’re some kind of monster. In the main Animal Man series, Maxine is trying to bring back Cliff, and I’m not sure I want her to, his death is leading to amazing stories like this one. Do I want Buddy Baker to suffer for my enjoyment? I don’t know, perhaps I’d feel differently if this wasn’t the one character who could see me! Travel Foreman returns to draw this annual, and he does an excellent job, his art-style is so weird, it’s perfect for the messed-up stuff Animal Man faces, the monsters look truly monstrous, and when Buddy’s body morphs into a spider… man, that’s creepy and awesome.
This was another excellent issue of Animal Man, it doesn’t really tie-in to the ongoing story, but in terms of emotional depth, you’re not going to find many superhero comics that hit harder than this annual.
The Wake #3(of 10)– After 2 issues of intriguing set-up, The Wake kicks into action mode with this issue, and wow, it’s pretty fucking cool. The mysterious sea-creature is on the loose inside the underwater base and he is one dangerous beast. Not only can he/she/it rip your arms off and eat you, but it can also attack you mentally, making you hallucinate.
This was a fast-paced, exciting issue, and Sean Murphy absolutely blew me away with the artwork, I already knew he was great, but this issue just looked amazing, the detail on everything was superb. Matt Hollingsworth’s colours are also excellent, I love how you can tell exactly when something is a dream-sequence because of his colours. So, whilst the real star here is the art, Scott Snyder’s writing is no slouch either, as not only does he get Dr Archer to deliver an interesting explanation of the creature’s call that seems plausible (that’s the best thing about his pseudo-science stuff here and in American Vampire, it all seems plausible, but of course, it isn’t), heck, the 52 Hertz Whale is probably real. But he also gives Meeks a moment of supreme bad-assery as he tries to take on the creature head-first. ‘It’s not often you get to square off with the last of a species’ he says, and then he dies, it’s pretty awesome.
Of course, there’s more here than just a survival horror story, as once again Snyder delivers a prologue sequence that demonstrates that the scale of this story is much bigger than you could ever have anticipated. Here, we open on Mars, 3.8 billion years ago, and it’s a Mars that looks a lot like Earth, with blue seas and green land, until… a meteorite crashlands on it and explodes. First they blow up the Moon, and now these creatures have something to do with Mars? What the hell! This series is asking so many question, I hope they can all be answered in the remaining 7 issues.
I really love how Snyder is contrasting the epic sci-fi and the personal, immediate horror, it’s really effective. How the hell are Archer and the rest going to survive a whole horde of these creatures? That’s a doozy of a cliffhanger.
So that’s that, another TWIP done with. Just like Batman, my mission to review comics will never end. TWIP WILL NEVER DIE!
Anyways, my favourite comic this week was Batman Incorporated or Daredevil, but then that’s not really a surprise.
Join me next week for the likes of Avengers AI, Kick-Ass 3, Fatale, Satellite Sam, Green Lantern, Superior Spider-Man, Action Comics and the start of a new Vertigo series from Jeff Lemire… Trillium!
The Outhouse is sponsored this week by Late Nite Draw. Recently featured on ComicsAlliances' Best Art Ever, he is a Chicago-based commissioned artist with a self-published Digital+Print one-shot coming out in October about the abominable snowman called ABOBAMANIMABBLE, and is also available for commissions. Check out some amazing art by clicking here or by clicking the banner at the top, and support the people who support The Outhouse.
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About the Author - Niam Suggitt
Niam Suggitt, Punchy to his friends, is the most humblest of all the Outhouse writers. His easy going manner and ability to see and recognize the point of views of those who he disagrees with has made him one of the most sought after members of our community to resolve conflicts. Although he likes all of you, and considers everyone to be his friend, Punchy would prefer you use “Niam Suggitt” when quoting him for the front cover blurb on your book. Follow this wonder of a man at @NiamSuggitt, if you want to, he’s cool with you either way.
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