Best of Marvel: Week of August 7th, 2019

Best of this Week: Absolute Carnage #1 – Donny Cates, Ryan Stegman, JP Mayer, Frank Martin and Clayton Cowles

God is Here.

The seeds have been sown all over the Marvel Universe for the re-emergence of Carnage in a big way for months. He’s had single back-up pages in The Avengers, Black Cat, Captain Marvel, Immortal Hulk and many others portending his arrival and the sheer amount of people and creatures that are now within his thrall. Everything is coming to a head and it is absolutely terrifying.

The book begins with Eddie Brock recalling the events of everything Donny Cates has written since he took over the character.and other past events that have ultimately shaped what will soon happen. Eddie tells his son Dylan, who doesn’t know that Eddie is his father, about Knull, the God of the Symbiotes, and how he’s being kept asleep by the planet of symbiotes surrounding him. The only way for Knull to be woken up is if someone collected enough symbiote pieces and DNA to reconnect to the hive mind and if Knull is reawakened, he will begin spreading a new age of darkness across the cosmos.

Eddie references the fights against the Dragon of Knull in the beginning of his run, but also talks about the other people who have held the Symbiote or symbiotes. He pulls so much history out in so few sentences, along with a stellar double page spread by Stegman that one might be convinced to check out other great stories just to see how deep the rabbit hole goes. Characters from Maximum Carnage are shown, heroes that may have been changed during Venomized and of course Captain America, The Thing and Wolverine from the amazing Carnage USA.

After Eddie recounts the danger that the two are in, they see that Eddie is a wanted man after killing many inmates at Ryker’s Island. Of course Eddie was never there and after suspecting that they’re being followed, Eddie tells Dylan that they need to make a break for it and they run away from their tail into the subway. Unfortunately for them, Cletus Kasady was lying in wait and pushes them onto the tracks, only for them to be saved by their tail; Venom.

Eddie re-bonds with the symbiote after derailing the train and a new and terrifying Carnage confronts them. Stegman wastes not a single stroke in making Carnage look like a menacing force of pure psychotic evil. His teeth are jagged, his limbs are gangly with “skin” that looks like it’s constantly dripping with blood an his ribcage and spine are exposed, but covered in the same material. He could almost be considered skeletal if not for the pumping veins all around him. This is a Monster Carnage, even more terrifying than 2015’s Carnage series and many times more powerful.

Carnage, like most children of other symbiotes, has always been stronger than Venom. Though, with enough force and maybe some help, Carnage has always been defeated one way or another, but not this time. Kasady beats the ever living hell out of Venom, smacking him in the face and smashing him into the ground. He gets right on the cusp of killing him before Eddie grabs the third rail of the subway line and electrocutes the both of them, a temporary victory so that he and Dylan can escape. The symbiote puts Eddie into something of a coma while he heals the body and takes them to the one person that can help.

In a little diner where they think it’s safe, Eddie, Dylan and Spider-Man talk about what’s been going on. Spider-Man is taken aback and annoyingly jokes to Eddie about all of this being out of his league before a news report is shown depicting a mass grave of people that have had their spines ripped out, likely for the Symbiote DNA or Codices (plural for Codex) as Eddie calls them. After some chumps try to rob the diner, Spider-Man takes them out handedly while formulating a plan with Eddie, saying that Reed Richards could have made a machine to help remove the Codex from anyone that has ever been attached to a symbiote, but he would have needed to start long ago.

We then cut to The Maker, the Reed Richards from the Ultimate Universe that has taken up residence in the 616 Universe, as he’s actually been working on such a machine for use on Flash Thompson. The Maker’s goals and those of his employers are unknown and that makes for horrifying implications because there is no way that he is up to any sort of good at all and makes it clear that he too is trying to reunite the symbiotes.

Spider-Man shows up with Normie Osborn as the first possible test subject, but doesn’t want it to be used until he knows that it’s safe. Maker moans that if he has to be so sure, then he should find someone else with a codex, someone dangerous that Carnage may in fact go after next. Peter and Eddie get the same thought: Norman Osborn.

Norman had used the Carnage symbiote to become the Red Goblin not too long ago and after his defeat at the hands of Spider-Man, lost his mind and gained the memories and personality of Cletus Kasady. Things go to hell in a handbasket very quickly as John Jameson, the guard who let them into Ravencroft also known as the Man-Wolf, reveals himself as another of Carnage’s infected puppets.

Mayer then coats the book in an intense and overbearing red hue, signaling nothing but danger as Carnage throws pieces of himself into each cell. There are elements of body horror as he pulls these tiny bits of himself out of his chest and they burrow into the victims. Kasady’s mouth and eyes also seem to drip with his symbiote form as he and the other barrel down on Venom and Spider-Man. A giant and beautiful brawl ensues with the infected ripping and tearing at the pair. The mass of bodies overwhelm and Eddie almost begins to kill before being reigned in by Spider-Man. Unfortunately Spider-Man gets caught by Carnage.

It was around here that I had the realization that Pete and Cletus haven’t actually clashed in YEARS. Maybe as far back as 2011’s Carnage USA was the last time the two fought, so to see Pete finally see him again with half of his mask gone, there’s a small bit of fear in his body language. This is doubled as Carnage throws Spider-Man into Norman’s cell door, breaking it open to reveal a deranged Norman who appears to have been slicing himself with a piece of glass in his cell. With the combination of the bright red of his blood juxtaposed against the darkness of his cell, Norman stands out, not as the cunning genius that we knew him, but as another victim of Carnage and he smiles with mad glee.

Absolute Carnage #1 absolutely lives up to the hype that has been built for it. This story can expand so far and with the tie-ins that have been announced, I’m actually very excited. Carnage has been scary, but this is on a whole new level for him. You never quite know who is one of his thralls! Hell, John Jamson appeared to be completely normal until the trigger was pulled in him and turned him into another monster. Carnage has always been a problem for the larger Marvel universe whenever people have had to fight him individually. Deadpool had a hard time fighting him. Captain America, Wolverine, Hawkeye and the Thing almost died fighting him. Even when he was temporarily a good guy during AXIS, he was still horrifically dangerous.

With new god-like abilities, lack of weaknesses and unimaginable unpredictability, what can anyone do?

Ryan Stegman’s art needs to be absolutely praised as well. His lines are crisp and heavy in an almost perfect way. He manages to give things a darkness and depth to them that makes everything feel absolutely brutal, disgusting and weighty. He can capture faces of absolute terror, rage and every wonderful expression that Venom makes. Personally I love how emotive he makes Spider-Man’s mask with the eyes widening and shrinking with his surprise or incredulity. He also has a talent for spreads as there are about three really good ones that really shows his skill for depth of field. Venom and Spider-Man also look incredibly strong. We all know that I love muscular art and all of their muscles are accentuated through their costumes. Spider-Man has his lithe and athletic body and Venom is nothing but raw strength and I love it.

Absolute Carnage hit every correct note. There was violence, horror and even a little bit of family drama. The stakes are very high and while not on the same scale as War of the Realms, the sheer amount of murders caused and their horrifying nature is more than enough to be concerned about. Donny Cates looks like he’s going to do it again with his first big Marvel event (I think, I don’t really remember) and bring us all to another level of badass storytelling.

High recommend.

Best of DC: Week of July 31st, 2019

Runner Up: Justice League Dark Annual #1 – James Tynion IV, Ram V, Guillem March, Arif Prianto and Rob Leigh

The world needs more Swamp Thing stories.

This annual was dark, far darker than most of the Justice League Dark tales so far because of how self contained it was and the sheer weight of the situation therein. Sure, it wasn’t a world ending cataclysm like the one they just stopped, but that doesn’t make it any less horrible. I’d never heard of Ram V before, but their storytelling, combined with Guillem March’s art makes me feel like I’ve been pulled back into the old days of Vertigo.

Magic is broken. After Wonder Woman and Zatanna used the Ruby of Life to repair the damage they did to magic after defeating the Lords of Order, magic itself is repairing itself, but in a manner that throws the old rules out of the window.

Consequently, the Parliament of Trees has been destroyed and now Swamp Thing has no one to answer to as the new Parliament of Flowers is seeking a new champion. After confronting Constantine about coming on as a consultant for the League, the con-man convinces Swamp Thing to go on the search for the new Avatar before he loses his humanity like Swampy did. Swamp thing tries to act like he doesn’t care, but goes off to find the man.

The story descends into something of a tragedy as we’re introduced to Oleander Sorrel, a flower botanist, and his wife Natasha.

What makes this story so great is that, like the best Swamp Thing stories, it focuses on other characters and their own personal situations. The pair suffer in a broken marriage after the death of their son which causes Natasha to leave Oleander and himself delving deeper into his work, later resulting in his death. He becomes the Avatar of Flowers, but refuses to let go of his humanity after Swamp Thing tries to convince him that he is no longer a man.

He seeks out his wife and watches over her until Jason Woodrue, a very old DC villain that really hasn’t been seen since the early days of The New 52, whispers in Oleanders ear. Oleander listens and suddenly a boy that looks very close to their son appears at the door. Natasha is happy, then another child appears and another until Natasha is absolutely blind with love for her new kids.

But not all gifts are good. There’s no way that Woodrue doesn’t get something out of this himself. There’s always an underlying plot and Swamp Thing manages to uncover what really happened to Oleander. The fire that killed him was actually a pool of caustic that he laid in his flower bed and kills himself in. Oleander did die in the pool, but his memory lived on in the flowers that he planted. This revelation stuns Oleander and the children he created out of flowers begin to dissipate. He grows weary, knowing that Swamp Thing was right and Woodrue manages to convince him to rest for a while before feasting upon his flower flesh, regaining his own connection to The Green.

This annual definitely fit the title. It was Dark, not only from a storytelling standpoint, but also visually. Natasha’s post crying face was heart wrenching to see and Gullem March squeezed every bit of emotion out of it that he could. Her lips quivered, her eye makeup ran just a bit and there was a hopelessness that could be felt. Oleander’s transformation was a beautiful kind of macabre with his appearance, composed entirely of flowers, looking very sinewy and skeletal at the same time. Colors are very warm, juxtaposed against an ever growing sense of dread that culminated in the most haunting scene of Oleander growing more and more flower children. The shot is perfect as Oleander is shown to be a hapless man whose only intent is to make his wife happy, but his methods are horrifying almost wrong.

When the children begin to disappear following the revelation, light is shown on them while the background remains dark. Their petals waft away with the night winds as Natasha has to watch in horror, likely to be absolutely broken by the experience of losing her kids. Woodrue eating Oleander afterwards, however, is brutal. The color shifts to a deep red and Woodrue furiously munches on the flowers, gnawing and tearing his way into Oleander’s body and emerging as a new creature unto himself.

I haven’t been able to find anything about this Ram V person, but I want to read more of their work. This book was absolutely stunning and I hope that it does well enough to warrant another Swamp Thing mini-series or full run. Amidst the cancellation of the show after just one season, it’s definitely something the world needs more of. This story was chilling, well paced and had a great focus on someone else while keeping it’s main star tangential as he should be in things like these. This is a definite high recommend from me.

Best of DC: Week of July 31st, 2019

Best of this Week: Batman: Last Knight on Earth #2 – Scott Snyder, Greg Capullo, Jonathan Glapion, FCO Plascencia and Tom Napolitano

The last case Batman will ever solve, might just be his most terrifying.

Beginning with Batman confronting an older Joe Chill in the past over the dead child in Crime Alley that looks eerily similar to Bruce. Our hero kind of surprises and disarms him by removing all of the weapons he’s hidden around his apartment. Chill seems to have been expecting him, preparing what he calls an “end of an era feast” for Bruce, implying he knows his identity. To make matters even more interesting, he insinuates that he didn’t even kill the Waynes for Marth pearls and makes it seem like there was an even larger plan afoot than anyone realized.

Cutting back to the Nightmare future, Batman and Joker’s Head are taken by surprise as a Speed Force Storm tears through the desert. Never let it be said that Greg Capullo hasn’t been improving his skills at body horror because the tornado is terrifying. Consisting of the constantly shifting, twisting and stretched bodies of Barry Allen, Bart Allen, Jay Garrick and possibly others, the faces scream and cry for Bruce to help them. It’s a shocking and unsettling sight as one can almost hear the deafening cries of atom splitting agony that they’re going through. The deep red of the storm doesn’t help as it just makes things FAR more threatening than they need to be. Bruce and Joker sit in a cave for safety while Bruce laments that there is absolutely nothing that he can do to save them.

The pair continue on, hang gliding through the air, crossing over a base named Fort Waller. Joker tells Batman that originally it was the last bastion of hope, where Mr. Terrific, Dr. Sivana, Ivo and others could combine their knowledge with the powers of the new avatars of the Green and Red to repel those incensed by Luthor. Batman asks him what happens and Joker’s narration ends as they watch the battle. Unknown Soldiers fighting abominations of the Red in a hellish battle of blood and fire until a Swamp Thing appears from the crimson dust of their fight, no longer appearing to have any faculties or emotion other than: KILL.

The tone shifts as they reach an area known as the Plains of Solitude, seeming a mass of crystalline structures similar to Superman’s secret base. The cool blues of this area offer something of a safety in a book that has otherwise been overbearingly tense since it began. It doesn’t help that Joker’s been doing variations of “can I be Robin, are we there yet, and knock knock jokes the entire time. Bruce snaps that he could never be Robin because Robin was a good guy and who in this world was still like that? Pods shaped like Superman’s baby rocket start landing close to Bruce and Joker before the pair are saved by… Superman?

Or so we think, this “very talkative” (end sarcasm) Superman leads the pair to a farmhouse in the middle of the plains where a surprisingly alive and potentially insane Lex Luthor greets them. Batman, furious at the state of this world demands to know what happened, what did Luthor do? Luthor answers that he had a debate with Superman. What makes this so interesting is that, Luthor says that he knows that he should have lost. The stakes were such that, the loser would be impaled by spike of Kryptonite and Luthor, having almost crapped himself a speech mostly using platitudes from others in his own words, didn’t hold a candle to Ka-El… but in the end, Superman ends up skewered and the world goes to hell with him.

It begs the question of, what happened? Did all of the people just side with Luthor on impulse? Did something happen to sway them or was someone else manipulating things? Everything is speculation. Things are cut short, however as Bane and Scarecrow show up to punish Luthor and bring Batman to their new God, Omega. Bane appears to be absolutely rotting with venom as his veins are green and his skin is pale. Scarecrow looks absolutely scraggly with long, gnarled fingers with syringes at the end of his fingers. Scarecrow has poisoned the Superman clone and forces him to try and break the Bat.

Suddenly, as Superman lifts Batman above his head, a sword pierces his chest as it’s revealed that Wonder Woman has returned to save the Caped Crusader. The two are told to run away by Luthor, to save the world as he opens a portal for them and is summarily torn apart by other infected Superman Clones.

We see the full extent of the utter destruction Luthor’s actions have caused as they land on the cloak of The Spectre. Wonder Woman tells Batman that the fighting eventually spilled over and destroyed both Heaven and Hell. It only makes sense, doesn’t it? The forces of magic are very powerful in the DC Universe. How much trouble would it take for a Mordru or Neron to tangle with Doctor Fate or Zatanna, culminating in the ruination of the afterlife, damning everyone to a non-existence at the end of everything?

They enter the cloak and take a ride down the River Styx. Diana tells Bruce that the voices of the dead will be calling out to him for sending them there. Capullo stuns with a double page spread of many of DCs biggest heroes, showing Batman the sheer weight of what his as-of-yet unknown role in Luthor’s scheme was. There are far too many to name, but I will say that I appreciate Capullo putting Kyle Rayner among those in the front. His deaths in many alt-stories will always irk me, but I do like seeing him recognized and put higher than Hal Jordan or even John Stewart.

Things take an even darker turn as Alfred shows up among the dead and Batman almost climbs out of the little boat, knowing that he just saw Alfred not too long ago and he and Wonder Woman make it to the real Gotham City with a cliffhanger and a surprising reveal at the end.

Last Knight on Earth pulls no punches when it comes to depicting a desolate world where Doom wins. I want to say that it’s almost dour to the point of being almost being hopeless and that’s exactly what I love. I adore how much is being packed into this story, how many references to the greater DC universe we’re getting. Capullo’s art is probably the best it has been in years and the quality of the writing is right on part with Dark Knights: Metal. It’s a righteous trip as Batman lugs the annoying head of the Joker around like a planet hopping adventure. It’s really fun and very dark.

Best of Marvel: Week of July 31st, 2019

Runner Up: Conan the Barbarian #8 (Legacy #283) – Jason Aaron, Gerardo Zaffino, Garry Brown, Matthew Wilson and Travis Lanham

Very rarely do we get to feel the cold of the hills of Cimmeria.

Conan doesn’t often return home as far as I know. He’s always off on an adventure in Zamora, Khitai, Stygia or any number of other places, not thinking of venturing back home. What makes this story so interesting is Conan’s sense of familiarity and how things are turned on their head when the people that he knew and trusted are suddenly against him. We see his normal rage and anger, but with a restraint that is almost never given to anyone else. It’s strange, but leave it to Gerardo Zaffino and Jason Aaron to give us another amazing tale.

The cold air wafts from Conan’s mouth, the warrior clad in a heavy pelt and a large rucksack on his back. He walks through the blizzard until he comes upon a collection of huts and a dog with piercing red eyes, the first sign that all is not as it seems. He is met by a man with two axes, likely the community butcher, named Ailill. Ailill prepares Conan some food while explaining a sickness that has infected the people of Conan’s clan and that the town shaman had run away. The sickness is one of the mind and as the panels go on, we slowly get a small twinge of dread until Ailill reveals that he himself and the rest of the villagers are infected, also with piercing red eyes.

Conan punches Ailill and tries to escape only to be cornered by the others and his Grandmother, who is drawn with a face almost as horrifying as Norton Sinclair’s from Gideon Falls. This is also one of the few times we see Conan truly afraid as he runs away into the forest to avoid killing his people. He is later found in the freezing cold, half dead, by the village Shaman. He nurses Conan back to a semblance of help and tells him that the curse upon his people was inflicted by a dark wizard by the name of Thoth-Amon, one of Conan’s arch-nemesis. The shaman asks Conan if he’s ready to kill everyone he loves and Conan replies that he had brought gifts for his people and that going South had saved him, so maybe it can do the same for them.

We see how Conan earns the name Conan the Cunning as he lays traps for his people using the gifts he had brought them. Sugar cubes for the dogs to keep them distracted, spices and grog to incapacitate some of the men and spiderweb rope from Zamora for others. Things look to be going surprisingly well until his Grandmother catches him off guard, allowing the others to catch up and corner Conan again. He fights hard, but also doesn’t want to kill them.

Zaffino draws this scene expertly with flashes of Conan’s rage juxtaposed against his feelings of live. He allows himself to be stabbed and battered while just trying to pummel strike or punch his friends. His lines are thick and he makes excellent use of hatching to shade everything. We get the sense of how strong everyone is because of their movements and how large they all are. Conan is the biggest, but his grandmother is still a wall of muscle and anger.

Faces are another thing of beauty as the madness in their eyes is clear. These people are without their faculties and act like simple hounds, hounds that can talk and use tools, but with the bloodlust of hungry animals. Thoth-Amon’s hate of Conan reflects amazingly in them and their lack of restraint only makes thing ever more brutal.

Garry Brown’s colors also make things look so beautiful and desolate. Only a man as hard as Conan could come from a place that feels so cold and isolated. During the fight there are flashes of orange to indicate how dire the fight is becoming. There’s also a deep red as Conan can see the snake coming out of the ear of the Dog Keeper, the first to be infected, showing who the true enemy is and true to form, green is a color of evil as the snake is the perfect shade of vile.

Conan’s grandmother, able to break free of Thoth-Amon’s control, cuts the head off of the dog keeper to keep him from hurting her boy. The rest of the villagers are saved and thank Conan for coming back to them, the good times don’t last as the infected dogs return and all of the Cimmerians join together for another fight.

I loved Jason Aaron’s exploration of Conan’s people. They’re all the same breed of strong as Conan only they’ve never ventured out of their home. They’re rugged, hardy and they’d have to be to survive in the wilderness as they do. It was also amazing to see Conan not kill people when usually a single swing of his sword is enough to begin a tear through armies. Truthfully, he would have done so here too if there were no other way, but he had faith that he could save them and it paid off.

Zaffino gets the most praise from me because of his art style. It rings back to the days of Marvel’s 1970s-1980s Conan series with a sort of pulpy look combined with the expert techniques of the modern day. He conveys emotion, action and even tells a story through the art alone. He’s got skills that makes me want to check out the other books he worked on.

Conan the Barbarian continues to excel as a fantastic story, not only through showcasing new and awesome adventures of the titular barbarian, but by continuing to remind us that by the end of all of this Conan will die. These happy times won’t last and it’s amazing that Aaron has managed to keep that thought looming in the back of our minds. Around every turn we get a new reminder and the dread comes right back. I can’t wait for the next chapter in this story or the many others coming like Esad Ribic’s story of Conan’s youth. This book get another high recommend from me.

Best of Marvel: Week of July 31st, 2019

Best of this Week: Black Panther #14 (Legacy #186) – Ta-Nehisi Coates, Daniel Acuna and Joe Sabino

Since the beginning of this new series, we’ve been left wondering if this escaped slave, turned warrior, turned legend was the real King T’Challa. We’ve been introduced to an M’Baku, though M’Baku has been dead for years and a Nakia that isn’t an emaciated mess of a supervillain. There’s also a living N’Jadaka even though Killmonger too has been dead for a long time. We’ve gotten hints that maybe things aren’t as they seem, especially when Manifold shows up as a mind controlled slave. The last few issues had finally cleared things up and it’s official; the King i back.

The book begins with Manifold helping to evacuate the Teku-Maza, a group of alien warriors that have agreed to help the Rebel Maroons fight against the “King” N’Jadaka. In the middle of the evacuation, N’Jadaka’s forces appear from hyperspace and engage the Teku-Maza and the Maroon forces in battle.

T’Challa, now with all of his memories back has finally contacted Wakanda Prime. Shuri, Storm and his mother all answer the call and tell T’Challa how the country has flourished despite his absence and that his request for aid in space might risk this newfound peace. Shuri even asks why should Wakanda Prime even be concerned with all of this and Nakia snaps back with the fact that N’Jadaka won’t just stop at the few galaxies that he has. Honestly, this should be a grave concern for them.

The Space Empire has managed to go unnoticed by the Black Panther and others for thousands of years. With the technology that N’Jadaka wields, it wouldn’t be a stretch to say that he could give Earth’s heroes a run for their money. Shuri’s dismissal of such things comes off as naive at best, but outright dangerous at worse. T’Challa is one of the smartest and most capable of Earth’s heroes and he too fell to the Empire.

The call is unfortunately cut short as the Teku-Maza’s planet of Agwe is under attack and only T’Challa and the rest of the Maroon Elite can stop the Empire. Under M’Baku’s command, T’Challa, Nakia and the Goddess Bast take the fight to the Empire.

I’ve been waiting for Acuna to come back for large scale battles such as this. His art style is absolutely perfect to capture the sense of scale, speed and harrowing nature of this kind of space fight. He also has the perfect Afro-Futurist feel to each scene with ship designs that feel, maybe West African in nature, as well as the M’Baku’s body modification and the design on his sash. The colors are heavy with striking reds, intense greens and screaming hot yellows. Some pages also have a bit of a holographic/3D effect in some panels that adds a little bit of a trippy factor, especially as Bast uses her powers.

The battle is harrowing with each side taking casualties. The Teku-Maza leader tells his men that no matter what happens, N’Jadaka must not escape and he has them arm a weapon called the “Core-Killer,” a weapon capable of destroying the planet it’s armed on as well as almost everything within close enough range. N’Jadaka tells his people to fire on the population centers of Agwe and the Teku-Maza leader tells the Maroons to retreat as the core killer has been activated. Bast chastises M’Baku as he resigns himself to ask his forces to retreat and the Maroons get away just as Agwe goes up in flames.

This war has cost so many lives and having to give up an entire planet of people is absolutely devastating. On the possible upside, a tyrant may have finally been destroyed, leaving his people able to find freedom much like the Maroons have. I think what I like best about this is the position it puts T’Challa in. He’s lost his people many times over, so either his heart is completely hardened to it, or he values absolutely every life lost that he himself was unable to save. I don’t know how he’s going to handle this stunning climax to the war, but I can’t wait to see. High Recommend.

Best of DC: Week of July 24th, 2019

Runner Up: The Flash #75 – Joshua Williamson, Howard Porter, Hi-Fi, Steve Wands, Scott Kolins, Luis Guerrero and Christian Duce

Flash has never been one to let anything slow him down, be it his job, relationship with Iris West or even speed sapping supervillains. He’s always moving forward and this anniversary issue cements that very idea as he recollects events from his past and figures out how to become a better hero, a better man through it. At the same time, one of his most deadly enemies moves forward towards Doom.

Beginning with the final minutes of his intense battle with two versions of The Turtle, one from the far future and one from the modern day, at least at the time. Sneaking through the structure that Future Turtle brought to the past to enslave the citizens of Central City, Iris West screams that The Fash isn’t the only one who can fight back and destroys the control panel, freeing them. Inspired by The Flash’s efforts while he fights the two Turtles, the citizens fight back against the villains forces. Flash begins to get overpowered by the combined might of the turtles, but he digs deep and pulls out his greatest weapon: Hope. He runs faster and harder, using his brain to push through and defeats Turtle.

It’s an inspiring moment made even better with Porter’s kinetic and amazingly stylized art work. Lines are jagged, but clean, Hi-Fi’s colors are bright and vibrant to give even more energy and brightness to each panel. I love how each spark of lightning glows on Flash’s costume to give this chapter the sense of speed befitting the hero. What makes the even better is the shift downward, back to Barry just being his normal self, helping the modern day Turtle instead of just sending him back to prison as Iris looks on in love. Time passes and on presumably one of the first of many Flash days, Iris brings her nephews Wally and Wallace to meet Barry before they join the parade and this chapter ends with Wally and Barry talking about the Flash before a two page spread of The Flash and various members of the Flash Family new and old, a sign of things to come maybe?

Coming back to the modern day, Barry meets the new Avatar of the Still Force who has chosen to show Barry this vision of a time that he’s forgotten to remind him of the hope that he had lost after the events of Heroes in Crisis. Ultimately, Barry decides that he has to prepare, find new allies, work with enemies, but the first step… rebuilding the destroyed Flash Museum. He puts everything back together by himself, the building, the exhibits and all of the statues of Wallace, Impulse, The Flash of China and both statues of Wally West, the one he truly let down. Barry looks towards the future with bright eyes and nothing but hope.

On the other side of the world however, Leonard Snart is going through the motions. After having been transferred to the Suicide Squad following the murder of another inmate of Iron Heights, Snart has grown wary of seeing the people he’s worked with die. He watches as some villain named Snakebite tries to make an ultimately fruitless escape and has his head exploded. Snart reminisces of the days when he had a reliable and smart crew of people that he could trust on his side. He misses The Rogues.

He sits in his cell and simply thinks that he’s “playing it safe” just like his awful father. When he was a Rogue he made his own rules, did things on his terms, but with the Suicide Squad, he’s on someone elses dime. He absolutely hates it and when he’s called in for another missions, not five minutes after his last, he just screams for Waller or the guard in front of him to kill him. Suddenly the guards head explodes and the wall to Snart’s cell is blown open and a drone comes through.

Lex Luthor has an Offer for Snart if he’s willing to take it. Snart doesn’t even question it and only asks that the other Rogues get the same deal, then they’ll go after the Flash. I almost lost my mind here, not only because Luthor referenced Snart acting as his bodyguard in the middle of the New 52, but also their time on the Justice League and how foolish they were. Doom is the only way forward for them and Snart has become a hard man. The Rogues have always been a particular brand of non-violent, but Snart is absolutely a killer now and who’s to say how time has changed the rest of the gang?

Doom Awaits.

Best of DC: Week of July 24th, 2019

Best of this Week: Wonder Woman #75 – G. Willow Wilson, Xermanico, Jesus Merino, Vicente Cifuentes, Romulo Fajardo Jr. and Pat Brosseau

Ever since the beginning of DC Rebirth, Wonder Woman has been trying to get back home to Themyscira and on this amazing anniversary issue of her book, she’s finally home, but not in the way that she expected.

The book begins with Grail, the daughter of Darkseid, sitting on Hippolyta’s throne. She muses about how boring it was to listen to Ares stories as they were both trapped elsewhere and when he escaped and died, she was freed. The first thing she did? Take the God Killer Sword and take what she believed to be rightfully hers.

Grail has been a thorn in Wonder Woman’s side since her introduction during the Darkseid War (2017). She’s appeared regularly as an enemy of Wonder Woman with her schemes normally involving a way for her to take over Themyscira and it seems as though she’s finally gotten her with. Even more so that a few of the Amazons, including one of Wonder Woman’s most trusted friends, Nubia, is apparently among their ranks.

General Antiope and a few others welcome Wonder Woman back to a realm just outside of Themyscira known as Dimension Chi and they inform her of what has happened. Some Amazons decide to dance to welcome back their beloved princess, but Antiope does not as she worries that they aren’t yet prepared for battle, especially not Maggie, the woman who found Antiope’s sword in a lake. The two decide it’s best to train them all up before the fighting starts.

We get a wonderful training montage of Wonder Woman masterfully teaching her fellow Amazons and Maggie, but she and Antiope still worry that it all might not be enough. Wonder Woman thinks she has an ace up her sleeve as she has Atlantiades, a goddess of love and light that was previously trapped on Earth and who is also in love with Wonder Woman, fitted with armor for the battle.

Grail, having held Hippolyta prisoner, tells the queen to renounce her crown in front of her warriors, but Hippolyta is having none of that. She would rather be drowned in the sea than acquiesce to Grail’s cowardly demands and shames the Amazons that have joined her. Before she could push the Quen into the water, an arrow lands at Grails feet and Wonder Woman Amazons break through the barrier of Dimension Chi and attack Grail and her forces.

Wonder Woman grasps Grail right by the throat as her God Killer Sword suddenly goes missing, but decides to give Darkseid’s daughter a fighting chance. Jesus Merino takes over the art for these pages and the fight itself is pretty damn fantastic. Wonder Woman and Grail look like amazing pillars of strength and beauty surrounded by the clashing swords and spears of the other Amazon Warriors.

Merino has a knack for action scenes as his shots are absolute quality. Grail has absolute fury in her strikes with little to no finesse. Diana, of course is a very defensive and honorable fighter, a fault that Grail makes use of as she trips Diana to run away. On the other page, Antiope and Nubia engage each other in battle and their faces are drawn in warriors anger, Nubia telling Antiope that maybe not all is what it seems after Antiope chastises her for betrayal.

Maggie tries to make a break to the cave where Hippolyta has been moved to, but Grail takes a knife and makes a mad dash herself, knocking Maggie out of the fight before Wonder Woman follows suit after a distraction by the radiant Atlantiades. Wonder Woman corners Grail who reveals her best leverage – Isadore, the daughter of Wonder Woman’s arch enemy Veronica Cale who hasn’t been seen since the early days of this Wonder Woman run. Wonder Woman drops her weapons in order to see the girl unhurt, but, of course, Grail is a snake and attempts to slit her throat before an arrow catches in her hamstring. Nubia betrays Grail, saving Isadore and Hippolyta and ends this book with Grail back in chains and a hug between mother and daughter… until a new Offer is made involving the God Killer Sword and a certain feline villain.

G. Willow Wilson took the ball and ran with it when she took over Wonder Woman. Her run, so far, has been action packed, funny and heartwarming. It took her time to find footing, but this has been mostly great. I’m certain she’s going to continue, hopefully to issue #100 and I’m glad because she’s found an effective way to build upon Wonder Woman’s relationships and her mythology. Now that she’s back in Themyscira, for however long it lasts, I wonder what kind of stories Wilson will be able to tell, especially with Year of the Villain going on.

Best of Marvel: Week of July 24th, 2019

Best of this Week: House of X #1 – Jonathan Hickman, Pepe Larraz, Marte Gracia and Clayton Cowles

“You have new Gods now.” – Erik Lehnsherr, 2019

The new era of X-Men is here and for all of its familiarity, it does something new and sort of unsettling with a tried and true formula. This is thanks to the beauty and scale of Larraz’s art and the far and wide nature with which Jonathan Hickman is crafting yet another saga to rival both his SHIELD and Avengers runs. If you let it, House of X will engulf you in a rich new mutant world filled with happiness and untold amounts of pride by it end, but also with a good helping of fear… as if everything is just a little bit off.

The book begins with a great wide shot of a figure staring up at what appears to be the root of or at least some important part of a tree. Two other figures, a woman with red hair and a man with glowing eyes, are birthed from two sacs under the tree and we get the familiar line, “To me, my X-Men. Presumably, this is Charles Xavier and as we progress, this idea is made clear as it seems we are doing away with the “X” identity he took up during Astonishing X-Men (2018). This also serves as some clear symbolism of a new rebirth for the X-Men.

Over the next few panels, we are shown shots of various X-Men planting flowers, plucked from the island of Krakoa, in various areas from their home in Westchester, New York to Mars, the moon and the Savage Land. The book is then framed around Magneto and two of the Stepford Cuckoos giving ambassadors from various countries a tour of the various locales that Krakoa has been placed upon as they ponder Charles’ proposed deal. This deal would allow them to make use of the flowers of Krakoa for various medicinal purposes, possibly making the world a much better place, so long as they agree to recognizing the sovereignty of the Krakoa nation state. A new Haven for Mutantkind.

Of course there have been such efforts made in the past. Genosha, the first and most prominently mentioned example, is alluded to have been the catalyst for humankind not being taken over by the mutant X gene. Mutantkind apparently would have become the dominant race on the planet Earth within ten years if not for Genosha’s destruction. Asteroid M and Utopia weren’t mentioned, but my guess is that they simply weren’t as impactful in regard to mutant kind likely because of the events of House of M (2005) dwindling their numbers to nothing. As it stands now, after the implementation of Krakoa spiking the birth rates to much higher than previously calculated, that humanity has about 20 years left.

These estimations are made by a brand new organization known as The Orchis Protocol, a network built for the purpose of monitoring evolutionary anomalies and preparing a doomsday protocol in case humanity is threatened by Homo Superior. The organization apparently consists of ex assets from practically all major organizations in the Marvel Universe from AIM, SHIELD and Hydra to even Hammer, Alpha Flight and SWORD. Some of Larraz’s best shots are in the scenes where we’re introduced to this mysterious group. They pilot a ship towards the sun and we get a good shot of the outside of a portion of their space station as they dock their ship.

Karima, an Omega Sentinel character that hasn’t been seen since sometime after Second Coming (2010) accompanies an Orchis higher up as they talk about the state of absolutely giant station so close to the sun. We get a bit of a tour before we get the best and most ominous shot of the full station. It appears to be the head of MASTER MOLD surrounded by hexagonal plates, the most terrifying shape in all of fiction. Master Mold hasn’t been really seen since about 1994, and again in 2010 because of universe jump in Second Coming. Master Mold was one of the X-Men’s most dangerous threats for it ability to produce sentinels at a rapid rate, so there’s no way that this can mean anything good.

Cutting back to New York, Mystique, Sabretooth and Toad are stealing information from the Damage Control Database. Mystique and Toad manage to get away, but Creed is captured by Invisible Woman and the rest of the Fantastic Four. Scott Summers shows up to remind them of the amnesty that’s apparently been granted to mutants, including thieves and possible killers like Sabretooth. Scott and, normally even tempered, Reed butt heads a little bit as Reed has a problem with Sabretooth getting away with his crimes and Scott acquiesces, seeing that Reed is serious. Scott does leave them with one sick burn as he tells Reed and Sue that Franklin has actual family on Krakoa when he’s ready.

What I love best about this scene is just how smug Reed is about all of this. For years, mutants have tried to stay out of the affairs of the greater Superhero world out of fear for their reputations. The shoe is on the other foot now that they have all of the leverage and the power that they so deserve. Even more awesomely, Scott’s new costume is a fantastic design combining the best of his Astonishing costume with the angular design of his Uncanny X-Men costume, minus the X mask, with blue lines instead of red.

Speaking of colors, Marte Gracia excelled in this regard. There’s so much symbolism to be gleaned from something as simple as a color change. Cyclops wore that suit in a red hue when he was a violent radical; having it recolored blue gives off the hint that he’s still a radical, but in the way that he dealt with the situation between Reed, he’s more hands off, non-violent even. Magneto normally wears red and purple when he’s angry and evil and gray during the AXIS (2015) era and that alluded to his anti-hero nature during that time. This go around he’s wearing white. He’s also peaceful, but at the same time he’s as graceful and imposing as he always has been, never betraying the idea that he is still the same man, but won’t harm anyone as long as they respect mutants. The most glaring example is the change in color from the AIM scientists where they’re wearing red instead of yellow.

In between each different scene we’re given these little interludes in the form of documents called Xavier files. These give some background on the new elements introduced in the book and the best one is the Omega Level file. There have been hundreds of mutants introduced over the years, many of which could have been considered Omega Level mutants, but thanks to Hickman’s expert writing, things have been parsed down to just fourteen. On Twitter, he stated that the X-Men lore was nothing but chaos, so he wrote a 14,000 word memo on what the new status quo would be, including limiting the use of the term “Omega Level.” This undoubtedly helps to establish something of a power structure given the high number of mutants that are known about while also acknowledging other heroes. Notably, while Forge is a master of technopathy, his level has been surpassed by humans in the past, but Magneto is the only master of Magnetism.

I want to bring things back to the tour. After it is over, several of the ambassadors agree to support Xavier. Russia’s ambassador never had intentions too, neither did one of the representatives of STRIKE as he was simply assigned to watch another ambassador. The last ambassador had a weapon hidden and Magneto immediately dismantles it and promises to each of them that things will be different. He wants them to tell their superiors that while Charles made the offer out of grace and love, it is NOT a negotiation.

Magneto takes pride in this. So much so that his assurance and steadfastness in his stance is powerful. It moved me. He tells them to be grateful for the bounty they’re receiving out of graciousness as mutants, like Thanos, are inevitable. It’s like he can actually see a future, one not shrouded in darkness for mutants and he’s smiling because he knows it’s coming.

This is one of the more interesting aspects of the book. Charles Xavier had always wanted to coexist with humanity, but after years of divisions and attacks, he seems to mostly be done with that. He’s willing to give humanity Krakoa’s flowers to make pills that will help them as long as they leave mutants alone. He’s effectively made something that will definitely topple the pharmaceutical market and he has to know that humanity would start to get very afraid. Not only that, but Krakoa has the ability to create portals that can move mutants from place to place without humans being able to track where they’re going. Of course the ambassadors are afraid of the use they could have as far as movement and positioning in case things went to war, but Magneto assures them that it is only them that wants war.

Everything seems perfect. Everything seems like it’s going to be alright, but that helmet… something about that helmet and the bodysuit reminds me of The Maker, another Jonathan Hickman creation from his turn on The Ultimates. It scares me and I needed that, I needed something to keep me hooked and the fear that everything is not as it seems is just that.

House of X hit the ground running. While it does little to acknowledge the fantastic Uncanny X-Men run from Matthew Rosenberg, that’s probably for the best. Jonathan Hickman does his best work when he has a fresh slate. He took over Avengers from Brian Michael Bendis and made an amazing story over the course of nearly four years. He reinvigorated SHIELD and the Fantastic Four with innovative stories that had nothing to do with the books prior to them. Hell, the reverberations of his runs on each of these are still being felt to this day.

Pepe Larraz was possibly the absolute best artist to capture Hickman’s vision for this project. His high angles and wide shots give credence to the size of the story. His facial expressions give into the idea that mutants have won this time, there’s hope where previously there was none. Body language surprisingly upbeat, bouncy even. There’s a lot to say about symbolism in terms of sun positioning in many scenes. The book has many showing the sun rising, symbolically showing a rise for the mutants. I see Orchis base near the sun as an allegory for Icarus flying too close to it. As the book ends with a sunset over Jerusalem, I see things as the sun setting on the time of humanity.

X-Men and their vast history is absolutely ripe for fine tuning if not complete destruction only for it to be made bigger and better in the years to come. I have no idea where this story is going and with 80,000 spin-offs incoming with a bunch of different creative teams, there will absolutely be something for everyone. In an attempt to revitalize a part of the world that used to sell like gangbusters, Jonathan Hickman is gearing up to shoot the X-Men right back up to the moon and light the world on fire behind them.

Best of DC: Week of July 17th, 2019

Runner Up: Wonder Woman: Come Back to Me #1 – Amanda Conner, Jimmy Palmiotti, Chad Hardin, Alex Sinclair and Travis Lanham

After all of the Doom and gloom, sometimes it’s nice to get back to something simple.

As part of the Walmart Exclusive 100 Page Giants that DC published, each giant gets 15 pages of original story content and two of those have been published in this fun book. Where Tom King’s Superman was dreary, overbearingly awful and melancholy, Brian Michael Bendis’ Batman was interesting and fun, Conner and Palmiotti’s Wonder Woman is awe-inspiring and badass.

Before the book starts, we’re treated to a title page that’s just a splash of Wonder Woman posing like a badass, goddess of muscle and beauty. It showcases Hardin’s talent for shots of nice landscapes and backgrounds, but also an understanding of what Diana is all about; regality, strength and a love/respect of nature.

We begin with Diana and Steve Trevor enjoying a day at the beach. Within just a few panels we see just how much these two love each other with both of them making cute quips and Steve preparing their picnic lunch. Steve tells her that he’s going to be testing an experimental aircraft that he’d been working on, but he wishes that he had more time off with her. Steve drops her off at her house after a good swim and the two make out before he has to leave.

She and Etta Candy, who’s living in Diana’s house until her apartment gets repaired, watch the news and get word of a huge fire that’s trapped several firefighters and animals. Wonder Woman races off to save the day and in an epic shot, stuns the firefighters who were starting to get very distressed. Floating above them all, Wonder Woman looks amazing, a beacon of light in a dark situation, ready to help in any way that she can!

After making plans on how to get everyone safe, she displays an ability that has either been long forgotten or is new from Conner and Palmiotti as she talks to the animals to calm them down. I don’t actually know that she’s talking to them or if she’s just able to tell what they’re thinking by looking at them, but it’s an absolutely amazing ability that I hope gets used in the normal continuity of books too. The backgrounds in most of these shots looks great though. The harshness of the fire contrasted with the hopefulness of Wonder Woman’s presence gives me a warm feeling. The sight of the trees burning and the embers wafting away almost makes it feel like it could be touched.

Wonder Woman uses an entire tree to slap her way through the forest with the firefighters strapped to the backs of moose and bears. After extinguishing the flames she celebrates with the firefighters that she’s saved with drink before heading back home. Once she arrives, Etta tells her that Steve’s plane was lost somewhere near the Bermuda and it’s up to the two of them to save him.

The latter half of the book involves them being sucked into a weird storm that destroys the Invisible Jet and leaves Wonder Woman without most of her powers. They arrive on a strange island where some of the animals talk back and others are HUGE masses of death.

While not featuring the world ending stories of Year of the Villain or City of Bane, it’s nice to take a step back to simple rescue missions. Whether it’s saving the man that she loves or an entire department of firefighters, Wonder Woman does what she can for everyone. She gets along with everyone, everything and definitely comes off as the most compassionate of the Trinity. Conner and Palmiotti wrote this simply enough, but also injected their brand of comedy to give things a bit of levity, especially when Etta wakes up and finds that she can talk to crabs.

Chad Hardin deserves a ton of credit for his art too. His lines are thick, his focus on anatomy is apparent and his faces are very expressive, showing all manner of sadness, joy and shock. With Alex Sinclair’s coloring, things are given a lot of depth. This helps a lot in seeing how bad the forest fire is, how far Etta and Diana fall after the jet breaks and most importantly, how jacked Wonder Woman is.

Of all of these reprints, this might be the one I’m looking forward to the most. High recommend!

Best of DC: Week of July 17th, 2019

Best of this Week: Justice League #28 – James Tynion IV, Javier Fernandez, Daniel Sampere, Juan Albarran, Hi-Fi, Tom Napolitano

Doom is coming.

Martian Manhunter, J’onn J’onzz, is hearing the whispers of the people. He hears them asking for Lex Luthor to grant their wishes, for power, money, confidence and J’onn is determined to stop him. With Hawkgirl, the two fly to the last place that J’onn traced Luthor’s presence. Luthor, however, was already in J’onn’s head and commands him to knock Hawkgirl unconscious so that they may talk.

Elsewhere on Qward, in the Antimatter Universe, the rest of the League stand on the lifeless world looking for The Anti-Monitor. Daniel Sampere has few pages in the book, but he makes the best of every one that he is given. The first splash page is absolutely beautiful as it establishes John Stewart as the head of this mission given his numerous battles with Sinestro and his Weaponeers. The rest of the League also look badass with Batman’s broody darkness flanked by Superman’s big blue hope. Even with the World Forger and the Monitor behind The Flash and Wonder Woman, they stand out as uber-imposing figures with the League.

They find that the planet is lifeless with a message left by the Anti-Monitor in the Weaponeers blood. He warns them not to follow and the team is left at a loss because the being could be literally anywhere in the multiverse. J’onn and Luthor walk around a secret lab/refuge that Luthor had been hidden for a very long time. Luthor explains that his Offers are going out to the worst of the worst and the Manhunter asks why Luthor is telling him all of this, the newly reborn villain replies with “Why not?” because he did broadcast it to the world before his “suicide.”

What makes this most interesting is the uneasiness at watching Lex Luthor, the man who held his sanity and guile above all things, slip into the realm of madness and resignation to his vow of Doom. He tries to convince J’onn that there’s no more need to fight for the greater good given how willing people were to embrace Doom. He says that J’onn’s own desire to save or rehabilitate Luthor is part of his own eventual downfall.

Luthor praises something higher than himself by waxing poetic about Perpetua’s vision of what man and Martian was supposed to be. He acknowledges his own jealousy of Superman after having a conversation with Perpetua at length. Apparently she tells him that humanity AND Martiankind would have been immortal, apex predators, conquerors of the multiverse. He Offers J’onn a choice; to join him or not.

J’onn calls him insane.

Luthor had hoped that things wouldn’t come to this but i left with no other choice than to activate tech that had been in J’onn’s mind since one of their earlier encounters. It slowly undoes the Martian’s cellular structure as Hawkgirl wakes up and attempt to save him. Fernandez has always been good with faces and the way that he conveys her terror at watching J’onn slowly come undone as Luthor grins evilly is masterful. Hawkgirl cries as Luthor absorbs J’onn’s body into himself, the rest of the Legion attack the League and Starman, Shayne and Jarro see the end of the world at the Legion of Doom’s hand.

This book was absolutely stellar. Ending the Apex Predator arc on a very low note was probably the best decision to showcase how much more powerful Luthor is in this form. He’s gone completely mad and yet lucid. He’s sure of his path and even the best that the Justice League has to offer isn’t enough to stop his plans from coming to fruition. With the Anti-Monitor keeping away from the League, one has to wonder what it is he’s afraid of or what he’s trying to avoid and what is the horrible end that Starman has seen?

The stakes are getting higher and higher as we continue to make our way to the culmination of everything as the Year of the Villain soldiers on.