Review: Age of Ultron #10

Written by Brian Michael Bendis
Art by Alex Maleev, Bryan Hitch, Butch Guice, Brandon Peterson, Carlos Pacheco, David Marquez, Joe Quesada and others
Published by Marvel Comics

With Wolverine's plot to assassinate Hank Pym averted, the Marvel Universe is allowed to unfold unaltered. Unfortunately, there's still the matter of a killer robot to deal with and the consequences of abusing the timeline. In saving his own world, has Wolverine damned others?

I'd like to say this was a triumphant conclusion to both the Age of Ultron and Brian Michael Bendis' time with the Avengers, but I can't. At least not in good conscience. As sad as it is to report, the man who turned around the entire franchise with his New Avengers relaunch back in 2004, has turned in one of the worst event comics of all-time. Remember how jumbled, confusing and unsatisfying Grant Morrison's Final Crisis was? Well it's got nothing on Age of Ultron, which is lazily plotted, disappointingly resolved, schizophrenically-drawn and far more concerned with what comes next than what's happening in the present.

The issue opens with a brief sequence of Heroic Age Hank Pym working in his lab, being gifted with the knowledge to avert the Age of Ultron, literally delivered to his doorstep. Apparently, he'd developed the relevant programs to put down Ultron years earlier, during Wolverine and Sue Storm's visit, but had the information wiped from his memory so to allow the Marvel Universe to develop undisturbed. It's a wonderfully drawn sequence by Alex Maleev, who could draw two people sharing a cup of coffee and it'd hold my attention. However, it's hard to escape the fact he's had the story's Deus Ex Machina placed in his hands, ready for use. It robs the entire event of all tension and may as well have been a big red button reading "ULTRON ON/OFF SWITCH".

Sufficed to say, there's a prolonged fight scene between the Avengers and the reawakened Ultron, but knowing Pym has the answer stashed in his back pocket, I spent the majority of the issue screaming "GET ON WITH IT!". Bendis tries his best to make us believe that the virus won't work and Ultron will still end up taking over the Earth, but at issue 10 of a series, who is he trying to fool. Pym uploads the virus in the nick of time and the robot falls out of the sky like a tin can. This scene can only be described as going through the motions. Certain things are expected of an event finale and a giant battle is one of them. Taking down Ultron was a foregone conclusion, but the structure of comic books dictated we needed a few extra pages of Thor swinging his hammer to go home happy. If I had to guess, even Bendis himself was disinterested by this point of the story and wanted to move on to juicier subjects i.e. the cliffhangers.

With Ultron defeated and the world saved, Wolverine and Sue Storm are back in the present day, patting each other on the back for a job well done. Or at least they thought it well done. Just when it couldn't get worse, the entire time space continuum shatters panel by panel, causing everyone to convulse in pain. Despite time travel being a long-time trope of superhero comics, this was one time too many. Wolverine's abuse of the timeline has sent tears careening through the Multiverse, even being felt as far away as the Ultimate Universe (who now have 616 Galactus to deal with!). This was clearly Bendis' endgame for the series (and several others if All-New X-Men is anything to go by) and he couldn't get there fast enough. I'm all for wibbly-wobbly timey-wimey shenanigans (I'm a fan of Doctor Who after all), but I'll be damned if these hiccups have any rhyme or reason. It's far more akin to the writer throwing all his toys in the air and seeing where they land. Especially, the bizzare random addition to the Marvel Universe on the final page.

While time travel stories can be a lot of fun when done right, when done poorly they can be utterly disastrous. This genre is a double-edged sword and Bendis' Age of Ultron came down on the wrong side. No real lesson has been learned, no characters can remember it, hell, besides a few upcoming crossovers between realities, this may as well have never happened. That is the biggest sin a time travel story can ever commit - making the journey utterly pointless.

3 out of 10

Review: X-Factor #257

Written by Peter David
Art by Neil Edwards
Published by Marvel Comics

As the end of X-Factor draws near, the team are still busy dealing with the repercussions of the Hell on Earth War. Namely, their leader Jamie Madrox is still trapped in the form of a Demon!

Wrapping up a decade old series is no enviable task and this first installment of "The End of X-Factor" is bizarrely stand-alone. You'd think with so many plot threads left dangling, Peter David would have his hands full, but somehow he makes time for a completely different story that doesn't necessarily star X-Factor themselves.

While tracking down the missing demonic Madrox, his wife Layla Miller finds herself butting heads with a devastated Uncle and Nephew, desperate to resurrect their lost loved one. Coming into possession of the transformed private detective, the pair believe him to be a D'jinn capable of traversing a dimensional portal and bringing their deceased relative back to them. Unfortunately, they may not like what they find on the other side.

The story itself is nice enough, with a few cruel twists and turns to keep the reader guessing. Most notably, Layla's knowledge of the future is completely wrong in this case. Where memories would tell her that she'd find a Human Madrox and that the Uncle's magic would fail, she stumbles across the still demonic Madrox and very much working magic. Throwing this traditionally all-knowing character into the middle of a genuine mystery makes for a fun dynamic.

The Uncle and Nephew, while noble in their pursuit of bringing back a loved one, tend to veer a little too close to crazy to be 100% sympathetic. By the time their plan has come to fruition, it has failed abysmally, brought a vengeful god unto our world and cost the young Nephew his life. The death of the boy is particularly shocking, as he rushes towards what he thinks is his Mother and crumbles to dust. Rarely do you see such needless death, particularly visited upon a child. One would have thought such a fate would be better suited to a wrong-doer.

However, I still can't wrap my head around the notion that we had six entire issues of the beloved series left and this standalone story was one of them. By all means, David should address the current demonic form of Jamie Madrox, as I fully expect him back to his wise-cracking Human self by the end of the run. But the issue didn't even solve that problem, offering a random side adventure in it's stead. This is the time for prioritizing and the issue simply ignored that.

6 out of 10

Review: X-Factor #256

Writer: Peter David
Artist: Leonard Kirk
Publisher: Marvel Comics

After capturing all the remaining Lords of Hell, Mephisto has declared himself the winner of the Hell on Earth War. But victory may be premature, as Rahne's son Tier seeks to embrace his destiny and end the threat once and for all!

The "Hell on Earth War" has been brewing for a long time in the mind of writer Peter David. So on one hand, it must be freeing to have this story finally told. However, on the other hand, it's largely read as incoherent demonic gibberish. I'm the biggest X-Factor fan possible, so it genuinely pains me to say I haven't much enjoyed David's masterwork. Even with all the foreshadowing, I've felt the team wildly out of place dealing with the mystical side of the Marvel Universe. I much prefer the series when it focuses upon it's characters with personal stories in a noir detective agency setting. As a regular super-team battling the hounds of Hell itself, the premise loses a lot of it's luster. Here's hoping the final six issues bring the series back around to where it all began.

That's not to say it's been a complete loss. There have been a few noteworthy beats strewn throughout this muddled arc. Most notably the transformation of series lead Jamie Madrox into a mute horned demon. While it's sad to lose the central character for so long a time, there is a palpable sense of fear as to his eventual fate. His demonic dupes play a huge role in the eventual defeat of the villain, but upon vanquishing, our hero is swept away with all other magical beings to god knows where. I very much look forward to the team attempting to reclaim their lost leader and the end of his role as detective as the series wraps up.

Another big payoff contained within the issue comes in the form of Guido's ascension (or fall) to become the King of Hell. He's traditionally been a great source of humour amongst the many misfits of X-Factor, however in recent months, it's come to light that a brush with death left him a soulless husk of the man he once was. As a result, he's become a huge wildcard in the team's ongoing work, never quite knowing whether logic or reason will win out over simple opportunism. This issue serving as the perfect example, as Guido abruptly kills the supposed saviour Tier and takes the power of Hell for himself. David had spent so long building Tier up as the begrudging hero, I don't think anyone was expecting his life to come to such an unfulfilled end. Similarly, Guido was off to the side dealing with Monet for so long a time, it simply didn't occur to me he'd have a major role in the conclusion. It was not a selfish act however, as Guido took the power simply to resurrect the fallen Monet. Just how soulless the big lug is, remains to be seen.

I'd be remiss without mentioning the cold dismissal of X-Factor mainstays, Rictor and Shatterstar. They both perish in similar fashion, with Mephisto vaporising the pair in a blaze of glory. For David to get within sight of the proverbial finish-line of the series, yet still be able to casually murder two long term characters in a matter of panels, is damned impressive. Their sudden deaths at the hands of a mystical being leave the door open to a quick and painless reversal in future issues, however, I can't help but feel as though leaving these cruel acts in place may be the preferred option. How often are we, as readers, disappointed to find a character's death reversed within a ridiculously short amount of time. It's far ballsier to admit beloved superheroes could perish at the drop of a hat in the most unspectacular way possible.

This particular arc may've not been to my personal taste, but the writer Peter David has earned such good will over the course of these 100+ issues, I'm happy to give him a free pass on this occasion. The character beats of the story are as poignant as ever, I simply believe the team were out of their element on this case.

7 out of 10

Review: Age of Ultron #8

Writer: Brian Michael Bendis
Artist: Brandon Peterson
Publisher: Marvel Comics

Finding themselves captured by the Defenders, Wolverine and the Invisible Woman must escape their Starkguard captors and try to make sense of this new world of their own creation.

While there is nothing technically wrong with the Age of Ultron, as we enter the home stretch, I can't help but feel the entire exercise has been utterly redundant. After the last few issues worth of reality-shifting, we've been introduced to a radically different Marvel Universe. One featuring a bizarrely mutilated Iron Man, his personal Starkguard army and Captain America's merry band of rebel Defenders. All brilliant reinterpretations in their own right, but given how little time we're likely to spend with them in the final two issues, I'm struggling to care as to their fates or even their current plight. They're given just enough panels to react to how strange it is to know they're living in a broken timeline, before protagonists Wolverine and Sue Storm break out and seek to change everything back again.

Even more distressing is the apparent death of this universe as well. If it wasn't bad enough that Ultron trashed the regular universe, we're now witnessing an entirely new scenario of everything going to hell. As in the final pages, the Starkguard's mortal enemy, Morgana Le Fey attacks New York with her Doom/Loki hybrids and two Helicarriers crash into one another, taking the entire City with them. This new universe won't even get the chance to come back in future stories ala House of M or the Age of Apocalypse, it's done and dusted within two issues of it's creation. This seems utterly wasteful on Bendis' part. Why introduced all these new concepts, simply to eradicate them with a wave of a hand.

My favourite part of the issue comes when this new version of Tony Stark, more machine than man, marvels at the original universe and like any sane individual, points out all the ways this mess could've been easily averted. I know Wolverine has never been the smartest guy in the world, but his whole "kill Hank Pym early" plan is so full of holes, even the characters within the story are pointing them out! Tony rightfully asks whether Logan attempted to talk his colleague out of creating Ultron or could've planted a time-release virus in Ultron's programming, that would've allowed the Marvel Universe to unfold as it once did. Of course, being the same old stubborn Canuck we're used to, Wolverine would much rather solve the problem with his claws, Butterfly Effect be damned.

Don't get me wrong, the story is wonderfully written and aptly drawn, but the Marvel Universe as a whole has passed this story by. Most series had a single AU issue to their credit, but then carried on with regular storylines as if nothing ever happened. The final two issues of this jaunt will have to pull off some major twists and turns if this story is to become anything more than a footnote in continuity. The idea would've been better served as an isolated arc during Bendis' reign over the Avengers titles. As an event though, it's woefully short-sighted and easily dismissed. Just look at how all the attention is going on Jonathan Hickman's 'Infinity' instead of the end of 'Age of Ultron'. Wrap this one up quickly and it'll be no more remembered by the audience, as by the time-warped combatants.

5 out 10

Review: The Superior Spider-Man #9

Writer: Dan Slott
Artist: Ryan Stegman
Publisher: Marvel Comics

Having quietly guided the Superior Spider-Man's actions for the past eight issues, Peter Parker's number is up all over again, as Doc Ock has become aware of our Spectacular narrator and intends to wipe him out once and for all!

In what can only be described as an encore to Amazing Spider-Man #700, writer Dan Slott is once again in the Peter Parker extermination business. Having physically killed our hero mere issues ago, now comes the psychological death. The ghost we've seen haunting Otto's exploits is explained away as the sum of Peter's memories having taken on a life of their own. These memories have held the former super-villain back at key junctures, but this issue marks his official coming out, well and truly off the leash of morals.

Rather than the simple medical procedure hinted at in the real world, the issue takes on a far more meta-physical bent, taking place almost entirely in the crumbling memories of Parker as they're wiped away by the controlling Octavius. This allows for one final battle between the pair, providing valuable insight into the minds of Spider-Man, old and new.

At first, this plays out as one would expect any other mindscape story to, with the memories of Peter's friends coming to his aid, almost wrestling control of the body back to it's wise-cracking original owner. However, that soon changes, as Octavius unleashes a legion of Spider-Man's deepest nightmares on the unsuspecting young man. Confronted by his most renowned villains, his own personal failures and the stark realisation that Ock may infact be a better hero than him, Peter's resolve crumbles. Particularly, at the notion he would've let an innocent child die in an effort to save himself last issue. Peter Parker died as he lived, laying a colossal guilt-trip on himself.

The Superior Spider-Man began with the promise of Otto Octavius assuming the mantle, but the gesture has often felt half-hearted, as the presence of Peter Parker continued to loom over the book. Nine issues late, the series will finally get to live up to it's premise, devoid of any semblance of it's former star. Going forward, the actions of this Superior Spider-Man will be his and his alone.

Given the radical nature of this paradigm shift, Dan Slott has spent the past few months easing us into the new status quo. Now that all the purists' complaints have been voiced and even the most hardened fanboy is done crying, Peter's role is fulfilled and we're ready for the band-aid to be ripped away entirely.

9 out of 10

News: Peter David closes X-Factor Investigations

Since returning in 2004 with the acclaimed 'Madrox: Multiple Choice' mini-series, Peter David's X-Factor has gone from strength to strength, weathering numerous Mutant storms, carving out it's own noir niche in the Marvel Universe. Unfortunately, that comes to an end with September's issue 262, as the writer brings the series to a close.

Rather than facing cancellation or a relaunch, David himself has chosen to end the series. After completing the "Hell on Earth War" storyline, the writer believed he'd reached a natural conclusion.

"It was basically decided that the 'Hell on Earth War' was as major a storyline as we were going to do,"

"I'd been building toward it for so long that it simply seemed a logical culmination to the entire series. So we decided to wrap it up. It's been going for 10 years, after all."

I, for one, will be sad to see the series go. No matter which radical crossover was happening in the core X-Men titles, X-Factor provided a safe haven for casual readers. Off in it's own little corner, it told intelligent standalone tales, that weren't beholden to the rest of the line.

Review: Age of Ultron #6

Writer: Brian Michael Bendis
Artist: Brandon Peterson and Carlos Pacheco
Publisher: Marvel Comics

Now the survivors have split into their respective teams, with their own unique ideas as to how to stop Ultron, it's backwards and forwards, as we travel to the far-flung future and back to the early days of the Marvel Universe itself. Continuity is officially swiss-cheese!

As mentioned in my last review, the far more linear side of things is handled by Captain America's team, who've elected to travel to the far future and attack Ultron at the source. But that's frustratingly narrow thinking for a team that includes a futurist like Tony Stark. They shouldn't be thinking about avenging the havoc already wrought, they should instead be focusing their efforts on making sure it never happened in the first place. But more on that later. The future team don't really have a lot to do, truth be told. They arrive at their destination, make a bolt for what's left of New York, are promptly attacked and most likely killed. Ultron isn't known for his mercy and he shows none here. Captain America takes an especially nasty hit, which may have outright vaporised his head, but that could just be awkward art, as it was a little unclear. I did however enjoy the Iron Man beats that came before the attack. As someone who deals in technology day in, day out, Tony Stark has a unique perspective on what Ultron has done with the world in their absence. It's beautiful. Completely devoid of life, but damn does the robot do machines justice.

While I'm loathe to agree with another of Wolverine's infamous "let's murder the threat, even if it's innocent" plans, the tiny Canuck definitely has a point with his plan to eliminate Hank Pym and it's this begrudging acceptance that leaves his time-travel partner, Sue Storm, conflicted for the whole of the issue. The Invisible Woman has just suffered the loss of her entire family at the hands of Ultron and despite initially being drafted to the future team, inexplicably finds herself drawn towards the assassination side of things. This is a Sue Storm unlike any one we've met before, as she's clearly stricken with grief and willing to entertain any notion that brings her loved ones back. There are shades of the moral woman we've been reading about for the past fifty years, but like all human beings, we're oh so flawed and that leads to our favourite heroine looking the other way at a vital juncture.

The consequences of Wolverine's murderous act are likely to be far-reaching, creating a Marvel Universe entirely unlike the one we've come to know and love. What does the world look like minus one Hank Pym? Numerous adventures over the course of five decades have hinged upon the quick thinking of this man. While Logan and Sue may have put an end to the Ultron threat for the moment, they've opened a whole new can of worms, which may be impossible to put back the way they were. Just in recent memory alone, the entire Skrull invasion hinged on his involvement, he deftly led the Mighty Avengers into battle multiple times and even mentored the next generation at Avengers Academy. There's no telling which one of those situations would have proved lethal to the world without Hank at the helm. For all the evil the man unleashed upon the world, he did just as much good trying to redeem himself.

The story itself remains consistent with the previous five issues, keeping the same decompressed pace that Bendis' Avengers comics are renowned for. However, with Bryan Hitch leaving the series with last week's issue 5, all visual continuity is out the window. Peterson and Pacheco are wonderful artists in their own right, but struggle to match the realism of Hitch's issues. To look at it, it feels less like an event and more like filler. Certainly not carrying the weight that the events involved deserved. If they had been the art team from the beginning, things probably would've been different, with the story coming together as a coherent whole. But in it's current form, it's as though three series were meshed as one. Comic book publishers are becoming far too concerned with the scheduling of their series, meaning the end product gets rushed in a effort to meet a certain date. It's clearly taken Hitch several years to complete the first five issues, yet Peterson and Pacheco could've knocked this one out in the past month. It's a change of pace that's difficult to ignore.

Don't get me wrong though, I enjoyed this issue far more than the others, simply due to the increased plot progression. The heroes have felt remarkably static for the past five issues, not truly taking any action against their mechanical menace. The actions they do take here, while flawed and sure to end badly, at least they're up off their asses and doing something. The time for wallowing in self-pity is over, now it's time to kick some ass!

7 out of 10

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Review: Uncanny X-Men #4

Writer: Brian Michael Bendis
Artist: Chris Bachalo
Publisher: Marvel Comics

Arriving at the doors of the Jean Grey School in Westchester, rebel leader Cyclops goes on a recruitment drive! Declaring "to me, my X-Men", the former Headmaster certainly has guts. But not for much longer if Wolverine has his way.

The divide between Cyclops and Wolverine has been the driving force of X-Men comics for the past three years. Ever since the "Schism" event led to half the team choosing to stay with Scott on the Mutant isle of Utopia and half choosing to leave with Logan, aspiring to restart the School in keeping with Professor Xavier's dream. There is a fundamental divide, straight down the middle of the Mutant community, neither side entirely sure of how best to proceed in a world that hates them. But where Wolverine preaches peaceful co-existence (yes, I know how ludicrous that sounds), Cyclops sees the reality of the world around him and wants Mutants to be a force to be reckoned with. If Humanity won't leave his people alone to live in peace, he'll fight them tooth and nail for every second of freedom. Not unlike the Magneto of old. Only younger, dashing, not ranting like a mad man and definitely not leading a team of self-proclaimed EVIL Mutants (yeah, dumb move there Erik).

Whereas the biased opinions featured in sister-series "All-New X-Men" would have you believe Cyclops to be a radical lunatic looking to incite full-blown war and Mutant Genocide (errr...how exactly would that benefit him again?), "Uncanny X-Men" tends to feature the man himself and as such, a far more reasonable, grounded representation of the racial icon. The sad thing is, the worst insults come from people who used to call him a friend mere months ago. Honestly, you kill one mentor under the influence of a cosmic-being and suddenly you're a different person. Under those rules, half the Marvel Universe shouldn't be speaking to each other! Any scenes featuring Kitty, Storm, Wolverine or Beast are borderline insufferable with their inability to hold an adult conversation with a long-time friend like Scott. They'll teach forgiveness of Humanity to their pupils, just not forgiveness of their friends and colleagues. Real mature, guys.

Thankfully, the Cyclops character assassination takes a backseat, as Bendis examines the same scene that ended "All-New X-Men", only from the on-looking perspective of the Stepford Cuckoos (and Emma Frost, when she can get her powers to work). You see the same actions as before, taking place in the background, but this time with the true focus on the borderline torture of Frost at the hands of her former students. The Cuckoos are not happy to see their mentor again and aren't shy about showing it. Quickly realising that Emma's powers have been "broken" in the wake of the Phoenix disaster, the person that the Cuckoos once feared most, becomes little more than frightened prey, toyed with by a superior predator. Honestly, by the time the issue closes, you get the sense the Cuckoos have joined up with Scott's Uncanny team not out of any ingrained loyalty, but simply to mess with Emma some more.

With a book called "All-New X-Men" on the stands, it's ironically "Uncanny X-Men" that features the greatest wealth of new Mutant characters. While the adults are off having a pissing contest with their former friends, Scott's new recruits are making themselves at home in the former Weapon X facility turned Xavier School. It's only now dawning on them that this is their life and it's not simply a matter of "going home". Thankfully, Bendis doesn't wallow in the angst of their new situation, but instead has fun with it. As questionable as the leaders have become, these children are 100% goofballs and very quickly find themselves getting into japes in the Danger Room. Not to mention, something as simple as picking which room to sleep in.

An unfortunate side effect of Marvel's scheduling means that this issue of "Uncanny" unintentionally spoils the big reveal of which original X-Man joined the team in the wake of last week's "All-New" cliffhanger. I'm sure the consequences of this character's "defection" will be touched upon ad infinitum, but as far as shock and awe is concerned, the cat is out of the bag. The man of the hour is none other than Warren Worthington III aka Angel. After his failed attempt to bolt back to his own time (even if he can't remember it), it's really no surprise that he wants nothing more to do with the Jean Grey School. If he can't get home, getting away from those do-gooding nutjobs is the next best thing! As evidenced by the issue of "All-New" in question, these time-displaced original X-Men are beginning to ask the right questions, ones that are making the teachers at Wolverine's school all the more uncomfortable as they struggle to justify their own lies. Say what you want about Cyclops, the man is telling the truth.

8 out of 10

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Review: Age of Ultron #5

Writer: Brian Michael Bendis
Artist: Bryan Hitch
Publisher: Marvel Comics

We reach the halfway point of Marvel's 2013 summer event and the story that's been quietly simmering for four issues finally boils over, bringing us to the crux of the series - time travel. After last issue's big Vision-shaped discovery by Luke Cage, namely that big bad Ultron isn't even in the same time-frame as our heroes, the survivors weigh up their options from the comfort of Nick Fury's super-secret Savage Land hideaway.

Once arriving, the question isn't so much how the heroes will strike back against Ultron, but when. As it turns out, Fury has been stashing one of Doctor Doom's old time platforms for a rainy day and it doesn't get more rainy than a shower of shiny golden robots systematically destroying the world. If memory serves correct, said time platform doesn't affect the current timeline, merely create a new alternate one. I vaguely recall a Fantastic Four annual hinging on a future Johnny Storm coming back to avert a tragedy, but rather than save his own family, he merely created a world where they continued to live. But that might just be my fanboy mind picking holes in Bendis' chosen plot device.

With the method of the remaining heroes' kamikaze mission decided, they then have to choose the perfect moment to strike at Ultron and the survivors are of two minds on the matter. While the linear side of things is covered nicely by Nick Fury's strike team, heading off into the far-flung future to attack the Ultron directly responsible for this assault, the far more interesting approach comes in the final pages, as Wolverine declares his intention to travel back and kill Hank Pym (aka Ant-Man aka Ultron's creator), before he can birth this monstrous AI upon the world. The small hairy canuck aims to misbehave and there's no telling what affect he'll have on Marvel Universe continuity as a result.

As explored in the opening pages, to much wordier effect, Pym himself had even considered travelling back to a time before Ultron and warn his past self of the horrors his creation will inflict. But as correctly pointed out by his fellow scientists, Tony Stark and Reed Richards, where does one draw the line when "correcting" past mistakes? Do they leave it at Ultron or do they travel back even further and stop Hitler from kickstarting World War II or do they go back even further and knock that insidious apple out of Eve's hand. The message Bendis is trying to relay is that altering time is a slippery slope and there's no clear end in sight. As much as the ability may aid the heroes in this time of need, it's just as likely to be abused by the wrong people. Hell, in this case, the heroes ARE the wrong people. They want to murder a founding Avenger!

Age of Ultron #5 marks a profound turning point in the course of this series, not only with the changing stakes of the situation, but behind the scenes as well. The first half of this ten part story was written nearly three years ago at this point, making for numerous visual and character inconsistencies in the opening salvo. Wrong costumes for the most part, but wrong characterisation entirely in Spider-Man's case, who fails to reflect his new "Superior" attitude. Like most characters in the book, their current status quo's weren't even an inkling in their creator's eye while Bendis was writing and Hitch was illustrating way back in 2010. As such, issue five brings to a close Bryan Hitch's work on the series, gracefully departing with some fine work, before the story kicks into another gear entirely. I'll miss the consistency of his artwork on the book going forward, but I'll be grateful for an up-to-date artist who isn't trying to jam old ideas into present day continuity. It's Marvel NOW, not Marvel THEN.

The story itself continues to tick over, giving us enough to keep our interest, but not really engaging at the same time. There's an inherent flaw in time travel stories, whereby at the back of your mind, you know everything will snap back to "how it should be". Marvel have so many plates spinning at the moment, I can't believe they'd let a three year old pet project dictate their entire line's future. This is basically Bendis wrapping up a few loose ends from his legendary run on the Avengers franchise. It's more of an encore, than a beginning. Play the hits one last time, then respectfully leave the stage. After all, Jonathan Hickman's Avengers series has shot off in another direction entirely. So much so, Age of Ultron is squarely in the rear view mirror, even as it continues.

6 out of 10

Review: Superior Spider-Man #5

Writer: Dan Slott
Artist: Giuseppe Camuncoli
Publisher: Marvel Comics

Otto Octavius continues to masquerade as Spider-Man in the captive body of Peter Parker. The hero helplessly watches as his greatest enemy forces him to cross the most important line of all!

I haven't been the biggest fan of Spider-Man comics in recent years, what with 'One More Day' having done a decidedly good job at turning me off the character for the best part of five years. However, Dan Slott has done a wonderful job at coaxing me back with this pseudo-relaunch as the Superior Spider-Man. Where I'd grown quite bored of the regular Peter Parker status-quo (great responsibility, yada yada yada), there's a perverse joy in watching one of the biggest supervillains of modern day comics masquerade as said hero. Doctor Octopus in the body of Peter Parker has instantly become far more entertaining than the traditional angst-ridden hero. Having no guilt over his less-than-noble methods has allowed Otto to become a better Spider-Man than Peter ever was!

This particular issue brings Octavius head to head with one of Peter Parker's greatest failures (at least recently) - the mass-murdering psychopath, Massacre. Where the Amazing Spider-Man would capture the disturbed villain and seek justice, the Superior Spider-Man has no qualms with tit for tat. If Massacre is willing to kill, so too must this new Spider-Man. Peter Parker's ghostly conscious was able to stay Otto's hand once already, when the good Doctor was about to kill a hapless villain, but will he have the willpower to do it again?

To me, the most fascinating part of the book is not the hero's dilemma (or lack thereof), but instead the surreal deal a businesswoman is willing to enter into with Massacre. Having seen the negative publicity his actions have brought to her own company (where his last set of killings took place), she's quietly approached by the madman himself, angling for a multi-million dollar payday to commit atrocities wearing brand products from competitors of her choosing. At the expense of innocent lives, this woman can drive business away from her rivals and back towards herself. If it were not a horrifying loss of life, it'd be ingenious.

While this is going on, Octavius procrastinates by visiting a tutor in aid of finishing Parker's long incomplete doctorate. Scarily, this meeting had romantic overtones, at least in my interpretation. Anna Marconi is a delightfully wry little person (her words, not mine) and over the course of their session, the pair develop a playful mutual respect. Science soon turns into dinner, turns into what I think was flirting. I'm not sure though, as Octavius would no doubt be terrible at doing so and the idea of him flirting makes my stomach turn a little. The idea of Doc Ock romancing someone in Peter Parker's body is creepy on so many levels!

Another standout moment comes when Spider-Man is in the middle of saving several of Massacre's hostages. Octavius remarks just what an oddity it is to be saving so few lives, when only a short time before, he was threatening to kill billions and render Humanity extinct. He's clearly learning from his experiences as the new Spider-Man, but something tells me he's going to take all the wrong lessons along the way. He may strive to save lives now, but lots of people are going to suffer for him to achieve that.

8 out of 10

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Review: Alpha - Big Time #1

Writer: Joshua Hale Fialkov
Artist: Nuno Plati
Publisher: Marvel Comics

Oh how things change in such a short amount of time.

Mere months ago, the character of Alpha was introduced to much fanfare by Marvel. If not a resounding thud...as everyone dropped their issue of Amazing Spider-Man back on the stands and resolved to come back next month, once this awful kid sidekick had finally gone away. Now, he's back with his own mini-series to annoy you in brand new ways!

Alpha was created in a similar fashion to Peter Parker's Spider-Man i.e. the classic "science project gone wrong". However, where Spidey took to heart his Uncle's mantra about great power coming with great responsibility, Alpha went completely the other way, proving with great power comes no responsibility whatsoever. He used his powers irresponsibly, didn't care who got hurt, took revenge on those who'd wrong him (*cough*schoolbullies*cough*) and most impressively - to hit on girls. Poor Andy Maguire proved a monumental irritant and raised the ire of the internet community in a fashion not seen since Damian Wayne first reared his grumpy head. His initial reign of terror ended just as quickly as it had began, with the Avengers de-powering Alpha, leaving him with only a fraction of his true potential.

Picking up where we last left him, Andy has returned to regular life, but not quite the one he had before. His profile has been raised so high, he'd be hard-pressed to be considered "normal". Similarly, his literal power-trip has left him on the outs with the "cool" crowd. Instead, he's somewhere inbetween. Stuck in social limbo. This gives us the smallest glimpse of humility in Andy. Has he finally learnt his lesson? Hell no. We're only on Issue 1!

After being flown back to New York City for his monthly checkup at Horizon Labs with our formerly-Friendly Neighborhood Spider-Man, the now "Superior" Peter Parker has had a change of heart. On account of Andy's good behaviour, our newly villainous wall-crawler has decided to restore Alpha's abilities, a little bit at a time. On the outside, this appears to be a gesture of good faith, but with Otto Octavius' mind currently occupying Peter Parker's body, the true intent is to exploit the Parker Particles that gave Alpha his abilities in the first place. More so than Peter ever would have thought to.

Sufficed to say, Alpha goes on to try and become the hero he's always dreamed of, but his usual reckless standards slowly begin to creep in. I have to admit, I love the narrative device of only giving Alpha a percentage of his powers back at a time. It almost acts like a metaphor for his personality. Everyone hated him at 100%, so now they're dialing him back to 10% and seeing if there's a hero worth working with at Andy's core. However, if he's still screwing up this badly at 10%, it doesn't bode well for future issues when Doc Ock cranks up the juice.

As insufferable as Alpha had been previously, I was surprised to find I really enjoyed this issue. Finding him down on his luck and slightly more modest, worked wonders for his likability. Also, coming at the story from Andy's perspective gives us the true entry point we were lacking in the previous Amazing Spider-Man arc. Where before, all we saw was Peter freaking out about having created this horrifying potential supervillain, we're now firmly on Andy's side, knowing his true intentions and just how genuine he is in wanting to become a superhero. Even when he screws up towards the end, it was in service of doing the right thing. I particularly liked the teenage point of view, where instead of thinking "oh my god, I did something terrible", he's thinking "oh my god, I'm in so much trouble".

Fialkov has done a wonderful job of re-introducing Alpha to an already-hostile fanbase. Before, Andy was nothing but a plot device in service of an anniversary issue. Now, he's his own flesh and blood person, with thoughts, drives and emotions. Human beings are complicated animals and sometimes it's easy for comic books to forget that in pursuit of "hero hits villain", but this series adds some much needed nuance to this new character. It's early days yet, but this issue proves to be a wonderful new beginning, with genuine promise.

8 out of 10

Review: Uncanny X-Men #1

Writer: Brian Michael Bendis
Artist: Chris Bachalo
Publisher: Marvel Comics

Cyclops was right. Or so he'd have you believe. This brand spanking new volume of Uncanny X-Men, coming not too long after the last relaunch, explores Scott Summers' role as figurehead of the brewing Mutant Revolution. But which parts are real and which are media spin? Expanding upon the use of a PR agent in the last volume, these new X-Men are acutely aware that the true battle for the Mutant cause won't be waged against a cackling supervillain, but in the hearts and minds of their followers, whether it be on the streets or on Twitter.

This introductory issue is framed around a traitor in the group. Someone close to Scott, who has betrayed the cause and gone to S.H.I.E.L.D., hoping to bring down their leader. For the majority of the story, the traitor's identity remains a complete mystery. Whilst being pumped for information by Maria Hill, the turncoat recounts the Uncanny X-Men's most recent mission to recover a burgeoning Mutant from Police brutality. Sufficed to say, things go south fairly quickly and the team are ambushed by Sentinels. Even if there wasn't a traitor amongst their ranks, this new X-team have a long way to go in regard to teamwork. Whether it be their malfunctioning powers or their cavalier attitudes, the adults have just as much to learn as the children.

But I digress, the traitor. The Mutant Benedict Arnold. In a move eerily similar to how Bendis began New Avengers all those years ago, the team has to deal with split loyalties from the get-go. Rather than have the offender sat in costume and give the game away immediately, they are sat in a prison issue jumpsuit. There's absolutely no hair on their head, perhaps as a tip of the proverbial hat towards the late Charles Xavier. They have intimate knowledge of the X-Men, their operation and even Cerebro, helping S.H.I.E.L.D. to locate the new Mutants just as fast as Cyclops can. Hell, if Professor X weren't dead, he'd be top of the suspects' list.

I won't reveal the identity of this traitor, but I personally found the mystery to be quite lazy and trite. Bendis relies far too heavily on stripping away any identifying traits, meaning it could quite literally be anyone. By the time the final page rolled around, the image itself held no shock value, as the person in the chair didn't particularly look like the one we've come to know. This unfortunately left the dialogue to carry the weight of the revelation. If that logo were removed, we wouldn't have a clue as to who the traitor is.

7 out of 10

Weekly Comics Round-Up 25/10/2012

TEEN TITANS #13 (DC COMICS)

Scott Lobdell continues his gritty reinvention of the popular team of teenage superheroes, but unfortunately not to the liking of this reviewer. I've had issues with this volume of Teen Titans from the very start, but mostly due to DC throwing away the long history the core characters had together in the previous DC universe. The New 52 incarnations have been barely recognisable and not even remotely as fun as their original counterparts. However, my big fault with this issue isn't due to the screwy continuity, merely that the issue itself is particularly dull. In what is meant to be 'The Bloody Origin of Wonder Girl', Cassie falls prey to the trappings of every whirlwind romance ever written. The dashing stranger, the seductive locales, the "heartbreaking" trauma that rips the lovers apart, etc. By the time any genuine plot kicks in, about some supernaturally haunted armour, I'd grown sick of the pair of them and actually WANTED something horrible to happen to split them up. Of course, all of this is told in retrospect, with Red Robin and Superboy offering snarky comments at appropriate moments. However, the one thing that did make me smile reading the issue? Seeing Superboy back in his t-shirt and jeans motif from pre-relaunch. I don't suppose it's a lasting change, but I'll always prefer an actual teenage look for the character, as opposed to his Tron suit.

3 out of 10

THE INCREDIBLE HULK #15 (MARVEL COMICS)

Bringing to a close Jason Aaron's largely botched run on the character, we have the final issue of this volume (soon to be relaunched once again as Indestructible Hulk under the far more capable Mark Waid). After well over a year of both Hulk and Banner trying to kill one another, they've decided to put their differences aside and team up to take down the real villain...like every other Hulk story known to man. I can only describe this issue, as fun as it is, as a massive reset button. The two halves of the psyche have been reunited, the villain put in their place and any lasting consequences of Banner's stint as a mad scientist erased. The last thing in the world any story should do is put everything away tidily and leave it all exactly as you found it, but this series does. In years to come, this volume will be little more than a footnote in the continuing adventures of Bruce Banner and his big green split personality. Where the cinematic incarnation soared to new heights this past summer, the comic equivalent sunk to new lows. Just when everyone wanted to read about a likable, wry, fun Bruce Banner, Marvel offered up an evil madman. Talk about a misfire.

5 out of 10

 AVENGERS VS X-MEN: CONSEQUENCES #3 (MARVEL COMICS)

Picking up from last week's fantastic issue, we continue to watch Scott Summers aka Cyclops traverse the physical dangers of prison, not to mention the political ramifications, even from his locked cell. This series was initially little more than a curious exploration of the aftermath of a larger crossover, but with every passing issue becomes something more. Kieron Gillen has been doing wonderful work with the character of Scott Summers ever since his run on Uncanny X-Men began and Cyclops formed the Extinction Team. That continued guiding hand pays off in spades here, as the character remains fundamentally consistent, even in such a traumatic period of his life. Forget that Uncanny X-Men came to an end last week, this could be yet another issue and I wouldn't bat an eye. The most impressive aspect of this book is that despite the lead character's incarceration, despite the world at large hating him, despite the superhero community in an uproar over him, Cyclops has never been more in control of the situation. He may be conflicted over his role in the death of Professor X, but he continues to be the same man who united the Mutant race when no one else could and I don't get the feeling he's willing to give up that leadership role just yet. No matter how many replacements Captain America puts forward in his place. All in all, an excellent book that continues threads from Uncanny and masterfully sets up the soon to debut All-New X-Men.

8 out of 10

INVINCIBLE #96 (IMAGE COMICS)

For the past several issues, we've been witnessing flashbacks to Robot and Monster Girl's time in the hyper-accelerated Flaxan dimension. Which led to the untimely reveal that Monster Girl had secretly fathered a child with a native! Don't even get me started on the logistics of a girl fathering a child, I always assumed the Monster was a girl too, but I guess it's...confused. Anyway, the conflict with her progeny is wrapped up quickly, leaving a fair portion of the book to deal with the emotional impact of the revelation. Robot seemed to take the news quite hard previously, but if anything, it brings about a heartwarming reunion for the couple. I'm just going to ignore the deep dark secret he's hiding (even though I know it's bound to come out later!). Meanwhile, there's a hilarious little subplot about Mark (thought the series had forgotten about him, didn't you), wherein he and Eve attempt to rekindle their sex life in the wake of losing his powers. Sufficed to say, he's clearly been taking the easy road all these years, as his technique could use some finesse. Not a standout issue of the series, but it keeps the proverbial plates spinning for another month. Essential in the buildup to a landmark like issue 100.

7 out of 10

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Weekly Round-Up 25/09/2012

NIGHTWING #0 (DC)

Epitomising the notion of DC's "Zero Month", we're taken all the way back to Dick Grayson's origin as Robin. It's pretty much beat for beat everything you'd expect from such a story. No radical reinventions on display here. But even so, a solid retelling of the tale none the less. The only true alterations come in the form of furthering writer Kyle Higgins' running theme of Dick always looking forward, never back. There's a particularly clever scene depicting this, with Dick and a childhood friend racing a train and saving an endangered innocent in the process. The only possible downside is the ghastly revisionist Robin costume. What was once a tunic and pixie boots has become a godawful suit of armour with so many details it must take the artist an hour to simply remember what it looked like in the last panel. The New 52 has been rife with such outfits and sometimes they could do with taking a step back and realising - simpler is better.

8 out of 10

SPIDER-MEN #5 (MARVEL)

In the final issue of this landmark crossover between 616 and Ultimate universes, Peter Parker and Miles Morales team up one last time to take down the dimension-hopping threat of Mysterio. So why does it feel like nothing much actually happened in this mini-series? Over the course of these five issues, conflict has been kept to a minimum, instead being more of a polite meet and greet between the two Spider-Men. Mysterio is so easily defeated in this issue that you can't help but wonder why it took so long in the first place. However, it's not all bad, as the bonding between the two arachnid-themed heroes has been genuinely funny and compelling. While it's not really the 616 Peter's place to give Miles his blessing (what with being in the wrong universe and all), the advice he was relaying was heartfelt and meaningful. Miles has always been lacking in any endorsement from his universe's dead Peter Parker, so it's quite fitting he receives it here. The issue ends on a hell of a cliffhanger, with Peter looking into whether or not the 616 universe has a Miles Morales of it's own. I don't know what it is that he found on that Google search, but I'm sure I'd buy another mini-series to find out!

9 out of 10

 STAR TREK: THE NEXT GENERATION - HIVE #1 (IDW)

As a life-long Star Trek fan, the initial news of this mini-series captivated my interest. Unfortunately, the implementation has failed to deliver on every conceivable level. Beginning five hundred years in the future, it's revealed that the Borg have achieved their goal of assimilating the entire galaxy. Yet their quest for perfection has yielded no answers, no resolution, no peace - they're actually quite bored by it. The reassimilated Locutus sets into motion a plan to restore the region to it's former glory and like all good Trek stories - uses time travel to do it. The issue itself features a horrifying scene which can only be described as Picard calling old flame Vash for a booty call, a frankly laughable Data substitute and manages to undo four seasons of character development for a major Voyager cast member (it shouldn't be too hard to guess who - she's on the cover!). Also, if the plot hinges on travelling back in time to stop the total assimilation of the galaxy, who are these new inter-dimensional beings acting as the villain and why should we care about them when all signs point to them being a wild goose chase. When Brannon Braga left the Star Trek franchise behind, that was the best decision anyone could ever have made. Why undo that all these years later?

3 out of 10

THE WALKING DEAD #102 (IMAGE)

Still reeling from the shocking events from issue 100, Rick's group have made their way back home to the Washington compound. Last issue's cliffhanger reveal of Andrea having captured a prisoner would have typically been taken as a rallying cry, especially with this group of characters. However, writer Robert Kirkman expertly turns the dynamic on it's head. Sure having a prisoner is a tactical advantage, but they're up against overwhelming numbers and one man held in a cupboard isn't going to change that. Previously, we would've expected lead character Rick Grimes to take his sweet revenge on the prisoner and set out looking for the villain, but recent events have shaken this once proud man into apathy. Where mere issues before he was offering his military support to a neighbouring community, he's now backed down and is actually conceding to the rebel's demands (or at least we think he is). For a hundred issues, these characters have proudly taken on the world all by themselves. This issue intelligently explores the option of cowardice under such circumstances, as worrying as that may be.

10 out of 10

The New Avengers #28 Review

For those that haven't been following the universe-spanning events of "Avengers vs X-Men", the Phoenix Force has returned to Earth and splintered, taking five of the X-Men (Cyclops, Emma Frost, Namor, Colossus and Magik) as hosts. Despite the Phoenix Five doing everything in their power to make the world a better place, ranging from solving world hunger to providing electricity to areas without, the Avengers have decided such incomprehensible power cannot be trusted in the hands of mere mortals and that it will only be a matter of time before the X-Men are corrupted from within. As a result, the Phoenix Five have outlawed the Avengers as a group, driving them underground. This particular issue of New Avengers tells the tale of three captured team members - Hawkeye, Spider-Woman and Luke Cage, as they struggle with imprisonment and plot to escape the X-Men's brig.

First things first, glad to see that Hawkeye's condition has greatly improved since we last saw him in the pages of Avengers vs X-Men. He'd infuriated Emma Frost to such an extent, she decided Clint deserved to die and attempted to roast him like a marshmallow! There's no hint of his injuries here, so all seems to have gone well when Cyclops brought him back to life through sheer willpower. They even put him back in his costume, which I had assumed was burned up during the initial scuffle, but that's a minor quibble.

Unfortunately, while this issue may have brought an Avenger back to life, it certainly does no favours for their public relations. At several points throughout the story, the imprisoned heroes act disturbingly like psychopaths. Hawkeye and Spider-Woman being the pair most at fault. I suppose you could understand their behaviour taking their associations with SHIELD and their past life as spies into account, but they go to some questionable extremes to take down their X-Men captors. One flings a plate into the throat of a young girl and proceeds to break her arm, while the other manages to obtain a pen to write a letter...and holds it to her sympathetic teenage captor's neck, threatening to kill her. So these supposed superheroes are more than happy to physically assault teenagers and when that doesn't work, threaten their lives. Which part of these characterisations sounded good to Brian Michael Bendis as he was writing?

Thankfully, it's not a complete loss, as the moments where they aren't being totally out of character are actually rather charming. There's a particularly funny beat when Spider-Woman attempts to rescue Hawkeye from his cell, only for him to think it's a shape-shifter imitating her. The romance between the pair continues to be a highlight across the entire Avengers franchise, while also raising questions after coming out the same week as Avengers Assemble #5 which depicted an illicit kiss with Black Widow. It just goes to show, they can take the quiver away from Clint Barton, but he always has one "arrow" in reserve.

Luke Cage is the Avenger who comes out of the issue with his reputation most intact. Rather than follow suit with his deplorable colleagues, Cage's thoughts are geared entirely towards the welfare of his wife, Jessica Jones, and their baby, Danielle. It certainly doesn't hurt that the X-Man guarding him is Warpath. It's a lot easier to sympathise with Cage taking on a hardened veteran of X-Force over his team mates cowardly take downs of Magma and one of the Stepford Cuckoos.

As with the majority of these "Avengers vs X-Men" tie-ins, the intent comes across as muddled and confusing. Exactly which side are we meant to be rooting for here? This is a New Avengers issue, so you'd expect the title team to be sympathetic. However, all of the team's members come off extremely badly. Meanwhile, the X-Men, who are the captors in this scenario, are kind, considerate and polite to a fault. They're feeding the Avengers, bathing the Avengers, rushing to get whatever would make the Avengers feel more comfortable, but treated as the villains for their troubles. At the end of the day, the Avengers have never had a good reason to come after the X-Men or regard them so poorly. Infact, with so many members crossing over between the two, you'd expect the Avengers to think highly of Mutants. Until the day comes where the Avengers can produce a valid reason for fearing the Phoenix Five (other than "urmmmm, it could go wrong?"), I will struggle to empathise with their plight.

6 out of 10

Avengers vs X-Men #5 Review

Marvel's latest summer event ends it's first act with a game-changing issue! When last we saw the company's two most popular superhero teams, they had both found their way to the Moon, the Phoenix Force drawing ever closer and the two sides locked in combat over the fate of the Mutant Messiah and soon-to-be-host, Hope. Captain America wants to take her as far away from Earth as possible, Cyclops wants her to embrace the power and reignite the ailing Mutant race. All the while, fan-favourite Wolverine hovers in the background threatening to gut her like a fish incase this all goes wrong. Never have the heroes of the Marvel Universe ever disagreed to such a degree. The superhero Civil War was a petty spat in comparison. In Avengers vs X-Men, the fate of the whole world hangs in the balance!

As I am only beginning my reviews with issue 5, I feel I should sum up my feelings on the entire event so far to give the best picture of how it is going. Unfortunately, I'm not coming down on it favourably. Ever since the first issue, these typically rational heroes have been acting like colossal jerks. Captain America inexplicably declared war on the X-Men and is talking about imprisoning the entire Mutant race, behaving wildly out of character. Cyclops has come off like a religious zealot, giving himself over entirely to a cause bigger than himself and putting the whole world in danger in the process, behaving wildly out of character. The only person who's actually acting IN character is Wolverine, but his goal of murdering Hope is so despicable, you really wish he would act out of character and try to save her instead. He's betrayed the X-Men at every turn and is actively aiding in snuffing out Mutantdom's last chance at a future. It was never going to be easy for Marvel to find a reason to have their most popular franchises go to war...and they still haven't found it.

This issue inparticular takes place almost entirely on the Moon, taking place over a matter of minutes. Hope keels over in pain at the impending arrival of the Phoenix Force, while the Avengers and X-Men simply hit each other like simpletons for twenty pages. There's an occasional plea by Captain America to Cyclops to stop this madness, but even in such a rational request, everyone is still committed to their own course of action, with no attempt at compromise. You'd think as they're on THE MOON, what's the harm in letting Hope take on the power, see if she can contain it and if not, have Wolverine use those claws he's been sharpening for the past four issues. Ultimately this issue is just another horrible example of Marvel smashing their favourite toys together and seeing what happens, regardless of whether it makes sense.

I'd be remiss if I didn't mention the schizophrenic creative team behind this series. All of Marvel's top tier writers have taken a crack at writing an issue a piece. I'm assuming that there was a huge group meeting to discuss where exactly the story was heading, but even then, these are wildly different writing styles and inner voices being used with every passing issue. A Brian Michael Bendis comic is a very different beast to a Jason Aaron comic, as it is to an Ed Brubaker comic and so on. They all have their various strengths and weaknesses and as a result, they never come together as a cohesive whole. This particular issue was written by Matt Fraction (famous for his work on The Invincible Iron Man, The Mighty Thor, Defenders, etc). He's well known for taking a step back from the emotional core and focussing on lofty bigger ideas of a grand scale. Considering he's got two superteams on the surface of the Moon scrapping it out, whilst a cosmic force moves ever closer in an attempt to consume them, you could certainly say he's guilty of that here. He does however frame the issue around a lovely metaphor where Hope questions whether she's the pilot of the bomber or the bomb itself. Amidst all the needless violence, I did appreciate such sentiment.

Ironically, the art is the one aspect of the series so far to remain consistant, with John Romita Jr handling every issue of this Act. However, the only reason he's been able to manage this feat is by turning in shoddy half-arsed art that conveys the bare minimum of detail. To be fair, I'm not saying it's the series itself that's bringing this out in him, as he's been coasting on "deadline" art for the past ten years or more. Only in very rare cases has he produced anything even remotely beautiful. For the majority of series he's worked on, he'll turn in whatever he's managed to accomplish in that timeframe, which isn't a whole hell of alot. This actually reminds me alot of his work on the recent relaunch of The Avengers. For the first 12 issues or more, he turned in some of the worst art I'd ever seen and if not for the similar style, would've had me wondering whether this was the same guy who wowed me on Amazing Spider-Man all those years ago. I'm not decrying the art as absolutely horrible, merely functional. There probably won't be any images from this series that stand out as a classic visual of our time, which is a real shame considering the monumental subject matter. I'm far more interested to see what Oliver Coipel achieves in the upcoming second Act.

Finally, the issue ends on a shocking cliffhanger, which I'd be an idiot to not address. So if you're not wanting to know what happens, please do not read beyond this point and go about your business. As established in the most recent issue of Uncanny X-Men, the Phoenix Force was definitely responsible for Hope's birth and the subsequent arrival of the "Five Lights". Not having her acolytes on hand at the time of it's arrival, the Phoenix Force possesses the five members of the X-Men's Extinction Team. Cyclops, Emma Frost, Namor, Colossus and Magik have all become living avatars of the Force. After their abrupt transformation, they take the broken Hope in their arms and abscond back to Earth, with their great work still ahead of them. This is actually a fantastic concept for the remains of the series and quickly dispells the notion that the Avengers have been utterly superior up until this point. The X-Men were losing, but now they've changed the game entirely and laid claim to the moniker of Earth's Mightiest Heroes. It'd be extremely easy for Marvel to make these possessed X-Men the villains of the piece and have the Avengers striving to stop their genocidal plans, but I'd be far more interested if their motivations weren't as simple as wiping Humanity off the face of the Earth and instead had the Phoenix wanting to bring about genuine change on a global scale.

6 out of 10  

The Incredible Hulk #008 Review

In the story so far, the Hulk had force ably separated himself from long-time alter ego, Bruce Banner. The good doctor didn't take losing his better half well and became the quintessential mad scientist in the hopes of recapturing the raw power he had lost. This brought the two halves into direct conflict, climaxing in a catastrophic Gamma bomb explosion, seemingly killing puny Banner once and for all!

This issue begins a new arc titled "Stay Angry". If the name wasn't enough to hint at the series' new direction, it transpires that the Gamma bomb in question fused Banner and Hulk back into one body. But while past issues focussed on the struggle of Banner to control the monster inside, he has now become that very monster and the Hulk must fight to stay angry enough to keep the mad scientist from re-emerging.

Jason Aaron's take on the Hulk had failed to grab me thus far. While I admit the notion of Hulk fighting Banner physically instead of psychologically was an interesting one, seeing Banner devolve into such a vile twisted shell of his former self felt like a horrible misrepresentation of a once noble man. Especially at a time where everyone is flocking to the cinema to see a heroic Bruce Banner in The Avengers. The character was the breakout success of the summer and Marvel choose to capitalise on this by...making him the villain?

The issue begins (and ends) with Hulk waking up amidst one of Banner's nefarious schemes. The reader is dropped into the story with just as much information as the main character i.e. none. All we have to go on is that he's in a rancid Mexican motel room, surrounded by a gang of bizarre "man-dogs" and a suitcase lying on the bed containing two million dollars! As much as I didn't like the first arc of this series, this is definitely the preferable way to approach the evil Banner concept. Having your hero wake up and have to investigate his situation is a fantastic way to begin a story. However, the truly interesting aspect of the issue (and one assumes the ensuing arc) are the methods by which Hulk has to remain angry at all times or fall prey to the evil Doctor Banner's machinations. Ranging from being shot in the face to diving out of a moving truck, a lot of the set pieces read like a superhero version of Crank. Imagine a big green Jason Statham doing crazy stunts to keep his heart rate up and you can perfectly envision this story.

Also, I'd be remiss if I didn't mention the reunion of writer Jason Aaron with former PunisherMAX artist Steve Dillon and (although a different incarnation) the Punisher himself. The cameo of Frank Castle was pretty damn gratuitous. He just happens to be hunting down the gang that Banner has been dealing with and takes advantage of the Hulk by having him run offence for a few local missions. I'm not even entirely sure there's closure on what the Punisher was doing. He's in the story one moment, gone the next. At it's heart, I think it was just an excuse for Aaron and Dillon to work together on the Punisher again. But even so, their reunion did create a few funny team-up moments between the two anti-heroes. Frank being oh so gracious as to shoot Hulk in the face a half dozen times is an image you're not likely to forget in a hurry.

Along with the recent issue 7.1 that came out a few weeks ago, Aaron is slowly drawing me in to his version of the Hulk. I'm beginning to think that the only reason I didn't like the opening six issues was the terrible art by Marc Silvestri. With both issues since he left, I've found an enjoyment that was lacking before. There's a certain whimsical absurdity to Aaron's writing that can only be captured in appropriately cartoonish art. As long as this arc can maintain a consistent style that complements the writing, I don't see why I can't stick around for the whole story.

8 out of 10