Review - All-New X-Men Volume 4: All-Different

Kitty Pryde and the All-New X-Men have left Wolverine’s Jean Grey School, joining up with Cyclops and his team at the Weapon X facility. They’re given new uniforms and are sent on a mission to rescue a mutant from the religious zealots known as the Purifiers, unaware that they’re saving an old friend of the X-Men.

All-New X-Men Volume 4: All-Different collects All-New X-Men #18-21, written by Brian Michael Bendis and illustrated by Stuart Immonen, Brandon Peterson, and Mahmud Asrar. It also features the one-shot X-Men Gold, which features vignettes by Chris Claremont, Stan Lee, Louise Simonson, Roy Thomas, Fabian Nicieza, and more.

This volume picks up after the events of Battle of the Atom. Kitty has thrown her support behind Cyclops, bringing her squad of trainees with her. Jean Grey is more determined than ever to change her future, while her relationships with Cyclops and Beast are somewhat frayed. Amidst this melodrama, the X-Men are tasked with stopping the Purifiers from killing an unknown mutant. This mutant turns out to be Laura Kinney (AKA X-23 AKA future Wolverine). Horrified by what Laura has endured, the X-Men formulate a plan to bring down the Purifiers. This arc is brief, but impactful. Bendis and co. utilize the Purifiers in a way that is just as relevant now as it was when Chris Claremont and Brent Anderson introduced them in God Loves, Man Kills. It even features a callback to that graphic novel. Religious fanatics using scripture to justify their hatred for those who are different than them will always be terrifying (and sadly evergreen), so this is what makes the Purifiers such a gruesome foe for the X-Men. Although, the optics regarding the rhetoric and themes used in this arc are somewhat poor. The Purifiers are clearly based off of real life white supremacist and anti-LGBTQ groups, so having the all-white (mostly straight) All-New X-Men be the focus of their ire seems weird.

Action is definitely at the forefront of this volume, which is a bit of a change of pace from previous ones where a lot of the stories involve the characters standing around talking to one another. Of course, that’s not to say that there isn’t any character work that is done within this arc. We get some touching moments, such as when Kitty and Illyana reunite and when Cyclops consoles Laura after her rescue. In fact, I’m quite fond of the dynamic that Bendis has cooked up between teen Cyclops and Laura. Whether intentional or not, it feels like it’s referencing the popularity of the slash pairing of Cyclops and Logan. It also helps us to see Cyclops as someone who is caring and compassionate, which are traits people don’t usually associate with him. Jean continues to be the focal point in the series, though she’s becoming increasingly more grating due to the continued abuse of her powers. She’s eager to use them however she wishes, which is a problem because she should have consent before doing so. I do, however, appreciate the sequence where Kitty tells Jean not to use her powers on Laura. Overall, it feels like a conversation needs to be had between Kitty and Jean regarding her misuse of her telepathic gifts.

While this collection is overall very engaging and worth reading, there’s no consistency with the artwork due to the absence of series mainstay Stuart Immonen for issues 19-21. Immonen’s artwork is nothing short of spectacular. It’s clean, it’s expressive, and it’s come to really solidify the tone for All-New X-Men. Mahmud Asrar, who provides the opening pencils to issue 20 is an ideal replacement as his work more closely matches Immonen’s. Brandon Peterson, however, provides the bulk of the artwork for this collection. His style is more detailed than Immonen and Asrar’s, but it’s also more basic in that it lacks any kind of uniqueness or flare. It also doesn’t help that the colours provided by Israel Silva are muddy and make it hard to make out what’s going on.

I quite enjoy All-New X-Men as a series and think it’s one of the better entries into the X-Men line of books within the past decade or so. This volume contains much of what makes it so entertaining. It balances humour with drama really well, provides the right mix of action and character work, and features some gorgeous artwork (by Immonen and Asrar). It also features a bonus issue, X-Men Gold, which is full of cute little short stories from various points in the X-Men’s history.

RATING: B

Review - Guardians of the Galaxy Volume 1: Cosmic Avengers

An intergalactic council passes an edict that states Earth is off-limits from outside interference and, in doing so, leaves it unprotected should any alien factions defy the order. Knowing how big of a target has been placed on his home planet, Peter Quill re-assembles the Guardians of the Galaxy to defend Earth if and when an invasion occurs. Sure enough, Badoon warships attack London and the Guardians are Earth’s only hope of defeating them.

Guardians of the Galaxy Volume 1: Cosmic Avengerscollects Guardians of the Galaxy #1-3 and #0.1, and Guardians of the Galaxy: Tomorrow’s Avengers #1, written by Brian Michael Bendis and with art by Steve McNiven and Sara Pichelli.

Cosmic Avengers begins with a re-telling of Peter Quill’s origin story. He’s the product of a brief love affair between the Earther Meredith Quill and the Spartoi J’Son. As a child, enemies of Spartax kill his mother and he grows up wanting nothing more than to “find a way off planet Earth.” His backstory is so hastily told that it skips over his adolescence and most of his young adult life. As a whole, it serves as a reminder of how stale his origins are. It ticks a whole bunch of tropes along the way and doesn’t do a great job of establishing what is new or special about Peter Quill as a character, which is a problem when you consider that he’s the focal point of this series.

The rest of the trade collects the opening three-issue arc of Guardians of the Galaxy. J’Son and the leaders of several alien races decide that Earth is no longer to be disturbed by any alien forces. The Badoon defy the decree and promptly invade Earth, knocking out communication systems in the process. Luckily, the Guardians of the Galaxy (with Iron Man as a member for some strange reason) are on-hand to fight off the Badoon. Unfortunately, this places the Guardians in violation of the decree as well. There isn’t a whole lot to this arc as it reads as a very standard invasion story, but it does feature a lot of great action. As mentioned previously, Peter Quill is the focal point here and he’s just not interesting enough to carry the book. Iron Man and Rocket are more dynamic characters, but the former is out of place and the latter lacks depth due to his singular role as comic relief. You’d be hard-pressed to find dialogue or development allotted to Drax and Gamora, both of whom are only tossed onto a page when something needs to be punched. Most egregiously, however, is the fact that Groot is absent for much of the storyline. Come on, he’s totally one of the best Guardians! For those expecting some kind of epic or even outrageously funny comic book, this fails to deliver on either. It very much reads as “Okay, we’ve got that movie coming out based on these characters, let’s put our ‘top’ writer on this and hope for the best. And let’s put Iron Man in it because apparently people won’t read this if he’s not in it.”

What almost makes up for the subpar writing is the art. McNiven and Pichelli really deliver top-notch illustrations that are superbly detailed and feel truly cinematic. All of the action sequences are absolutely incredible and are really my favourite aspects to this set of issues. There are some neat panels too during these scenes, where there’s a kind of zoom in effect to show the particulars of what’s going on in a larger scale. The characters all look fantastic and are fairly distinctive. Rocket is probably one of the most detailed characters and I can’t even begin to imagine how much time was spent drawing his fur, his teeth, and all the other little minute aspects of this critter. I also really like the design work that went into reimagining these characters from the last time they would have been seen. Instead of the blue and red uniforms of the past, they’re wearing more modern sci fi style armour (think: Mass Effect). Gamora’s white and black look is actually really iconic and makes me lament the fact that we haven’t seen it on film.

Guardians of the Galaxy Volume 1: Cosmic Avengers is sadly rather skippable and doesn’t offer the impact it should as the opening salvo of what should be a flagship title. Bendis stumbles to flesh out his ensemble and doesn’t manage to portray the majority as having any kind of personality. The opening arc itself is very paint-by-numbers and does itself a disservice by placing so much focus on characters like Peter Quill and Iron Man (the fact that Gamora isn’t the leader of the Guardians is always beyond me considering she has the most fascinating origins). With that said, the art is gorgeous and is helps to up the entertainment factor. If anything, this trade is fun when looked at through the lens of mindless entertainment. It’s not quite as funny as it should be, the characters aren’t as dynamic as we know they can be, and the story itself doesn’t do anything that any previous sci fi story hasn’t already.

RATING: C-

Review - Ultimate Spider-Man Volume 10: Hollywood

A big budget blockbuster about Spider-Man is being made with Doctor Octopus’ ex-wife as its consultant and the villainous scientist couldn’t be angrier. He escapes from prison intent on wreaking havoc on the film’s set and abducts Spider-Man in the process. Tired of having his life dictated and defined by others, Doctor Octopus is desperate and eager to eliminate those who hold him back.

Ultimate Spider-Man Volume 10: Hollywood collects Ultimate Spider-Man #54-59, written by Brian Michael Bendis and illustrated by Mark Bagley.

Hollywood is a tongue-and-cheek meta storyline that sees real life events being tied into the world of the fictional Spider-Man. Film producer Avi Arad announces the production of a Spider-Man movie directed by Sam Raimi and starring Tobey Maguire, which is set to film in New York City. It’s a comical to see this transpire within the Ultimate Universe and comes so close to breaking down the fourth wall. Instead of being overjoyed at being the subject of a blockbuster, Peter is annoyed. He’s miffed that people are profiting off of him and that he has no control over his narrative. The producers offer him an opportunity to get involved, but the one caveat they have for him is that he must reveal his identity to them first. Peter refuses and broods for the rest of the production. Amidst this somewhat lighthearted narrative there’s the story of Doc Ock breaking out of prison and leaving a path of destruction in his wake. He crashes the set and kidnaps Peter, taking him on a plane and torturing him. It’s a rather grim turn of events and it’s rather unexpected. This storyline makes it quite clear that Doc Ock isn’t a goofy villain or some kind of a henchman to a bigger boss. He’s quite scary all on his own.

Despite some memorable action sequences (particularly the final showdown between Spider-Man and Doc Ock) and some engaging humour, I found myself once again most interesting in Gwen Stacy’s side of the story. We see that she’s still processing the loss of her father and that she still blames Spider-Man for it. She becomes more and more unhinged as the arc goes on, which contrasts her usually cool demeanour. With all the hoopla of Spider-Man facing off against bad guys in intense grudge matches, it’s fascinating to me that what I find most compelling and memorable are what Bendis and Bagley do with the supporting characters. To me, that’s what elevates an otherwise disposable storyline.

Ultimate Spider-Man Volume 10: Hollywood is an entertaining read that checks all the boxes of what you’d expect from a Spider-Man storyline. It’s got the classic hero versus iconic villain showdown, reminders of how powerless Spider-Man is in controlling his own narrative, humour, and plenty of interpersonal drama. With that said, it is somewhat predictable and isn’t as exciting as it could have been. We’ve already seen Spidey and Doc Ock throw down more than once, so there wasn’t anything new there. The movie plot point was interesting enough, but there wasn’t adequate commentary done on the subject (as Gail Simone had done in her two-parter where Hollywood attempts to make a movie about Wonder Woman). Hollywood is fun, but it won’t leave the reader remembering more than an extracted tooth and a rather intense Gwen Stacy.

RATING: B-

Review - Ultimate Fantastic Four Volume 1: The Fantastic

For years, science prodigy Reed Richards has tried to unlock the secrets of the alternate dimension known as the N-Zone. Now with his best friend Ben Grimm and his colleagues at the Baxter Building by his side, he’s ready to make his first large scale attempt to break into the N-Zone. The experiment goes predictably awry, granting the team with strange abilities and leaving its most vulnerable member at the mercy of a disgruntled former employee of the Baxter Building.

Ultimate Fantastic Four Volume 1: The Fantastic collects Ultimate Fantastic Four #1-6, written by Brian Michael Bendis and Mark Millar and illustrated by Adam Kubert.

The Fantastic is a six issue expansion and re-imagining of the Fantastic Four’s iconic origins. The cosmic rays and space elements are out, with our intrepid quartet instead acquiring their abilities as a result of a teleportation experiment connecting them to the N-Zone. It leaves them scattered across the globe, alone in trying to figure out what has just happened to them. Susan Storm awakes to find herself in the clutches of Dr. Molevic (AKA Mole Man) deep beneath New York City in the sewer system. She must bide her time while the others search for her. For the most part, this revision of their origins still stays true to the essence and narrative aspects of the original. They even fight a giant monster in their first major battle. Much like with Ultimate Spider-Man, this story takes what was originally a one-and-done and teases it out over six issues. This offers writers Brian Michael Bendis and Mark Millar the opportunity to develop the characters. Reed in particular gets a rather in-depth backstory. However, this prolongs the assembly of the Fantastic Four and it results in several lacklustre issues that have virtually no action.

I’m fairly split on how I feel about this arc. There are pieces of it that I enjoy – namely the revamping of the Baxter Building as the HQ to the government-funded think tank for young geniuses and the decision to portray Sue as a scientist. Tonally, Ultimate Fantastic Four gets off to the right start by maintaining a nice balance between humour and drama. With that said, Bendis and Millar linger too long on Reed. The other three characters get virtually no development in comparison and seem pretty disposable until they get their powers. The problem here is that it takes roughly three issues for them to get those powers and even then they don’t get thrown into action right away. We have to spend time watching Johnny how to control his abilities and seeing Ben agonize over his physical transformation. This wouldn’t be such a big deal had they acquired their powers earlier and become a team mid-way through. Instead, what we get is a total slog. (As an aside, I’m also not a fan of Sue being sidelined and effectively filling the role of Damsel in Distress until nearly the very end of the bloody arc)

The art that Adam Kubert provides seems rushed and barely recognizable. When it comes to Kubert’s style, I’ve long felt the faces he draws have a distinctive quality to them. They are part of what makes his work unique. However, the pencils present here lack that quality. Everything appears pretty generic and it brings down the overall aesthetic appeal. Still, there are some impressive artistic moments scattered throughout. There are a lot of splash pages and double-page spreads, particularly as the arc goes on. These help to provide a larger scale to the action and give the book a more cinematic appearance.

Ultimate Fantastic Four Volume 1: The Fantastic is a perfect example of how tricky origin stories can be. As important as they are, these types of narratives are often less exciting than those that flow out of them. Too much time is spent setting up these characters and giving us background information. The Fantastic could have been a great three issue arc. As it is, it leaves a lot to be desired. Regardless, the foundation is pretty solid for this book and is at least given a pretty fresh start to what could be a very modern take on Marvel’s iconic quartet.

RATING: C+

Review - Ultimate X-Men Volume 7: Blockbuster

Feeling unwanted and feared amongst his fellow X-Men, Wolverine leaves the team to gather his thoughts. In doing so, he becomes an easy target for a group of individuals claiming to be FBI agents and whose singular mission is to eliminate him. Rather than return to the X-Men for help, Wolverine allows Spider-Man to join him in investigating these mysterious foes.

Ultimate X-Men Volume 7: Blockbuster collects Ultimate X-Men #34-39, written by Brian Michael Bendis and illustrated by David Finch.

As someone who isn’t overly fond of Wolverine and who prefers the character in a supporting role, this arc was somewhat of a slog. Blockbuster places Wolverine front and center as he deals with the continued pursuit of a shadowy team of gun-toting military types who are hellbent on putting him six feet under. When he is injured during their first attempt on his life, he hides in Spider-Man’s basement to heal and is later helped by the wallcrawler after his recovery. At one point they’re even joined by Daredevil, who is perturbed by the violence that has spilled over into Hell’s Kitchen as a result of these continued assassination attempts. This three-way team-up is somewhat interesting, but would have been better suited to a mini-series or even a giant-size annual. It’s a diversionary narrative that pulls away from the events that preceded it and places the focus on one of the least interesting characters from Ultimate X-Men.

With that said, there’s a noticeable tonal shift with Brian Michael Bendis taking over the writing duties from previous Ultimate X-Men scribe Mark Millar. His has a firmer grasp on these characters and how they should be portrayed. Wolverine was entirely unlikeable and impenetrable previously, but Bendis manages to add some layers to him and makes him more sympathetic (which is a feat considering how big of a jerk he was prior to this). There’s also a bit of lightheartedness that was absent in Millar’s writing, largely due to Bendis’ inclusion of Spider-Man. Even though the X-Men are barely in it, there’s still a sense that this book feels more like an X-Men book should. There’s a strong pivot towards depicting them as a family, which I appreciate.

David Finch’s art is sadly very inconsistent in this collection. It seems rushed in many places, especially as we see a lack of details and some really awkward proportions (especially on faces). I like some of the imagery he creates, particularly a scene in which Jean Grey confronts a helicopter full of agents while in full Phoenix mode. It’s really evocative. However, most of Finch’s typical problems show up throughout. Notably, the women all have the same baby face and the art at times gets a bit muddy.

I wish that Ultimate X-Men Volume 7: Blockbuster had been a stronger start for Brian Michael Bendis’ brief run on the title. The use of Spider-Man as a guest star makes sense and works to lighten the tone of a generally grim title, but it pulls the focus away from the true stars of the book. I appreciate certain elements of Bendis’ work here and especially like the shift in the overall tenor. He writes the characters better than Millar did. That much is true. Finch’s art is passable, but still too uneven. For Wolverine fans (and some Spider-Man ones), this collection is likely to be fairly enjoyable. For those looking for a great X-Men story, this isn’t one of them.

RATING: B-

Review - Ultimate Spider-Man Volume 9: Ultimate Six

Green Goblin, Doctor Octopus, Electro, Kraven the Hunter, and Sandman – five of Spider-Man’s greatest foes have been apprehended and detained by S.H.I.E.L.D. as illegal genetic experiments. Bound by their mutual desire to exact revenge against Nick Fury, the villainous quintet break out of their prison with the intention of kidnapping Spider-Man and immobilizing S.H.I.E.L.D.

Ultimate Spider-Man Volume 9: Ultimate Six collects Ultimate Spider-Man #46 and the seven issue limited series Ultimate Six, written by Brian Michael Bendis with art by Mark Bagley and Trevor Hairsine.

Collected under the banner of Ultimate Spider-Man, Ultimate Six is a deceptively titled trade that places five of Spider-Man’s most iconic villains at the forefront of its narrative. Spider-Man is but a footnote in a story arc that pits the likes of Green Goblin and Doc Ock against Nick Fury and the entirety of S.H.I.E.L.D. It begins with Fury and the Ultimates arresting the five Spider foes on the charge of being illegal genetic experiments, but their imprisonment proves ineffective when Doc Ock manipulates S.H.I.E.L.D. into granting him access to his metallic arms. He breaks his fellow inmates out and the quintet proceeds to wreak havoc. They kill several S.H.I.E.L.D. agents, kidnap Spider-Man, and eventually attack the White House. It’s a rather straightforward story with very little in the way of plot twists or underlying themes. It’s a standard supervillain jailbreak, team-up story that ends in an unfortunately all-too-short fight between the series’ villains and the Ultimates. It’s so short that Thor and Electro’s conflict happens entirely off-panel, while Wasp’s fight with Doc Ock lasts all of two pages. The usage of Iron Man as a deus ex machina against Sandman and Green Goblin was also incredibly unimpressive. The focus on the villains and on Nick Fury throughout was also a misstep, since it really didn’t offer much in terms of an emotional component to the storyline. Spider-Man is used so sparingly that he feels like an afterthought.

Trevor Hairsine’s art fits right in with the world of the Ultimates as previously established through Bryan Hitch’s work. There’s a roughness to it and an attempt to render the characters in a more realistic manner. This was an interesting choice as it seems to visually place the reader closer to Millar’s Ultimates than Bendis’ Spider-Man, but it seems to match the narrative focus in that respect. That said, Hairsine’s pencils didn’t quite live up to Hitch’s in that he often falls short in distinguishing characters from one another. A couple of S.H.I.E.L.D. agents look identical to Tony Stark, while there was a sense of sameness to how the de-powered Norman Osborn, Kraven, and Sandman appeared in certain panels.

Ultimate Spider-Man Volume 9: Ultimate Six is a bit of a disappointment. The idea of Spider-Man and the Ultimates teaming up to stop this universe’s take on the Sinister Six (minus one member obviously) is really fascinating. The problem was all in how that storyline took shape. Bendis and Hairsine placed the focus on the wrong characters. These five villains aren’t that engaging and the usage of Fury as the focus of their hatred felt lopsided. Additionally, the action didn’t live up to the expectations and was too rushed. There are some glimmers of interest here and there. For instance, I thought that the reveal of Wasp’s previous admiration for Doc Ock was a nice touch and added some layers to their fight at the climax of the series. Bendis also proves himself a much more capable writer than Mark Millar when it comes to Captain America. Cap is actually quite likable here. Ultimate Six is really a missed opportunity for something really great and epic. It feels disposable and is propped up only by occasional moments of character development.

RATING: C

Review - Ultimate Spider-Man Volume 8: Cats & Kings

After being exposed in the press as a murderer, Wilson Fisk has returned to New York City to rehabilitate his image. Though he’s managed to manipulate the public into believing his innocence, Spider-Man knows the truth and is infuriated by how thoroughly Fisk has managed to manipulate the situation. Meanwhile, a mysterious thief known as the Black Cat has stolen an artifact that Fisk is eager to acquire. A determined Fisk sends the assassin Elektra after her to get it back. Naturally, Spider-Man gets caught in the crosshairs of this conflict.

Ultimate Spider-Man Volume 8: Cats & Kings collects Ultimate Spider-Man #47-53, written by Brian Michael Bendis and illustrated by Mark Bagley.

As a fan of both Black Cat and Elektra, this arc was incredibly enjoyable for me. It begins with the return of Wilson Fisk, which slowly results in an unravelling of Peter Parker’s life. Peter is fired for questioning J. Jonah Jameson’s editorial decisions, suspended for acting up in class due to his frustration over Wilson Fisk’s public image rehabilitation, and is torn away from Mary Jane after her father insists the pair stop seeing one another. Amidst this drama, Black Cat enters Peter’s life and briefly provides him with a refuge away from reality via flirtation that leads to a rooftop “date.” Black Cat is a frenetic character who drastically changes the pace and dynamic of the series. The action sequences and choreography of the character are brilliant. Elektra, despite appearing later on in the arc, provides a similar kind of energy. Both women are action-oriented and aren’t the usual type of foes Spider-Man typically comes across in this series. They’re not megalomaniacal supervillains or bumbling henchmen, they’re well-trained and highly-skilled combatants. It’s very refreshing. Their motivations are also kept quite simple as well. Black Cat seeks to mess with Wilson Fisk’s plans as revenge for his past misdeeds against her father, while Elektra is purely a sai-for-hire. Though neither is given as much character development as I’d like, there’s just enough to leave me satisfied with their portrayals. (Although, Elektra is drastically different than she was in Ultimate Daredevil &Elektra – so what changed for her?)

One of the things that I found absolutely riveting about Cats & Kings was the underlining theme of how wealth and influence can allow someone to get away with murder – even when the proof is practically irrefutable. In Wilson Fisk’s case, he’d been caught on tape killing someone. Through the use of his lawyers and money, he’s managed to manipulate things so that people believe the events on the tape are doctored. This sends Peter into a tailspin as he cannot understand how this could possibly be a reality. He knows Fisk is a murderer and is deeply troubled by how the adults around him don’t want to engage in discourse about the grave injustice that has happened. Seeing Peter pushed to the edge over something with some weight to it is really fascinating. Thus far, Peter has been prone to fits of melodrama and is often most concerned with his personal life. Peter’s questioning of everything brings a lot of dramatic tension to the narrative, especially since it results in pretty heavy consequences for him (i.e. losing his job, being suspended from school). It sets up a very clear contrast – Fisk, a murderer, walks free while Peter, an innocent, is punished for simply asking uncomfortable questions.

Bagley’s work in this particular arc is especially impressive. There are a lot of wordless sequences, particularly those involving Black Cat. Her introductory scene features her breaking into a building and stealing an artifact. It’s largely devoid of dialogue and it allows Bagley to truly tell the story. It’s really creative and well-drawn. Something similar happens later on when Black Cat and Elektra duke it out. Generally speaking, action sequences in this series are given a lot of dialogue via banter and one-liners. Here, we get the two women fighting one another without saying a word. It’s more intense and leaves the reader with the impression that they’re both incredibly skilled fighters. Beyond these sequences, it is worth mentioning once more that Bagley continues to excel with reaction shots. We get a lot of high emotions and tension in this arc, so Bagley really stretches his muscles here. Since this arc introduces Black Cat into the Ultimate Universe, this means that she gets a redesign to go along with it. I quite like her mask and the accessories she’s given, such as the belt and the white-trimmed gloves, but the suit itself is problematic. The sheer amount of cleavage she’s got going on is wildly unrealistic and takes away from what would otherwise be a really chic, functional look.

Ultimate Spider-Man Volume 8: Cats & Kings is a great return to form for Bendis and Bagley. After a handful of lacklustre issues, this arc has the perfect mix of action and drama that will leave readers hooked. The introduction of Black Cat was handled well and the usage of Elektra was a nice twist. We get a lot of great character moments – including tense exchanges between the Parkers and Mary Jane’s father, a heated argument between J. Jonah Jameson and Peter, and a hilarious phone conversation where Aunt May dresses down J. Jonah Jameson for firing her nephew. With its electric conflicts, memorable action sequences, and exploration of economical privilege, Cats & Kings is one of the better collections from this series.

RATING: A-

Review - Ultimate Spider-Man Volume 7: Irresponsible

When Peter and Gwen sneak out to attend a house party, they encounter a student named Geldoff from another school who possesses the ability of combustion. After an incident where Geldoff was causing cars to explode, Peter intervenes as Spider-Man in an attempt to get Geldoff to recognize the severity of his actions. Before he can sway him one way or the other, they are confronted by the X-Men, who are determined to bring Geldoff back with them to Professor Xavier.

Ultimate Spider-Man Volume 7: Irresponsible collects Ultimate Spider-Man #40-45, written by Brian Michael Bendis and illustrated by Mark Bagley.

One of the most notable aspects of Irresponsible is the total lack of supervillains within its narrative. Instead, Bendis and Bagley take a more human approach to storytelling as they present Peter with a dilemma instead of a full-blown superheroic conflict. This results in a rather slow and somewhat torturous read. The premise is basically “what happens when the awkward foreign student gets powers and becomes popular?” There’s no real stakes since Geldoff doesn’t come across as a real threat. He blows up some cars, but that’s about it. The majority of the issues that make up this arc are essentially characters standing around talking to each other. Aside from the fact that Peter and Mary Jane reconcile after breaking up for a while and Peter meeting the X-Men, it feels like nothing of import actually happens. That’s not to say there aren’t some memorable moments. The X-Men’s inclusion in this arc really adds some much needed energy to the otherwise limp narrative. From Kitty’s fangirling over Spider-Man to an impressive action sequence involving Jean and Storm saving Spider-Man, Kitty and Geldoff during an impending plane crash, the X-Men create a sense of urgency and dynamism that really intensifies the world that Spider-Man occupies.

Given my issues with this dialogue heavy arc, it’s a surprise that my favourite issue in this collection is one that features almost no action and that’s essentially start to finish dialogue. Set in a therapist’s office, issue 45 sees Aunt May reflecting on the current state of her life and making several revelations about her feelings towards Peter, Gwen, and Spider-Man. It’s a truly intimate issue that gives readers a rare glimpse into Aunt May’s world and shows us the remarkable interiority of this character. It’s shockingly quite riveting as a read as it offers us different perspectives on supporting characters that are otherwise only ever seen through Peter’s lens. Getting to see how Aunt May is dealing with the grief of the loss of her family members, of Captain Stacy, and how she’s “using” Gwen as a coping mechanism is absolutely fascinating.

In these issues, artist Mark Bagley had to ensure the characters were as expressive as possible. Since much of this arc relied upon the feelings and thoughts of the characters involved, he had to narrow his focus and illustrate a lot of close-up reaction shots. This is especially evident in the aforementioned therapy issue. He carefully crafts each of Aunt May’s facial mannerisms to accompany the dialogue, which helps plot how she’s feeling at any given moment. There’s also a scene where Peter and Mary Jane are passing notes in class. Each panel is kept tight on their faces as they react to what’s being written. It’s really engaging since we’re seeing how they feel without being told. Beyond that, we’re seeing Bagley allowing the characters to grow through the visuals. Mary Jane is adopting a shorter hairstyle that is more refined, while Peter’s odd wispy bangs aren’t quite as jagged as usual. It’s also worth mentioning that we get to see the Ultimate versions of the X-Men in Bagley’s style. For the most part, he does a great job. I quite like how he captures Kitty’s youth and he really makes Jean pop on the page, but he struggles to make Storm’s hair a consistent style since he gives her weird bangs and the colorist doesn’t make her skin dark enough.

Ultimate Spider-Man Volume 7: Irresponsible is a bit of a chore. It has a lot of pacing problems and it struggles to maintain the momentum that the previous arcs built upon. Since it’s very heavy in dialogue, it may be a deterrent to some readers who are looking for something that’s less introspective and has more in the way of action. The issues with the X-Men are the most entertaining, but the Aunt May-centric issue 45 is also worth reading. Otherwise, it’d be quite easy to skip over this collection.

RATING: C

Review - Ultimate Spider-Man Volume 6: Venom

Upon finding a box of his parents’ belongings in his basement, Peter Parker reconnects with his childhood friend Eddie Brock. Eddie, now in college, reveals that their fathers were working on a secret project that was meant to cure cancer. When Peter investigates the product of their experiments, he ends up bonded to a symbiotic suit that makes him more powerful than ever. This time around, however, he may learn that with greater power come deadlier consequences.

Ultimate Spider-Man Volume 6: Venom collects Ultimate Spider-Man #33-39, written by Brian Michael Bendis and illustrated by Mark Bagley.

Venom serves as the re-imagining of the “Alien Costume Saga” and introduction of the villainous Venom into the Ultimate universe. Where the original saga centered on an extraterrestrial symbiote that bonded itself to Spider-Man, this arc is more grounded and presents the iconic black suit as a scientific experiment gone awry. By linking its origins to Peter Parker and Eddie Brock’s fathers, it narrows the scope of the story and makes it an intimate character study. We learn that their fathers were initially scientific altruists search for a cure to cancer, but their experiments were subsequently co-opted by big corporations and their intentions were poisoned by greed. With this in the background, we see Peter struggling with the moral dilemmas his father had to face while also subsequently dealing with his own. Though he’s acquired a new suit that’s enhanced his powers, it’s also made him unpredictable and seems to be affecting his sanity.

Bendis maintains a focus on Peter and Eddie almost exclusively from start to finish. Without the distractions of subplots, this really helps to encourage character development and makes their eventual conflict (because of course Eddie becomes Venom) that much more impactful. With that said, I still find myself gravitating most towards scenes that involve Gwen Stacy. She continues to be a dynamic character that defies convention. There’s a particularly memorable scene where Eddie attempts to get Gwen to hook-up with him, but she rejects him. His previously sunny demeanour sours and this is where we see his true colours show. He berates her and states that her previous actions are proof that she wants him. Beyond what this does to show readers that Eddie is a jerk, it also shows us Gwen understands the predatory nature that men have.

With this arc, Bagley is tasked with being darker and more sinister than before. With the symbiote, we see him indulge in a creepier aesthetic of inky goo, long tongues, and sharp teeth. There’s a Lovecraftian vibe to it, which is really neat. With that said, I did have issues with his portrayal of Eddie Brock. Eddie is a college student, but you really wouldn’t know that from Bagley’s work here. Eddie is given a receding hairline and wrinkles that make him look twice as old as he’s intended to be. It’s incredibly distracting and takes me out of the narrative.

Ultimate Spider-Man Volume 6: Venom does a great job of bringing the “Alien Costume Saga” into the more grounded world of the Ultimate universe. Bendis and Bagley smartly concentrate on giving readers a story that means something. Venom never wanders too far into the theatrics typical of the superhero genre as it’s character-driven and connects the central conflict to the past of those involved. Still, there are issues with pacing due to lengthy exposition and an epilogue that is entirely devoid of action. I like the concept overall, but the issues with execution hindered the arc from reaching its full potential.

RATING: B

Review: Uncanny X-Men Volume 4 - Vs. S.H.I.E.L.D.

Following a heinous Sentinel strike, the war bubbling between Cyclops’ X-Men and S.H.I.E.L.D. reaches a fever pitch. Unwilling to sit idly by while more mutants are harmed, Cyclops takes the fight to the international spy organization apparently responsible for the Sentinels’ actions. Then, Dazzler is finally freed from captivity at Mystique’s hands. Angry and bitter over what she’s been through, she intends to get revenge on the shapeshifting femme fatale.

Uncanny X-Men Volume 4: Vs. S.H.I.E.L.D. collects Uncanny X-Men #19-24, written by Brian Michael Bendis and with art by Chris Bachalo and Kris Anka.

This collection is typical of Bendis’ ho-hum direction on the X-Men titles during the Marvel Now! initiative. It’s all build up with no pay-off. The X-Men’s conflict against S.H.I.E.L.D. had been simmering since the onset of this title and “Vs. S.H.I.E.L.D.” attempts to resolve that as a four issue arc. After a Sentinel attack, an incensed Cyclops determines to hold S.H.I.E.L.D. responsible for their actions. This leads to a blow out on the front lawn of the Jean Grey School and the discovery of who is truly pulling the strings. The climax is unimpressive and the reveal isn’t terribly shocking, so the arc feels somewhat deflated as a whole. As can be expected from Bendis, there’s a lot of dialogue and some great character moments (there’s a great scene telepathic exchange between Cyclops and Maria Hill, for example). The primary narrative itself just didn’t click for me. Personally, the more interesting story here involves Mystique’s usage of Dazzler as her personal mutant growth hormone factory, but this is relegated to subplot status and is only referenced cursorily in the aftermath.

The “Vs. S.H.I.E.L.D.” arc leads into the tie-in for Original Sin, which is framed as a two-parter named “The Last Will and Testament of Charles Xavier.” In it, She-Hulk obtains Xavier’s will and is responsible for reading it to those named in the contents. Cyclops is hauled back to the Jean Grey School, where several “shocking” revelations are made about Xavier’s past. The quotes are necessary as Bendis seems to be putting in overtime to really try and surprise readers with plot twists. The problem is the twists are unwanted in every possible way. I was rolling my eyes so hard I’m surprised I didn’t catch a glimpse into the back of my brain. Consider this a spoiler warning. The first big plot twist is that Professor Xavier is married to Mystique and so all of his property now belong to her. It’s a really unnecessary development that feels like it’s either a remnant of the Ultimate Universe or was inspired by the First Class trilogy. Either way, it feels out of place and is just plain messy. It’s bad enough that Bendis treats Mystique like she’s the only damn X-Men villain around. The other twist is that there’s this uber powerful mutant that Xavier has kept secret for decades and now the X-Men have to go find him before he destroys everything. It’s a revelation that left me with a feeling of a déjà vu since it seems like a re-packaging of Proteus and Jean Grey.

Uncanny X-Men Volume 4: Vs. S.H.I.E.L.D. doesn’t ever reach its full potential. It’s bogged down by far too much dialogue and exposition, as well as puzzling plot twists. The artwork done by superstars Chris Bachalo and Kris Anka gives the book a premium feel, elevating the quality above what we’re getting on the story front. Though the cast is likeable and the plot elements are interesting enough, Bendis seems to be spending most of his time setting up future plotlines and recycling old ones rather than creating a compelling arc with an explosive climax.

RATING: C