This week: Capsule reviews of Dark X-Men: The Confession, Giant Size Wolverine: Old Man Logan, Hellblazer #259 and Power Girl #5!
Review: Dark X-Men: The Confession
This embarrassing epilogue/prologue to Utopia might well be the worst-titled comic this year, simply because it doesn’t feature the Dark X-Men, and it doesn’t feature any confession of note. Of course, that would be more forgiveable were it not for the contents, wherein the usually-dependable Kyle and Yost fail to write Emma Frost in any recognisable fashion and fundamentally misunderstand the dynamic of her relationship with Cyclops. It’s an misfire of impressive magnitude. When the story ended, I didn’t feel like I understood the characters any better, I certainly didn’t learn anything about Cyclops and Emma’s ongoing plot that wasn’t already implied by the Utopia arc (namely, mutual admission of shady dealings). I’m genuinely baffled as to what the point of this was supposed to be here. [JHu]
Review: Giant Size Wolverine: Old Man Logan
As a story arc, Old Man Logan has straddled the boundaries of excess and stupidity far more than Millar usually shoots for. In my opinion, it’s been more of a failure than a success, but there’s no denying that this final instalment is a damn good piece of Wolverine action. Millar’s version of the Hulk – still super-strong while in his “banner” form is brutally entertaining, and the idea of a Hulk who mated only with his cousin might seem like typical Millar outrageousness, but belive it or not, Paul Jenkins once wrote a Hulk annual dealing with the subject. McNiven’s superb art is the real draw, but if you can’t enjoy a gratuitous Wolverine slash-fest like this, then you shouldn’t be buying Wolverine comics in the first place. And that cover? Probably the best I’ve seen in years. [JHu]
Review: Hellblazer #259
Some astonishing artwork on display here, in a relatively restrained style that I wouldn’t have expected from the usually insanely over-the-top Simon Bisley – his Constantine is perhaps a little rugged and butch, but nevertheless he makes the transition from the book’s covers to its interior seamlessly. But I think the real plaudits are due to colourist Jamie Grant, who absolutely nails a tone as perfectly-suited to the series as I’ve seen for years – a slightly washed-out quality that calls to mind the series’ late ’80s origins while retaining the modern edge of the Vertigo years. As for the story, meanwhile, it’s definitely interesting to finally get the (surprising) story of John and Phoebe’s meeting – but it only serves to emphasise the fact that I think Milligan was a bit swift in dispatching her, and I remain to be convinced by just where he’s going with this. Still intriguing, though, and worth buying for the art alone. [SP]
Review: Power Girl #5
Whisper it, but after so many years of “what the hell do we do with Power Girl”ness, the character might finally have found something of a niche. This is breezy, a little bit zany (but in a good way), and just downright good fun. It may not be laugh-out-loud funny, but it does feel like it’s a distant cousin of the Giffen/deMatteis Justice League – amusing, character-based superheroics without descending into outright parody. The main conceit behind the storyline is a bit of an old chestnut – humanoid aliens with little knowledge of human social mores show up and run amok – but it feels like the sort of high-concept fluff a light-hearted superhero book should be doing. Also, despite being mid-storyline, it’s relatively easy to follow for a new reader (in-costume, at least – the secret identity-based scenes are a little tough to get immediately into). And, of course, what really sells it is Amanda Conner’s lively, assured and perfectly-toned artwork, switching effortlessly from visual comedy to effective action. All things considered, a very pleasant surprise, this. [SP]
