It’s been a few weeks since we checked in on the middle act of the X-Men’s Messiah trilogy, but events in the year 3000 haven’t moved on as far as hoped. Where initially X-Force’s quick thinking and rapid twists succeeded in energising the crossover, recent issues have seen Cable “winning” with a leaden pace and some clunky storytelling. All in all, it seems that a scenario which would have made for a compelling four-issue arc has suffered because of its extended duration. In this sixth chapter, the scuffles in the citadel continue, but the more pressing dilemmas for X-Force come from outside of the main fight, with two members’ old acquaintances threatening to derail their mission.

As you’ll have guessed from the précis here, there’s a significant amount of padding in this issue, with only the subplots really moved forward. The instalment both starts and closes with Style having the upper hand over the heroes he surveys, while the discovery of the nature of the temporal interference and the re-powering of En Saab Nur constitute around five pages of story. It just goes to show that a book doesn’t have to be priced at four dollars to leave its readers feeling short-changed. The revelation of Deadpool having been controlled by Stryfe has absolutely no impact, with the undead mercenary continuing to act at will throughout. Little niggles persist throughout. After Elixir’s strangely low-key restoration of Cable’s psi-powers in the previous issue of this book, Duane Swierczynski makes reference to use of this power to stop the spread of Cable’s techno-virus, a development that will irritate both causal readers and fanboys.  Both parts of the audience will be puzzled as to how Cable was keeping the virus in check before Elixir restored his abilities, and for Askani’son fans that saw the character definitively purge the infection from his body in Cable & Deadpool, the lack of attention to detail is irksome.

Instead of any real plot development, we’re treated to another few pages of Cable versus Stryfe versus Wolverine versus Predator. There’s nothing wrong with a good fight, but we had this exact same tussle in X-Force a fortnight ago, and Ariel Olivetti’s static and overly posed imagery compares poorly with the dynamic and gripping work that Clayton Crain turned in during the previous chapter. Despite an impressive re-bulking of Apocalypse, Olivetti’s character likenesses have deteriorated from the star of the arc. There’s now little to distinguish between his Warpath and his X-23, while the moment of horror that should result from an eyeless Logan is instead rather comical, due to his deployment of black dots for eyes, Georges Jentry-style.

The main outcome of Messiah War seems to be to put the jewel in the X-line on hold for three months. Can I have X-Force back, please?

This week has been all about one book: Captain America #600.

However, we already know it was a damp squib, so we’ll save a review until later on and instead focus on something we actually find interesting this week. And if you’re me, that’s X-Men: Legacy #225.

After wrapping up the storyline featuring Rogue and Danger, which went on slightly too long but gave welcome resolution to a couple of ongoing X-Men plots at the same time, Carey brings the book full circle and takes us back to Xavier and the Acolytes. The last time we saw them, Xavier was leaving after turning down a leadership role. This time, he’s coming back to finish the job of dismantling them once and for all.

The opening sequence features some typically inventive uses of Xavier’s powers.  It’s been a while since anyone did anything with one of the most powerful telepaths on the planet other than have him speak into people’s brains, so in X-Men Legacy, Carey has taken delight in showcasing other uses for the power, from a traditional battle on the astral plane, to co-option of the available fauna, to this issue’s all-out mental assault on the Acolytes, who are left reeling from an attack conducted on various levels. It’s an enjoyable start to the issue, and it’s a pity the rest of it slows down somewhat.

Artist Phil Briones isn’t given much material to work with throughout the issue, and after the opening sequence there’s a fair amount of talking heads. At least one squence is hard to decipher (A post-hypnotic suggestion causes Random to, er, something) and the best moments tend to come when he is allowed to illustrate the group fights between the X-Men and various warring factions, rather than the dull, featureless Acolyte base.

If Carey’s good at anything, it’s giving the status quo enough of a push that there becomes room for some new stories. That, if anything, is the consequence of the story arcs on Legacy, and this one is no different. The idea of a few former Acolytes joining the X-Men in San Francisco is an intriguing one, so hopefully Carey (or Fraction) will pick up on it – although it’s fair to say the really big moment in the issue the ending tie-in to Dark X-Men. It feels odd saying it, but if that team goes the way I’m thinking it will, perhaps this issue should’ve had a Dark Reign banner on it?

And so Paul Dini’s long-serving and generally rather good Detective Comics run is the next brought into line with “Batman Reborn”. Only… wait, no it isn’t. Because despite carrying over various aspects of that run – Dustin Nguyen as an artist, the presence of characters such as Thomas Elliott and Harley Quinn – this isn’t Detective Comics. This is Batman: Streets of Gotham. By my count now the fourth ongoing Batman book (if you still count Detective itself as a Batman book, which I bloody do in much the same way as Action Comics is a Superman book) out there – and we’re not just talking the “extended Bat-family” that could take in Robin, Red Robin, Nightwing, Birds of Prey, Batgirl, Gotham Central and anything else at various times – there are now three books starring the Dark Knight, along with Detective rolling along without him. This is early ’90s territory, people.

Anyway, since Dini has been forced into a title change, he sort of needs to come up with a slightly new hook – so we bounce around scenes with Jim Gordon, and a very Frank Miller-esque sequence featuring a pubescent prostitute and an overly violent, shadowy, trenchcoated vigilante figure, and some of it’s told from the villain’s point of view (in this case the Firefly, a character I’ve always had an amused affection for in much the same way as, say, Mysterio – but who’s perhaps treated a little seriously here) and Harley shows up for apparently no plot-related purpose (which is fine, because it’s Dini). I suppose if the intention is for the series to show the “on the street” reactions to the new Batman and Robin, then it’s not a bad idea – but this conceit is let down by featuring the pair in scenes that are firmly from their perspective, and at their usual level.

Dini’s also off to a slightly shaky start in capturing the dynamic of the, er, dynamic duo. His Grayson works quite well, over-talkative and more of a standing, observational figure; but I’m not so sure he’s got the memos on Damian. Shouting “Gotta go!” while running away from the same conversation ( in which he’d earlier not contracted the phrase “I am” shows a distinct inconsistency of voice, and referring to his new mentor by first name rather than surname seems a little too friendly for the aloof brat. That said, the first appearance of the pair, accosting a fleeing Ms Quinn, works rather better, so let’s not lose hope entirely – but the spark and dynamism of Morrison’s Batman and Robin is lacking.

This certainly isn’t bad – and it’s a more enjoyable read than Winick’s opening salvo on the main title – and Nguyen’s work is strong as ever (credit, too, for actually attempting to be consistent with the details of the Quitely costume designs where other artists might not have bothered). There’s a curious trick whereby the inking and colouring style changes in order to present a more “arty” final splash page – I don’t know how deliberate it is, and it’s slightly jarring, but it’s a lovely image even if it’s not made clear what the cliffhanger’s trying to show us. Of the non-Morrison titles, then, this just about edges its way into pole position for the “also read” slot, but it’ll have to work some if it’s going to be a must-buy.

Quick mention too of the fact that this is the second (last week’s Booster Gold and Blue Beetle the first) of DC’s books to try out this new scheme of having a short backup feature of a similarly-themed, recently-cancelled character. I still don’t care enough about Marc Andreyko’s Manhunter to click hugely with it (Kate is too similar to a bunch of superior Marvel characters – Jones, Drew, Danvers, Walters – to really stand out), but bringing her to Gotham is an interesting idea, particularly if the character connections in her out-of-costume life are maintained, so we’ll see. And I’m fully in support of the whole “Second Feature” idea, if nothing else.

As an arc, American Son has done a lot to bring Spidey back in line with the rest of the Marvel Universe. Incorporating the Dark Avengers and the events of Dark Reign is an obvious choice for the spider-titles, given the history he has with some of the characters involved, and the relationship between Norman and Harry Osborn is one of the best dynamics in the Marvel Universe – at least, during the times when they’re both alive.

Something never really rang true about Peter’s successful attempt to infiltrate the Dark Avengers, so it’s good to see the matter being addressed by Kelly in a way that makes the team a credible threat. It’s good craftsmanship to answer such questions in the story, and indeed, Kelly’s even goes so far as to set up the cliffhanger early on – more work than most would put into an individual issue. As far as ending’s go, it’s one that can never really work as a credible threat – it’s highly unlikely the next issue’s going to open with Peter’s brains blown across the floor, for example – but what we see on panel is interesting enough that I want to find out how he’s going to get out of it, which is about as much as you can do, in comics.

The issue is littered with decent scenes, from Peter’s right with Daken, to Osborn “testing” Spider-Man by allowing one of his mutated Goblin/Super-Soldiers to attack him. The subplots bubble under nicely, givng us JJJ Snr. and May’s wedding plans and the further development of Lily and Harry’s already complicated relationship. It’s good to see the supporting cast get as much focus as Peter himself is often afforded, and it’s stories like this, that break new ground while adhering to the classic Spider-Man framework, that justify the book’s current direction.

Marco Checchuto isn’t an artist whose name I recognise, but his Jiminez-style pencils gel well with the style of the book. A cursory google reveals a few Marvel books to his name, but it’s a sign of (well-placed) confidence that Marvel have happily put him on a fairly high-profile event story like this one. The title’s not quite matching the early glory days when artists like McNiven and Bachalo were queueing up to draw it, but if all the new pencillers are this competent then it’s not too much of a worry that those days are over.

You can probably construct your own Comics Daily Phonogram

download rough around the edges live from madison square garden free

download resident evil online

review by now. You know we think Gillen chronicles the shared experiences of “us” kind of people like no-one else out there. You know we worship the art-related ground that McKelvie walks on, and the stuff that Matt Wilson colours it in with. You know this is about as important to us as comics get (with the possible exception of Scott Pilgrim), and that every time a new issue is released we will exhort people to buy it. So what else can we possibly have left to say?

Well, “We Share Our Mother’s Health” may not strike exactly the same personal chord with me as issue #2 did, but that doesn’t stop it from being yet another compelling, resonant, deeply human tale. Structurally, we reach an interesting point in the series – the previous two issues have established the style, tone and “feel” of The Singles Club

defending your life movie

, so now it’s time to throw some characters familiar from volume one into the mix. Enter Emily Aster. In a genuinely surprising turn, the somewhat one-dimensional (if entertaining) foil of Rue Britannia is given a backstory, and it’s one with which we can all – to varying extents, sure, but still – relate. This is an instance where I don’t really want to go into too much detail (I’m wary that I did that rather too much in my last review), except to say that it’s a tribute to the depth of Gillen’s nous with character that I still don’t know whether I feel sympathetic for the girl, or actively dislike her.

Despite the dark edge to Aster’s story, though, there’s still – as ever – room for plenty of trademark excellent Phonogram moments.  Kohl’s presence in the series has actually started to become something of a joy – relieved of the burden of being the main character, he’s become a likeable and entertaining touchstone throughout. Seth Bingo and Aster’s bitch-fest, meanwhile, is a particular highlight – with each appearance of the outstandingly vituperative DJ heightening anticipation for his and the Silent Girl’s starring role in issue #4. It’s tremendous fun seeing the seeds planted for future issues, too – we’ve now seen both the bookends for what will presumably be a pivotal conversation between Laura and Aster in issue #5, while the trick that Kohl pulls on K-W-K will surely have relevance to #7. And of course, yes, it looks as fantastic as ever – and if McKelvie perhaps cheats a little by giving Aster and Claire that distinctive chin, his magnificent character work is nevertheless a tool by which the entire conceit of the issue lives or dies.

Backup-wise, Leigh Gallagher provides some suitably Hellblazer-ish art (with elements of his background in 2000AD) for one of the funniest bloody things I’ve read in ages – saying any more would yet again spoil the surprise, but suffice to say that it’s one for people who’ve read volume one, and an unashamed piece of self-satire on Gillen’s part that somehow avoids coming off as self-indulgent. Indie Dave, meanwhile, occupies the two-pager, a witty little gag (and pastiche) with lovely work from Lee O’Connor.

I’d almost suggest it’s got tiresome talking about how good Phonogram is – but it hasn’t. Because every time it arrives, I take unabashed joy in its existence, and I have no compunction in sharing that in whatever way I can. And although it’s undeniable that its surface trappings are incredibly niche (it’s just a niche some of us happen to engage rather emphatically with), I’ll argue until I’m blue in the face that if you strip off the surface, the human experiences each issue explores are pretty damned universal – and so it should be entirely accessible to any reader with anything resembling a heart. Put simply, if you don’t want to read comics this good, why are you even reading them at all?

This week’s capsule reviews cover The Flash: Rebirth #3, Red Robin #1, Uncanny X-Men #511 and Wolverine #74!

Continue reading »