X-Men #204
I read this issue! And it was the first issue I've been able to read for quite some time. The art is strikingly detailed, yet rooted in basic reality, as opposed to the art from the past year or so. The writing is on a high enough level that I'm able to jump right back in to the book without feeling lost about who the characters are or what their motivations are. Good writing coupled with good art means a book that I will read, every time. As soon as Marvel figures out that Bachalo is only appealing to his fans, I will be very happy. Solidly OKAY.
Showing posts with label X-Men. Show all posts
Showing posts with label X-Men. Show all posts
Monday, November 05, 2007
Sunday, August 26, 2007
X-Men #202
X-Men #202
I still can't read this. The art by Humberto Ramos is just too AWFUL. Mike Carey's story may be fine, but I really wouldn't know. For me, the incoherent art makes this title completely unreadable.
I still can't read this. The art by Humberto Ramos is just too AWFUL. Mike Carey's story may be fine, but I really wouldn't know. For me, the incoherent art makes this title completely unreadable.
Monday, July 23, 2007
Ultimate Spider-Man #111
Ultimate Spider-Man #111
Stuart Immonen takes over for Mark Bagley on half of this issue, and will fully supplant him in the next. I think he's a good choice, because, while it's important that artists have their own particular styles, one of the reasons that Ultimate Spider-Man has survived this long and succeeded as the flagship for the Ultimate line is largely due to the consistency of its art from month to month. With Bagley drawing this book for the past more than nine years, fans knew that they could come back and find the same beautiful artwork every month.
Bad art pisses me off. I dropped X-Men several months ago because reading it gave me a headache. I'm seriously considering dropping New X-Men. I haven't read the last several issues of Superman/Batman, though that's largely due to the fact that Verheiden fucking sucks. Then again, an artist can only interpret the story by way of the descriptions given him by the writer's script, so in some instances it's the writer who's to blame for the bad art. Carey's a great writer. That's why I blame Bachalo. I hated every issue of Ultimate X-Men that Bachalo drew. In fact, he's one of the reasons I stopped reading that title until recent issues. And I'm not the only one who made a similar decision. Marvel's sales on UXM must have dropped measurably after Bachalo took over for Kubert. So their not wanting to make a similar mistake with the departure of Bagley is a very smart decision.
From the few pages that were drawn by him in this issue, Immonen's style seems similar enough to Bagley's that readership on this title should remain strong. Plus, I know his work, and he's really good. Plus, he'll bring a number of loyal fans with him to this title. So it's a good move.
And Bendis turns in his "The Talk" issue. Not bad.
Overall, this issue was VERY GOOD. I'm looking forward to Immonen's first complete issue.
Stuart Immonen takes over for Mark Bagley on half of this issue, and will fully supplant him in the next. I think he's a good choice, because, while it's important that artists have their own particular styles, one of the reasons that Ultimate Spider-Man has survived this long and succeeded as the flagship for the Ultimate line is largely due to the consistency of its art from month to month. With Bagley drawing this book for the past more than nine years, fans knew that they could come back and find the same beautiful artwork every month.
Bad art pisses me off. I dropped X-Men several months ago because reading it gave me a headache. I'm seriously considering dropping New X-Men. I haven't read the last several issues of Superman/Batman, though that's largely due to the fact that Verheiden fucking sucks. Then again, an artist can only interpret the story by way of the descriptions given him by the writer's script, so in some instances it's the writer who's to blame for the bad art. Carey's a great writer. That's why I blame Bachalo. I hated every issue of Ultimate X-Men that Bachalo drew. In fact, he's one of the reasons I stopped reading that title until recent issues. And I'm not the only one who made a similar decision. Marvel's sales on UXM must have dropped measurably after Bachalo took over for Kubert. So their not wanting to make a similar mistake with the departure of Bagley is a very smart decision.
From the few pages that were drawn by him in this issue, Immonen's style seems similar enough to Bagley's that readership on this title should remain strong. Plus, I know his work, and he's really good. Plus, he'll bring a number of loyal fans with him to this title. So it's a good move.
And Bendis turns in his "The Talk" issue. Not bad.
Overall, this issue was VERY GOOD. I'm looking forward to Immonen's first complete issue.
Thursday, June 14, 2007
New X-Men #39
New X-Men #39
Skottie Young is extremely versatile. However, as far as his work on this title, which has been all action and no respite for this and last issues, I think that the style he's chosen is horribly mismatched.
Sure, it's cute and all, but it doesn't work well for action sequences. For dialogue sequences where no crazy shit is going on it's perfect, but not for this.
It seems that this title is once again devolving into a death fest. People seem to be dying left and right, either at the hands of Belasco, or at the hands of Magik. It's weird, I thought she was a hero!
I have no idea who half of these kids are supposed to be. Have we ever seem them before? And why don't we even get little caption boxes telling us who they are? Perhaps it's the art, but I really don't recognize them.
The art in this book isn't half as bad as Bachalo's work on X-Men, but it's still difficult to read.
Fortunately, the action sequences don't really make much of a difference. In fact, they could probably be omitted entirely and merely referenced in dialogue and the story would work just as well. Not that I like where the story seems to be going, but at least it's competent. A very low OKAY.
[Edit: On further rumination, it pisses me off that this issue is EXACTLY the same as last issue, yet nothing happens. And with the supposed "death" of X-23, it's patently obvious that none of these "deaths" are going to stick, which robs the story of any dramatic tension whatsoever, not that there was that much to begin with. New rating: CRAP.]
Skottie Young is extremely versatile. However, as far as his work on this title, which has been all action and no respite for this and last issues, I think that the style he's chosen is horribly mismatched.
Sure, it's cute and all, but it doesn't work well for action sequences. For dialogue sequences where no crazy shit is going on it's perfect, but not for this.
It seems that this title is once again devolving into a death fest. People seem to be dying left and right, either at the hands of Belasco, or at the hands of Magik. It's weird, I thought she was a hero!
I have no idea who half of these kids are supposed to be. Have we ever seem them before? And why don't we even get little caption boxes telling us who they are? Perhaps it's the art, but I really don't recognize them.
The art in this book isn't half as bad as Bachalo's work on X-Men, but it's still difficult to read.
Fortunately, the action sequences don't really make much of a difference. In fact, they could probably be omitted entirely and merely referenced in dialogue and the story would work just as well. Not that I like where the story seems to be going, but at least it's competent. A very low OKAY.
[Edit: On further rumination, it pisses me off that this issue is EXACTLY the same as last issue, yet nothing happens. And with the supposed "death" of X-23, it's patently obvious that none of these "deaths" are going to stick, which robs the story of any dramatic tension whatsoever, not that there was that much to begin with. New rating: CRAP.]
Cable & Deadpool #41
Cable & Deadpool #41
Another amazing cover by the incredibly versatile Skottie Young. Wow - get a load of that!
As much as I disliked last issue, this one was rather good. We get back to Cable again, Deadpool comes in to save the day, Domino gets to do some stuff, and Cable and Deadpool make up. Not too shabby. Unfortunately, all this comes with a hefty price tag - the utter destruction of Providence. Obviously, it's something that was very difficult to fit into the general Marvel universe, but it was still a nice idea. Now, though, Cable has to start all over.
The X-Men cameo in this issue isn't too annoying, as their entire function is to summarize the events in the last X-Men issue. That's okay with me. I haven't been reading X-Men, as I've said before, because I really can't stand the art - I just find it unbelievably distracting. When I read a comic book I don't want to have to puzzle over what the hell is supposed to be going on in its panels. The visual information should jump out at me. It shouldn't be incomprehensible. I shouldn't have to spend ten minutes on each action sequence trying to figure out what the hell is happening. I shouldn't have to complain this much either.
So imagine my chagrin when I got to this issue's final page and learned that it was going to be continued in X-Men #200! Why? Fortunately though, if this issue is any indication, I'll probably be able to skip it, as the next issue of C&D will fill me in adequately as to the events which occurred therein. VERY GOOD. This issue contains all the elements that made me love this book in the first place.
Another amazing cover by the incredibly versatile Skottie Young. Wow - get a load of that!
As much as I disliked last issue, this one was rather good. We get back to Cable again, Deadpool comes in to save the day, Domino gets to do some stuff, and Cable and Deadpool make up. Not too shabby. Unfortunately, all this comes with a hefty price tag - the utter destruction of Providence. Obviously, it's something that was very difficult to fit into the general Marvel universe, but it was still a nice idea. Now, though, Cable has to start all over.
The X-Men cameo in this issue isn't too annoying, as their entire function is to summarize the events in the last X-Men issue. That's okay with me. I haven't been reading X-Men, as I've said before, because I really can't stand the art - I just find it unbelievably distracting. When I read a comic book I don't want to have to puzzle over what the hell is supposed to be going on in its panels. The visual information should jump out at me. It shouldn't be incomprehensible. I shouldn't have to spend ten minutes on each action sequence trying to figure out what the hell is happening. I shouldn't have to complain this much either.
So imagine my chagrin when I got to this issue's final page and learned that it was going to be continued in X-Men #200! Why? Fortunately though, if this issue is any indication, I'll probably be able to skip it, as the next issue of C&D will fill me in adequately as to the events which occurred therein. VERY GOOD. This issue contains all the elements that made me love this book in the first place.
Sunday, May 20, 2007
Cable & Deadpool #40
Cable & Deadpool #40
EH. If you haven't been reading X-Men, don't buy this issue. (I haven't been reading X-Men because I really can't stand the art. I'd probably read the story if it were told in text format, but combined with Bachalo's and Ramos' art, I can't figure out what's going on - especially in action sequences. The characters aren't always recognizable either. So I figure I'll skip the title for now, and then come back to it when the current artists have left the title for someone more competent.) It makes no sense whatsoever. It isn't a Deadpool story, and it's not much of a Cable story either. From what sense I can make of it, this issue occurs behind the scenes of the current X-Men arc. The art and scripting in this issue makes it unclear as to exactly which of the events shown are transpiring in the real world, but it seems to me that this entire story is about Cable walking down a hall. The only moments of this issue that stand out are those revolving around Deadpool's strip poker game. And there's no recap page either. What the? Whatever. I'm sure that when I come back next issue, the new arc will make sense. Or as much sense as this title ever makes.
EH. If you haven't been reading X-Men, don't buy this issue. (I haven't been reading X-Men because I really can't stand the art. I'd probably read the story if it were told in text format, but combined with Bachalo's and Ramos' art, I can't figure out what's going on - especially in action sequences. The characters aren't always recognizable either. So I figure I'll skip the title for now, and then come back to it when the current artists have left the title for someone more competent.) It makes no sense whatsoever. It isn't a Deadpool story, and it's not much of a Cable story either. From what sense I can make of it, this issue occurs behind the scenes of the current X-Men arc. The art and scripting in this issue makes it unclear as to exactly which of the events shown are transpiring in the real world, but it seems to me that this entire story is about Cable walking down a hall. The only moments of this issue that stand out are those revolving around Deadpool's strip poker game. And there's no recap page either. What the? Whatever. I'm sure that when I come back next issue, the new arc will make sense. Or as much sense as this title ever makes.
Wednesday, July 19, 2006
X-Men #188
X-Men #188
The art is AWFUL!!!!!!
Iceman looks like Martian Manhunter, Cannonball looks like Nick Fury, I couldn't even tell that the third figure that came crashing through the wall was Cyclops until the dialogue clued me in, one two page spread looks as if it's underwater, until you realize that it's actually supposed to be an action snapshot. I had enough of Bachalo's art with the Age of Apocalypse mini, where the writing was AWFUL too. I thought I'd never have to read it again. Seriously, when you have to go back and forth in a book comparing dialogue to illustrations and subsequent panels to the preceding, it really sucks all of the enjoyment out of reading. Half the time, I can't tell what Bachalo is trying to draw. It all looks like rubble to me. I think I might hate his recent work even more than I hate Rob Liefeld, and that's pretty bad.
Regarding the story:
I can't figure out how in the world Cannonball could take down Sabretooth, except that bouncing(?) has something to do with it - since Bachalo doesn't even bother to have it happen on-panel...maybe it was too hard for him to draw?
And why the hell is professor X around? Especially following Deadly Genesis, I'm sure that the X-Men wouldn't tolerate him just walking freely around the school. Unless it's a company mandate - because Brubaker has convinced them that he needs Professor X for some reason. I just hope he's gone next issue, as Brubaker will have him off in space with the Uncanny X-Men.
Regarding the mansion illustration following the story - isn't it kind of silly to have a fence in front of the mansion, but not around the rest of the grounds? Anyone who wanted to break in could just do so through an unfenced area, no? And apparently there are fifty mutants living in the mansion. Oookay...
Anyways, the writing in this issue is pretty good - dialogue is excellent - but what with the godawful art by Chris Bachalo, it just makes it tedious to read, so OKAY. Like Paul O'Brien, I can't wait for the first issue with fill-in art.
And I meant to ask this earlier, but does anybody have any idea what's supposed to be going on on the cover? I see some people there who aren't even in the book! Or does Bachalo just like drawing Cable? Ugh...he is really the worst.
Last issue
The art is AWFUL!!!!!!
Iceman looks like Martian Manhunter, Cannonball looks like Nick Fury, I couldn't even tell that the third figure that came crashing through the wall was Cyclops until the dialogue clued me in, one two page spread looks as if it's underwater, until you realize that it's actually supposed to be an action snapshot. I had enough of Bachalo's art with the Age of Apocalypse mini, where the writing was AWFUL too. I thought I'd never have to read it again. Seriously, when you have to go back and forth in a book comparing dialogue to illustrations and subsequent panels to the preceding, it really sucks all of the enjoyment out of reading. Half the time, I can't tell what Bachalo is trying to draw. It all looks like rubble to me. I think I might hate his recent work even more than I hate Rob Liefeld, and that's pretty bad.
Regarding the story:
I can't figure out how in the world Cannonball could take down Sabretooth, except that bouncing(?) has something to do with it - since Bachalo doesn't even bother to have it happen on-panel...maybe it was too hard for him to draw?
And why the hell is professor X around? Especially following Deadly Genesis, I'm sure that the X-Men wouldn't tolerate him just walking freely around the school. Unless it's a company mandate - because Brubaker has convinced them that he needs Professor X for some reason. I just hope he's gone next issue, as Brubaker will have him off in space with the Uncanny X-Men.
Regarding the mansion illustration following the story - isn't it kind of silly to have a fence in front of the mansion, but not around the rest of the grounds? Anyone who wanted to break in could just do so through an unfenced area, no? And apparently there are fifty mutants living in the mansion. Oookay...
Anyways, the writing in this issue is pretty good - dialogue is excellent - but what with the godawful art by Chris Bachalo, it just makes it tedious to read, so OKAY. Like Paul O'Brien, I can't wait for the first issue with fill-in art.
And I meant to ask this earlier, but does anybody have any idea what's supposed to be going on on the cover? I see some people there who aren't even in the book! Or does Bachalo just like drawing Cable? Ugh...he is really the worst.
Last issue
X-Men #187
X-Men #187
Here we are, one month later again. Oh, well.
Personally, I never cared for Milligan's run on X-Men. In fact, when my subscription ran out, I saw no point in renewing it. That said, this past arc was not that bad. I am still turned off by the relationship between Rogue, Gus, and Mystique. And I don't really understand why Remy's personality has changed so much. Others have, at one time or another, also been horsemen of Apocalypse - Angel, Wolverine - and they came out of it without the excessive mental reconditioning that Gambit has. If Remy's entire focus in joining Apocalypse was to beat him from the inside, then I'm really not sure how he has now lost sight of that.
The art is nice, as usual, with one exception: On page 15 the colorist colors Emma as Gambit, not noticing she's wearing high heels. It took me a minute to figure out what the hell was going on there, and I had to keep looking back and forth. This makes an excellent argument for circular editing. Let the penciller read the finished product after it has been inked and colored. That way such mistakes will be caught.
Anyways, Milligan says goodbye to Polaris, which is kind of funny, because Brubaker brings her back one week later! Oh, well. An OKAY issue, but I don't think I'll be missing Milligan anytime soon. However, I will definitely miss Salvador Larocca. After taking a look at the cover of X-Men #188, I miss him already, but that's fodder for another column.
Here we are, one month later again. Oh, well.
Personally, I never cared for Milligan's run on X-Men. In fact, when my subscription ran out, I saw no point in renewing it. That said, this past arc was not that bad. I am still turned off by the relationship between Rogue, Gus, and Mystique. And I don't really understand why Remy's personality has changed so much. Others have, at one time or another, also been horsemen of Apocalypse - Angel, Wolverine - and they came out of it without the excessive mental reconditioning that Gambit has. If Remy's entire focus in joining Apocalypse was to beat him from the inside, then I'm really not sure how he has now lost sight of that.
The art is nice, as usual, with one exception: On page 15 the colorist colors Emma as Gambit, not noticing she's wearing high heels. It took me a minute to figure out what the hell was going on there, and I had to keep looking back and forth. This makes an excellent argument for circular editing. Let the penciller read the finished product after it has been inked and colored. That way such mistakes will be caught.
Anyways, Milligan says goodbye to Polaris, which is kind of funny, because Brubaker brings her back one week later! Oh, well. An OKAY issue, but I don't think I'll be missing Milligan anytime soon. However, I will definitely miss Salvador Larocca. After taking a look at the cover of X-Men #188, I miss him already, but that's fodder for another column.
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