True Believer Reviews

Writer: Dennis Hopeless
Artist: Juan Doe

There aren’t really any notable releases this week, at least not any that I picked up myself. As a result, I’m going to review an entire mini-series that finished this week instead, and I’ll try and use this tactic whenever there’s a week in which I can’t find anything to review. Therefore welcome to my first Mini-Series Review, which is for the just completed Legion of Monsters series.

I’m quite partial to the supernatural side of things, which is evident when you look at all of the Dark series I pull from DC. Marvel doesn’t really corner the supernatural very much, at least not regularly, so when a mini-series about all of the monstrous characters in the Marvel Universe popped up, I grabbed at the chance to read it. Relative newcomer Dennis Hopeless tackles fan favourite characters such as Morbius the Living Vampire, Manphibian, the Living Mummy, the Werewolf by Night, and monster hunter Elsa Bloodstone. Joined by Juan Doe on pencilling duties, this mini-series could have gone one of two ways: monstrously good, or supernaturally bad.

I found myself amazed at how much I did enjoy this series; Hopeless has a wonderful way with each character, completely nailing their voice on the team and making sure that they each get time in the spotlight, even if certain characters aren’t as essential to the plot as others. There’s even time for guest stars like Dracula, who slide in effortlessly and always bring something new to the table. It’s evident that Hopeless is a fan of these characters, and this makes them even more fun to read here.

Of course, good characterisation is nothing without a good plot, and Hopeless delivers on this front also. Whilst a little cliché in places, he spins an intriguing yarn that keeps the reader guessing as to the true villain all the way to the end of the book, and he isn’t afraid to pull things out of left field and hit the reader with some whiplash inducing plot twists. There’s even space for a trip to hell, a budding romance, and some hijinx along the way too. Even when the book is just expositing, it is never dull because of the well crafted narrative Hopeless provides.

A quirky title deserves a quirky artist, and Juan Doe has quirk in spades. Despite a sketchy style, nothing ever looks out of proportion or unbelievable, and when you consider that this book is set in the world of monsters, this is an even bigger achievement. Each character has their own way of moving and individual body language that helps them communicate Hopeless’ plot across. There is plenty of opportunity for Doe to let loose as well, with monsters galore and huge scenes full of crowds that he goes to town with, but he also knows how to reign it in for more subtle scenes like a conversation. His style could easily run away with him and become a mess, but instead Doe has a fantastic time with the book and compliments the story perfectly.

With Marvel’s new initiative on lower selling books and smaller mini-series, we probably won’t see anything like Legion of Monsters again for a long time, which is a damn shame considering how enjoyable this book is. It is consistently good fun, well scripted and excellently drawn, providing something that fans of the characters can go back to every now and then to remind them that their favourites can be treated properly when Marvel want to.  Whilst it may not be about the bigger selling teams like the X-Men or the Avengers, there is always a place on the market for niche books like Legion of Monsters, and hopefully both Hopeless and Doe are given the opportunity to create something like this again.

8/10

All four issues of Legion of Monsters are now available in your local comic shop, and the collected edition featuring all four issues will be available in paperback on March 28th.

Writer: Chris Yost
Artist: Ryan Stegman

Spinning out of Spider-Island comes the first Scarlet Spider comic since the mid-90s. With a new creative team and a new man behind the mask, the Scarlet Spider is heading as far away from New York City as he can and running into a heap of trouble as a result. The clone of Spider-Man, Kaine is equipped with one of Spidey’s tech suits, “borrowed” from Horizon Labs and a darker outlook on life than Peter Parker. Does his first adventure in his own solo title swing to success, or get himself stuck together?

Chris Yost hits a home run when it comes to portraying Kaine as his own character. Despite being a clone of Peter Parker, his different experiences throughout his short and painful life have given him a grim outlook, and now that he finally finds himself free of his degeneration disease, he’s really only out for himself. But at his core, he is still Peter Parker, and this self-interest clashes with his inherent care for other people, and so Kaine runs afoul of the criminal element and finds himself saving the day, whether he wants to or not. Kaine’s inner monologue is conflicted and persuasive; it feels like a man at a crossroads, being dragged in two directions, and this comes across well in his actions as well.

Most of the issue is fairly subdued, giving new readers time to catch up on Kaine’s recent past and then setting up his future, establishing what he feels and how he reacts to certain situations. The differences between Kaine and Peter are apparenty from the get-go, with his more brutal fighting style and ways of dealing with people easily communicated. There are some nice references to the Clone Saga and Kaine’s part in all of that, but Yost manages to keep it mostly uncluttered background knowledge that will bring everyone up to speed without being very confusing (More on this later). All of Kaine’s backstory is given to the reader in a neat two page spread, and this keeps it from intruding on the other story Yost is telling here.

Wisely, Yost gives Kaine most of the space in the issue, but doesn’t neglect some kind of ongoing plot that will hook you back in for another issue. It seems fairly straight forward to begin with, a nasty ring of human traffickers that Kaine confronts, saving a young girl. However, the arrival of a metahuman assassin at the end of the issue looks like it’ll be more trouble than Kaine bargained for, and there’s a suitable air of mystery around what’s really going on.

Artist Ryan Stegman performs admirably throughout the book, with some wonderful splash pages such as a fight between Kaine, Peter Parker and Ben Reilly as a flashback, and the stunning double page spread that features Kaine’s origin. He also has no problem with the smaller panels, bringing a fluid brutality to Kaine’s fighting style, and even nailing the more comic panels like Kaine bellowing at an old woman. You can also tell that he has worked at making Kaine his own character whilst still being true to his Parker origins; he holds himself differently, and despite a haircut midway through the book, he still has a familiar way of moving that likens him to his counterpart. Stegman also gives the setting of the book its own personality; you can tell straight away that Houston is nothing like the Manhattan we’re used to having Spider-Man swinging through, and it helps set this book apart from both Amazing Spider-Man and Venom, who both use the familiar city as a backdrop.

As an aside, if you’ve never read any of the Clone Saga, I would advise you not to read the Scarlet Spider Saga at the back of the book; it attempts to condense the entire storyline into four or five pages of short dialogue boxes, and just serves to confuse the reader. Yost captures everything you need to know in the main story, and reading the Saga would just be counterproductive.

Of all the things to come out of the Clone Saga, the last you would have expected would have been a failed clone of Peter Parker getting his own ongoing series, yet here we are with one issue down. Yost and Stegman team up to create something that both nostalgic fans of the Clone Saga like myself and brand new readers who only know Kaine from Spider-Island, or not at all, will be able to enjoy. It’s obvious how much work has been put into this issue, and it shines through. Even if you’re not a big fan of Spider-Man or his associated characters, check out Scarlet Spider #1 and see if this darker shade of Spidey is up your alley.

8/10

Writer: Brian Michael Bendis

Artist: Mike Deodato Jr.

The two core Avengers titles are swiftly becoming must read titles, and while this issue is heavy on the action and light on character and plot, it still stands as an indication of Bendis’ growing confidence as an Avengers writer. Following straight on from last issues cliffhanger, the story is little more than a knockdown brawl from start to finish, and pleasingly is all the better for it.

Unlike some of Bendis’ more famed works, this issue is light on the subtlety. He has proved time and time again that when he wants to he can write highly intelligent works of fiction, but all the same it is sometimes nice to settle down and read 20 pages of men and women in brightly coloured costumes hitting each other. Bendis’ much vaunted dialogue is actually a little off colour and seems slightly clunky at times, but you will hardly notice such is the level of entertainment on offer.

Norman Osborn has never convinced me as an Avengers villain until the last six months, and once again Bendis writes him superbly well. I’m not convinced that he needed a new powerset, but it does make a far more imposing foe and the idea of him leading a team of supervillains seems a lot more natural than it would have done a few years ago. Its taken time, but I think that he is finally becoming a believable, universe level threat. His new team of Dark Avengers however, are less convincing, and seem to have a slightly ‘cobbled together’ quality about them. It would have been difficult to match the big names to be found among the last team, but the new recruits seem strikingly lacking in – for want of a better phrase – ‘star quality’. Perhaps most importantly though, their fight between with the New Avengers is excellent – tense, fast paced and made easy enough to follow through Mike Deodato’s clear artwork.

Deodato’s work however, has been a little lacking in splendour recently, particular when set against his counterpart on Avengers, Daniel Acuna. His style lacks the depth of lighting that once made it so striking, and although it is probably now more suitable for a straightforward superhero book, for me it lacks a lot of the verve that made it so distinctive in the past. He is turning in capable work on this series, but is obviously capable of more.

Although there is nothing groundbreaking to be found here, The New Avengers #20 is a solid instalment in what is shaping up to be one of the 2012’s most strongly structured story arcs. Norman Osborn’s return was in danger of being overshadowed by this years Avengers Vs X-Men event, but with both Avengers titles in such strong form that now seems a slender possiblity.

7/10

Writer: Christos Gage

Artist: Tom Grummett

Christos Gage’s approach on this title since Fear Itself has been nothing if not bold. Shifting focus onto a villainous future version of one of the team for one thing has greatly altered the complexion of a book that has always been deceptively dark, especially once you look beyond the bright, cartoony artwork. Gage hasn’t always hit the high notes in recent months, but seems to be back on song with this suspense filled issue.

Gage had thusfar erred on the side of caution when it came to future Reptil’s motivations, but with this issue he has finally becoming a fully fleshed out character, and a much better one for it. Reptil simply wants to preserve his future, and by extension his family – a goal that was hinted at in previous issues, but given centre stage here. This is a very dialogue heavy issue, and does a lot to further Reptil’s characterisation, as well as the new students that he speaks to. Gage’s dialogue still isn’t one of his strengths, but it is adequate and moves the plot along well. It does seem though that some of his characterisation relies too heavily on pouring on the angst, with several of his characters seeming to be defined by their problems. The new students are solid characters, but a bit of variety would not go amiss here.

Hybrid, the evil alien let loose on the Academy by Reptil, is a solid enough threat, but hampered by a very cheesy, B-Movie style design. It is difficult to take him seriously as a character, despite being written well by Gage. Thankfully he doesn’t have a lot of time on panel, and works well as a lingering threat, lurking in the background.

Tom Grummet’s art is passable, but a little to cartoony and simplistic for my tastes. His style is rooted in classic comic book art, which is not a problem but lends the story a somewhat retro feel.

Avengers Academy is still not quite back to its best, but Gage has provided a glimmer of what we all he is capable of on the title. Perhaps most impressive is the way that he has adeptly woven new characters into the cast, while still retaining focus on the old team – even if the characterisations are at times a little too one note. The main plot still does not have me fully convinced, but Gage is providing encouraging signs that is about to kick into high gear.

7/10