It was another big week of comic book releases. Marvel welcomed several more series into the Marvel Legacy fold, including Invincible Iron Man, Cable, Incredible Hulk and The Mighty Thor. DC delved deeper into Batman's surprise engagement to Catwoman in Batman #33 and spotlighted another twisted Dark Knight in Batman: The Drowned #1. Elsewhere, IDW finally kicked off their new Black Crown imprint with Kid Lobotomy #1, and Dark Horse launched the Black Hammer spinoff Sherlock Frankenstein & The Legion of Evil.
Scroll down to check out our reviews for these and various other new releases, and be sure to let us know your favorite books of the week in the comments below.
Written by Ed Brisson | Drawn by Jon Malin
"Cable is the first of Marvel's ResurrXion titles to undergo a major status quo shift. Not only does the series revert to legacy numbering for this new arc, it features an entirely new creative team in the form of writer Ed Brisson and artist Jon Malin. With the new creators comes a more ensemble-based approach, as Cable begins assembling a new version of the New Mutants to help him solve an urgent murder mystery. There's definitely more substance to the series than we saw in the first arc, but the decline in visual quality more than makes up for any storytelling improvements." -Jesse
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Final Score:
Written by Declan Shalvey | Drawn by Mike Henderson
"There seems to be some sort of unwritten rule that Marvel always needs to have a Deadpool vs. [Insert Character Here] miniseries on the stands at all times. Now that Deadpool Kills the Marvel Universe Again has ended, it falls on Old Man Logan to keep the Merc With a Mouth occupied. There's a real sense of diminishing returns with these crossover adventures, and Deadpool vs. Old Man Logan #1 does little to revive a stale formula." -Jesse
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Final Score:
Written by Greg Pak | Drawn by Greg Land
I could have sworn that Sakaar was destroyed by Galactus during the Son of Hulk series, but here we are with “Return To Planet Hulk,” and the formerly “Totally Awesome Huk,” Amadeus Cho. Greg Pak did such a great job on the first Planet Hulk that it cemented his run on that title. But the first installment of this story feels uninspired and unnecessary. Amadeus is still a compelling character, and I particularly liked the way that the issue dealt with his dual personalities. However, none of the aliens on Sakaar can hold a candle to the Warbound of the original storyline. Greg Land’s art seemed more restrained than usual, but it's a largely well-rendered issue. It just wasn’t very exciting to read and nearly impossible to care about. In a way, this runs the risk of diminishing the power that Planet Hulk had. But that will depend upon where Pak and Land go with it in the remaining issues. -Blair
Final Score:
Written by Brian Michael Bendis | Drawn by Stefano Caselli
Invincible Iron Man #593 has a lot of ground to cover to bring readers up to speed on Brian Michael Bendis’ run, and for the most part, it succeeds. Although the double-page spread of Friday delivering an exposition bomb was perhaps not the most elegant solution in the early part of the issue. Bendis is far more effective when he lets the actions of Ironheart and Doctor Doom define who they are in relation to Iron Man. In fact, Alex Maleev’s interlude with Doom stands out as the most engaging part of the issue. However, Caselli is also a great comic artist, even if his style and Maleev’s didn’t mesh well at all. One of Bendis’ strengths is that he’s put together a very eclectic supporting cast that includes Tony Stark’s real mother, Mary Jane Watson, and even the Thing. Whatever shortcomings that Ironheart and Doom have as protagonists have been easy to overlook thanks to the other characters. But Iron Man is the rightful star of his own book, and his return is overdue. -Blair
Final Score:
Written by Kelly Thompson | Drawn by Marco Checchetto
Issue #4 wraps up this brief but enjoyable look at the First Order's most feared soldier. As with previous issues, writer Kelly Thompson excels at shedding light on Phasma's personality and motivations through word and deeds rather than via exposition. There's a sense of tragic inevitability to this issue, with Phasma making it clearer than ever that there's little she won't do to protect her name. She may be a skilled warrior, but she's far from an honorable one. That gives this series a real weight as it wraps up. Artist Marco Chechetto also helps the book go out on a high note. Checchetto's work felt a bit looser and more rushed in issue 33, but he seems to have saved the best for last. This issue is full of dynamic action, intense, close-up moments and striking shots of ma proud, defiant Phasma making her way through the galaxy. If The Last Jedi is going to redeem Captain Phasma, it'll already have a nice head start thanks to this miniseries. -Jesse
Final Score:
Written by Jason Aaron | Drawn by Various
"No matter how many times Marvel might relaunch, re-brand or renumber Jason Aaron's Thor run, the quality remains constant. The Mighty Thor was Marvel's best ongoing superhero comic before Marvel legacy, and it shows every sign of maintaining that status in this new relaunch." -Jesse
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Final Score:
Written by Chip Zdarsky | Drawn by Adam Kubert
I’ve said it before, but it bears repeating. This book has an ongoing identity crisis between the comedic scripts by Chip Zdarsky and the more serious style artwork of Adam Kubert. The two halves of the book rarely mash up well together, and that means the jokes aren’t landing and the tone has been wildly inconsistent. Kubert has been a superstar artist for decades, but this simply isn’t the right book for him. Zdarsky’s scripts need someone who can make the images as amusing as the scripts. That said, there are a few really good moments in here from both the artist and the writer. Betty Brant’s reunion with Flash Thompson was long overdue, and it doesn’t ignore his time with the Guardians of the Galaxy or his prolonged absence from her life. Similarly, the encounter between Peter Parker and J. Jonah Jameson sets the stage for what could be a very funny, and unlikely team-up next issue. Hopefully the art will live up to that promise. -Blair
Final Score:
Written by Jason Latour | Drawn by Robbi Rodriguez
It was inevitable that this series was going to tackle its own take on the Black Costume storyline at some point. That said, now isn't necessarily the best time given how overexposed Venom is elsewhere in the Marvel U. And there's definitely a sense that this book is competing with Mike Costa's venom series for attention, especially given the emphasis on the interplay between Gwen and her new symbiote partner. That dynamic works well enough, but it's not handled quite as well as in Venom. This issue also proves slightly frustrating in the way it ramps up the feud between Gwen and the Rhino and then seems to veer away from the big confrontation just as things really heat up. Still, this definitely makes for an intriguing status quo as the book enters Marvel Legacy. Jason Latour also integrates the book's sizable supporting cast into that conflict nicely. Everyone seems to be looking for Gwen these days, but not all for the same reasons. Artist Robbi Rodriguez and colorist Rico Renzi also shine as they tackle this dramatic new look for Gwen. The character has a deadly, more dynamic edge to her, and in general the book has a very sinister look that complements Rodriguez's stylish approach very well. -Jesse
Final Score:
Written by Charles Soule | Drawn by Angel Unzueta
This series is clearly moving closer to the events of The Force Awakens, with this new arc returning focus to the hunt for the wayward Lor San Tekka. That certainly helps give Poe Dameron a greater sense of energy and drive. This issue is more focused on setup rather than allowing Poe to simply dive into his mission, but the upside is that this allows Charles Soule and Angel Unzueta to touch bases with a number of key supporting players (not least of which being San Tekka himself). It goes without saying that any opportunity to see Soule writer General Leia is one worth seizing. And this issue's greatest strength is its ability to convey the scope of the Resistance/First Order and illustrate how the Resistance is arguably in an even more dire situation than the Rebellion. Soule emphasizes Leia's frustration at a galaxy too complacent to confront a looming enemy, which feels all too appropriate in this current climate. Unfortunately, this series has lost something vital with the departure of artist Phil Noto. Unzueta's art lacks that same charm, and in many cases has a stiff, cold quality. Superficially, this looks very much like a Star Wars comic, but the visuals have a hollow quality that does the book no favors. -Jesse
Final Score:
Written by Mike Costa | Drawn by Mark Bagley
Sometimes I still resent the fact that Kraven the Hunter wasn't allowed to stay dead after Kraven's Last Hunt, but a good Kraven-centric story can always overcome that resentment. This arc is showing every sign of doing just that. Kraven makes for an excellent antagonist here. Despite not being on Venom's level in terms of raw power, Kraven's cunning, bloodthirsty nature makes him a very credible threat to Eddie and the symbiote alike. Plus, this arc also offers its own fun spin on the traditional "power and responsibility" dynamic, focusing on Eddie's realization that saving a life makes you responsible for that life. Mike Costa proves here that there's some real fallout worth exploring from the recent dinosaur arc. Artist Mark Bagley also thrives in this issue. Bagley renders Kraven in a way that makes him seem imposing and deadly even standing alongside Venom. Bagley also makes the most of the shadowy, labyrinthine sewer setting, giving the issue an unsettling, claustrophobic quality. Now that the art quality matches the writing, this series is finally living up to its true potential. -Jesse
Final Score:
Written by Marc Guggenheim | Drawn by Marc Laming
The “Mojo Worldwide” crossover has been a little scattershot in terms of quality, but at least the artwork has been terrific throughout. Marc Laming instantly feels at home on this title, and it's very endearing to see the X-Men costumes from previous eras on the modern incarnations of the characters. If there is a stumble here, it’s that Guggenheim has tipped his hand by giving us too way too many major deaths to ever stick. Maybe if only one or two characters had gone down, it would have been plausible. Instead, it’s the implicit signal that none of this matters, even if it is gorgeously rendered by Laming. The confrontation between Teen Jean and the original Goblin Queen is a particular highlight, as is the introduction of the upgraded enemies that the team has never seen before. This crossover is turning into more of a diversion than a big event for the X-Men. And that’s fine, as long as it continues to be entertaining. But the shock value has already worn off. -Blair
Final Score:
Continues
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