The X-Axis - 1 November 2009

Right, then... I am honestly, definitely, genuinely going to catch up on reviewing some recently-completed storylines. There's a pile of them building up next to my desk, "The Adamantium Men" from Wolverine: Weapon X #1-5, "Romulus" from Wolverine: Origins #37-40 and the GeNext United miniseries being particularly overdue.

But first, let's round up this week's books. By the way, my copy of the X-Necrosha one-shot got delayed, so I'll review it next week. However, since Marvel saw fit to ship seven other X-books this week, I think I'll survive. (Marvel claim they try not to ship everything in a single week. Check the January 2010 solicits: week three features both Hulk and Incredible Hulk, both Uncanny X-Men and X-Men: Legacy, both Wolverine: Origins and Wolverine: Weapon X, and both Dark Avengers and Mighty Avengers. And you might have thought that Web of Spider-Man would ship in the one week of the month when Amazing Spider-Man doesn't... but you'd be wrong. If this is Marvel trying, I dread to think what would happen if they started phoning it in.)

Dark Avengers: Ares #1 - Intriguingly, this isn't a Dark Reign tie-in. Given that Marvel generally seem prepared to slap the logo on anything with a Norman Osborn cameo, this is remarkable restraint. Kieron Gillen and Manuel Garcia are responsible for this miniseries. It's a simple idea: Ares is the god of war, Norman Osborn asks him to train up some H.A.M.M.E.R. soldiers, and so Ares gets to play drill instructor. And since Ares is only marginally saner than Lobo, that's clearly a recipe for disaster. This first issue is mainly black comedy with the bemused soldiers trying to make sense of their maniac commander, with the plot rearing its head on the last two pages. And since it's only a three-issue miniseries, you might think that's leaving it a bit late. But the plot's secondary, really. The joke is Ares as drill instructor; the point is about the moulding of soldiers, and there's plenty of material about that. It's brazenly over the top, but so it should be - it's an Ares comic. Fun reading.

Dark Reign: The List - Wolverine #1 - The Dark Reign: The List one-shots are mildly bemusing. They were hyped as something important to the plot of "Dark Reign", but in practice they seem to be just filler stories, albeit by the writers of the characters in question. This one-shot, from Wolverine: Weapon X writer Jason Aaron and artist Esad Ribic, is barely even a Wolverine story. Norman Osborn, in full-blown raving maniac mode, decides to try and capture the World - the place from Grant Morrison's New X-Men run where later versions of the Weapon X Project were based. Marvel Boy, Wolverine and Fantomex head off to stop them. And then Wolverine gets mind-controlled almost immediately, so really, he's hardly in the issue.

Now, here's the odd thing. Aaron's Morrisonesque high concept is that Wolverine and the other inhabitants of the World have been brainwashed by a sort of artificial religion - "a virus that attacks the faith reserves." As such, it only works on people with existing religious beliefs, which is why the cynical atheists Fantomex and Marvel Boy are unaffected. The oddity here is that Aaron evidently sees Wolverine as being religious, even though he's claimed otherwise before. And in fact, the issue is rounded out with a reprint of "A Good Man", a back-up strip from Wolverine #175 which was Aaron's first published work. He won some sort of contest, as I recall. That story likewise hinges on the idea of Wolverine as religious, which makes it a smart pairing for the lead strip, but also results in two stories which, for my money, rather miss the point of the character. (To be honest, I have a sneaking suspicion that Aaron doesn't really understand the concept of idealism without religion.)

Still, all this is basically window dressing for a comic where sarcastic people run around fighting cyborg zombies, so let's not get too worked up about its shaky psychology. It's passably enjoyable, but it's hardly essential reading; Aaron's done better action romps elsewhere, and he's written a better Wolverine story this week.

Gotham City Sirens #5 - Well... hmm. The basic idea here is to pit Harley Quinn and co against a version of the Silver Age Joker, from back when he was goofy and ridiculous and essentially harmless. Which kind of makes sense, because Harley fits better with that version of the Joker. Except of course the Joker's been a cold-blooded psychopath for years, and so to square that circle, Paul Dini ends up reviving... a character from Batman #186 (November 1966). I mean, we're talking about a seriously obscure reveal here. And I'm not altogether sure it works, because part of the problem is that Dini still wants this version of the Joker to be a genuine threat rather than a cornball throwback, so he's trying to have his cake and eat it. I can see why the wider interests of consistency might rule it out, but I actually preferred the approach of previous issues, that the Joker was simply acting that way because Harley was involved.

Jack of Fables #39 - In which Jack Frost continues to become a proper hero, and our Jack continues to become even less of one. And... you know, it's a plot-advancing chapter in the middle of a four-parter, and beyond that there isn't a great deal to say about it. The basic idea of Jack Frost becoming a traditional fairy tale hero pretty much dictates that the story has to be somewhat predictable, which might be the problem with this issue. As a storyline, it really depends on whether they've got a clever idea to draw together the two seemingly unrelated plot strands in the concluding part next month.

Marvel Divas #4 - "Who cares what we're called?" someone asks in the final panel. Defensive much? And the reality is that somebody should have cared what they were called, because Marvel Divas isn't just a bad name for a miniseries, it's an embarrassingly, cringe-inducingly terribly name for a miniseries. The actual content has been much better than you'd expect. That's not to say that it's a lost classic which has slipped under the radar, but artist Tonci Zonic has done great work throughout. Okay, Daimon Hellstrom's acting a million miles out of character for the benefit of the plot, but I'm prepared to let that one slide. And yes, the cancer stuff was a bit disease-of-the-week. But it's had some good moments, the art is strong, the story is acceptable, and the whole thing comes in on the right side of average. Fans of the characters will probably have enjoyed this one.

New Mutants #6 - It's a Necrosha-X tie-in, which means that a dead hero rises from the grave as a mind-controlled zombie and fights... hold on, haven't I seen this somewhere before? Blackest Something? Anyway, the New Mutants don't have that many dead characters to revive, so naturally it's Cypher. And Cypher's been dead for... what, twenty years now? Seriously, if there's that many readers still out there who care about Cypher being brought back from the dead, it's probably time to close the shutters and move into a different line of work. Fortunately, Zeb Wells is smart enough not to peril his story on 80s nostalgia. Instead, most of the issue is devoted to Cypher stalking the New Mutants as they have their big reunion with Professor X, the idea being that the super-powered Cypher can interpret everything, and so offers a running translation on the subtext of everything people say and do. And that's a neat gimmick, well executed. I can't say I'm particularly grabbed by Blackest X as a concept - if there's any mileage in "heroes fight mind-controlled dead friends", DC already expended it. But this issue does manae to do something clever and worthwhile with Cypher's powers, which is about enough to justify the story.

Wolverine: First Class #20 - Talking of pointless nostalgia, this issue guest stars Captain Marvel. It's a two-parter with Skrulls, and while the first half was good, this issue just gets distracted by a guest star who we're obviously meant to think is pretty cool. And it never really persuades me of that. It comes across as a story where we're all meant to go "Ooh, Captain Marvel" - but if this is an all-ages comic then it should hardly be counting on familiarity with a character whose heyday was in the mid-seventies. Decidedly underwhelming.

Wolverine: Weapon X #6 - The book begins its second arc, and weirdness abounds. Logan's in a mental institution, being treated for his delusions that he's a superhero. Now, obviously, we all know that the Marvel Universe won't turn out to be a hallucination. That's not the point. The trick with a story like this is to make it as weird as possible, and generally maximise the WTF element. Jason Aaron and Yanick Paquette pull that off - the institution is done in a way that's so obviously bogus that it only serves to heighten the creepiness, almost as though the characters are wandering around a half-finished set. I do wonder whether four issues is a bit long for a storyline like this, but we'll see how it goes.

X-Factor #50 - Only Marvel would try to get away with publishing two anniversary issues in a row. Yes, this is issue #50, and the next one is issue #200. I know it doesn't really matter, but if you're going to use it as a marketing tool, don't draw attention to the fact that it's all bullshit! Conceal it at all costs! Anyway, this is the long-awaited conclusion of a complicated time-travel storyline that's been going without a break since issue #40. Like a lot of people, I rather lost patience with this arc a while ago, but I'll settle down and re-read the whole thing to see if it works any better as a collection. As for this final issue, I'm mainly just relieved that it's over, but there is a clever twist to explain Layla's "knows stuff" schtick. The series seems to have completely forgotten that her original original mutant power was to advance the plot of House of M, but hey, I wouldn't be reminding people about that either, if I was them.

X-Force #20 - The final part of "Not Forgotten", and again, I'll review the arc once I've re-read the whole thing. Basically, it's another issue of X-23 solving problems with ultraviolence. But then that's her thing. I do wonder whether it's time to advance her character arc and humanise her a little bit more, but then again the idea that X-23's been programmed to kill and has no real-world life experience is what makes her distinctive. Tone it down too much and she becomes Wolverine Lass, something that she presently manages to avoid. (Come to think of it, why doesn't X-23 figure into the plot of Wolverine: Origins? Not that I want her to, but logically, she should, shouldn't she?) The action is endearingly over the top, and it works in large part because Mike Choi and Sonia Oback's art manages to prettify it so much - though it's unfortunate that they make X-23, Morales and Kimura look so similar.

X-Men Forever #10 - What on earth...? This is the funeral of Wolverine, who apparently really is dead in Chris Claremont's alternate reality series. And so a bunch of heroes show up to tell us what a great bloke he was. Much as you'd expect, really. What's puzzling is that Claremont seems to be straying even further from the original premise of the series. Officially, the idea is that Claremont is picking up his original run on Uncanny X-Men from where he left off in 1991. So he's ignoring revelations that appeared after 1991, which is fair enough. And he's doing things like killing Wolverine which would never have been allowed in 1991, which is arguably against the spirit of the series, but still kind of acceptable. But now it turns out that this world doesn't have a Cable, and that a whole bunch of New Mutants stories apparently didn't happen either. Oh, and Warren isn't blue. At which point, not only are we contradicting stories that came out before Claremont left the series, we're contradicting stories that were acknowledged in the pages of Uncanny X-Men. This is all very weird, and it appears to be deliberately confusing - the closing scene contains no intrinsic drama whatsoever, but serves as a cliffhanger by foregrounding what otherwise seems to be a ginormous continuity error. We seem to be on a tipping point where the book either becomes horribly self-indulgent, or turns into a bizarre metatextual game, both of which bear little resemblance to the supposed concept of the book. Curiouser and curiouser... and yet I can't help wondering where on earth Claremont could be going with this. So he's still got my attention.

The X-Axis - 25 October 2009

It's been a couple of weeks since I've written one of these, so we've got something of a backlog to get through. And of course, as always, don't forget to check out the podcast for more talk about Anchor, Sugar Shock and Azrael.

I'll come back, I think, to Chew #5, Final Crisis Aftermath: Dance #6 and GeNext United #5 once I've had a chance to re-read the whole storylines. But for now...

Anchor #1 - This is a new ongoing series from Boom Studios by Phil Hester and Brian Churilla. Hester has written some interesting off-kilter high-concept fantasy comics in the past, such as The Coffin. This is a more straightforward action set-up, but it's still a pretty weird central idea. There's this big guy, right, and he exists both on Earth and in Hell. In Hell, he's singlehandedly holding off armies of demons who are trying to escape; on Earth, he's a confused guy who feels obliged to fight giant Kirby-esque monsters. It's the sort of idea that could easily be a mess, but actually, it works pretty well - it's got the sense of mythological scale that allows it to get away with such an odd premise.

Azrael #1 - DC have just reshuffled the Batman books again, and so they've dug up this concept for another shot. This isn't the original Azrael - it's a guy called Michael who's picked up the identity somewhere along the line. But writer Fabian Nicieza is sticking with the theme of cults and zealots. Basically, the idea is that the comic cuts back and forth between the present day (where Azrael's a fairly normal vigilante on the fringes of the Batman family) and six months time (where he appears to have gone stark raving mad). A nice enough idea. Granted, Michael's not a hugely interesting character in the present day sequences, and the first issue is an "abusive Catholic priest" story, territory which has surely been stripmined by now. And Ramon Bachs' art doesn't seem entirely comfortable with the action scenes. But nonetheless, there's something interesting in here.

Beasts of Burden #2 - Ah, this is good stuff. Pets fighting mystical evil is an okay concept, but it's all in the execution. Jill Thompson's art brings out the characters without anthropomorphising them too much, while Evan Dorkin's script manages to balance the suburban setting with a lingering sense of threat. This series could easily have been gimmicky or cutesy - or gone the other way and tried too hard to be "serious" - but it's a beautifully judged piece of work.

Cowboy Ninja Viking #1 - Now there's a title. It's a very tongue-in-cheek action/conspiracy story, starting from the intentionally ludicrous premise of an attempt to create government super-agents out of people with multiple personality disorders. Because they've got three personalities, you see, so that's three times as many useful skills they could have. Did it work? No, of course it didn't. But there's still a deranged cowboy/ninja/viking out there as a result. I love the idea, but I'm a bit more lukewarm about the actual comic. The plot's a bit opaque, and at times it feels like it's trying too hard to be clever. The biggest problem, though, is that the lead character has three personalities all of which seem to be essentially the same in different hats, which feels like a waste of the idea.

Dark Wolverine #79 - Boy, this feels like filler. "How many months of Dark Reign left to go? Six? Yeesh... uh, Daken has a fight with some minor villains?" I was more or less behind this series with the first arc, but it's losing me now. One problem is that the plot depends on you accepting that Norman Osborn can't allow his Dark Avengers to be seen beating up villains in public because of the PR consequences. But I don't really see what his problem is. Again, if "Dark Reign" is supposed to be an ersatz Cheney-verse, Osborn wouldn't be concealing the abuse of prisoners, he'd be trumpeting it as a tough-on-crime virtue. It's not as if Daken's even done anything particularly groteque. And when the whole "Dark Reign" set-up requires us to accept that Norman can hold a position of public trust despite a well-documented history of villainy and madness, you can't turn round and expect me to believe he's losing sleep over something like this. It just doesn't work. Oh, and there's a cringingly adolescent bit with a creepy store manager hiding cameras in women's changing rooms, which is just eye-rollingly terrible.

Deadpool #900 - Well, it's an anthology of Deadpool stories. Or rather, half of it's an anthology of Deadpool stories, and the other half is a reprint of Deadpool Team-Up #1, a James Felder/Pete Woods one-shot from years ago which wasn't especially memorable in the first place. A little Deadpool goes a long way, and to be honest, seven consecutive Deadpool short stories is a bit much. Fred van Lente and Dalibor Talajic do a good story with evil mimes, while Mike Benson and Damion Scott turn in a visually interesting conversation piece between Deadpool and a psychiatrist. On the other hand, the Joe Kelly/Rob Liefeld thing is like having sugar injected into your eyes. And Kyle Baker turns in some thoroughly odd-looking art for the last story, which I'm not at all sure works. It's like the comic book equivalent of a low-budget Adult Swim clip-art animation. Mainly, though, it's not that the individual stories are bad, just that it's hard to take this much Deadpool in one go.

Liberty Comics #2 - This year's fundraiser anthology for the Comic Book Legal Defense Fund, which is of course a very good cause. Themed anthologies tend to be hit and miss, and to be honest, this is more miss than hit. There's a lot of creators taking a few pages to inform us that free speech is good, which... well, we knew that, right? I mean, yes, you like free speech and you don't like censorship, and that's awesome, but a lot of the contributions are rather clodhoppingly literal and not especially insightful. Mike Allred does a passably amusing short, and there's a Painkiller Jane strip which gets the theme in quite well. Jason Aaron's opening strip isn't exactly subtle, but it's quite funny. But then there's also stuff like an overearnest, preachy Channel Zero four-pager, of which the less said the better. All in a good cause, but frankly not a great comic.

Sugar Shock #1 - This is the print edition of Joss Whedon and Fabio Moon's online comic, which originally appeared on Myspace Dark Horse Presents. It's actually only 24 pages long - the rest of the issue is filled out with sketch art - but at $3.50, that's still not bad value these days. We talk about this more on the podcast, but if you haven't seen it, the title pretty much tells you what to expect. It's a freewheelingly mental strip which cheerfully digresses all over the place, as an insane rock band (one of whom is a robot, and one of whom insists that she's not a Viking) go off into space to fight weirdness. It's a gag strip rather than a proper story, but Whedon is a good gag writer, with some great non sequitur cutaways. And thanks to Moon, it looks fantastic.

Uncanny X-Men #516 - In which Magneto shows up on Utopia, Xavier protests that the arch-villain can't be trusted, and everyone ignores him. Meanwhile, working through his short list of available remaining villains, Matt Fraction ends up using Scalphunter and a bunch of Predator Xs on a plane, which doesn't seem like that much of a threat to an entire island of X-Men, but okay. This isn't bad, actually. I like the idea of Xavier being sidelined while everyone else is cheerfully inviting Magneto in for coffee. And Greg Land's art is actually less irritating than normal this issue - partly because it looks a little less Photoshopped than normal, partly because there aren't many women in this issue.

Uncanny X-Men: First Class #4 - Storm and Phoenix hook up with the Daughters of the Dragon to fight Nightshade, of all people. I've never much cared for this mid-seventies villain in her leather bikini, and First Class stories are usually at their weakest when the writers seem to be indulging personal nostalgia. Nightshade's plan, it turns out, is to steal a mind-reading machine so that she can give kung fu skills to her robots. Um... yes, maybe if this had actually come out 35 years ago. But reading it in 2009, it just seems to date the creative team.

Unwritten #6 - This looks to be the start of the second arc, as Tom Taylor finds himself in jail awaiting trial for the murder of all those genre writers who got killed in issue #4. Unwritten is easily my favourite Vertigo book right now. It's got a strong, intriguing central idea. And it's turning out to be more than just a gimmick about a character escaped from fiction - it's a vehicle to do stories about genre, and the rules of fiction, and the way a story is experienced by its audience. All of which I find rather fascinating. But it's also got a strong plot as well, and I love to see Mike Carey stretching himself like this.

Wolverine: Origins #41 - Guest starring Skaar, Son of Hulk. Which isn't gratuitous at all, you see, because this series is about Wolverine and his son Daken, so they're going to contrast that with Bruce Banner and his son Skaar... No, I don't really care either. Frankly, even the plot recap on page 1 is enough to make your head bleed. And then we get one of those stories where Wolverine knows Romulus can second-guess his every move, so decides to beat him by taking random advice from a bloke in a bar... Nice art, though, I'll give it that, but the plot has now strayed so far from any sort of logic or common sense that I can't even be bothered being irritated with it any more.

X-Men Forever #9 - Well, my copy has a printing error that makes two pages largely unreadable, which is unfortunate. But mainly, this is the story of Ziggy Trask, the latest member of the Trask family, who's spent her life trying to redeem the family name by building some Sentinels that actually work. Silly woman, hasn't she read Essential X-Men? The Sentinels never work. Actually, there is something interesting about the character - Claremont works hard to present her as somebody basically normal who's grown up seeing the X-Men as the baddies and who isn't evil so much as obsessed with the family business. Also this issue: we get to find out who one of those people in the shadows is! (It's nobody we knew.)

X-Men Legacy #228 - This is part two of "Devil at the Crossroads", the Emplate story that began in this year's Annual. Emplate has kidnapped Bling, because although she's terribly obscure, she also happens to have very handy powers. So this is a story where Bling is held prisoner in a weird interdimensional haunted house by a guy wearing a gas mask, and Rogue has to go after her. Artist Daniel Acuna makes this one work; his self-coloured art has a weirdly oversaturated feel to it that doesn't always click, but turns out to be perfectly at home doing stories about a mad pervert in an interdimensional house. This version of Emplate isn't a mastermind so much as a weirdo, but then creepiness was always his strongest feature, so why not push it to the limit?

The X-Axis - 4 October 2009

I was planning to get around to that "Old Man Logan" review today but... well, yeah, maybe tomorrow. And thanks to Marvel's ever-crunched publishing schedule, two more Wolverine storylines wrap up this week: "The Adamantium Men" in Wolverine: Weapon X #5 and "Romulus" in Wolverine: Origins #40. So we'll get back to them. In the meantime, though...

Echo #15 - Terry Moore hasn't exactly been racing forward with this storyline. Over a year into the series, we've finally got to a story point that most writers would have covered in act one. (After all, why did you think the series was called Echo?) Most people wouldn't get away with this, but Moore's good enough with the details that he can carry this sort of slow-burn storytelling, and use it to make the book seem firmly grounded before he starts bringing in the more outrageous parts of the premise. It's the art, though, that really bring the characters to life, and adds the depth to make the book work. Always a pleasure, this title.

Fantastic Four #571 - Well, this is what I'm looking for in a Fantastic Four story. Yes, some of the familiar elements are dutifully namechecked, but basically the Fantastic Four is the Marvel Universe title that can get away with big, sweeping, insane ideas. (I'd say "cosmic", but this isn't the 1970s and it's way past time we thought of a better term.) You could say that this is basically a Reed Richards solo story - or perhaps more accurately, that Jonathan Hickman has created a team book made up entirely of Reed Richardses - and yes, granted, the rest of the team aren't getting a great deal of time just yet. But I'm happy with this; written well, Reed's the most interesting character of the bunch, and I'm glad to see him being used properly, in a story that seems to get what this book is good at.

G-Man: Cape Crisis #2 - So cute! This is Chris Giarrusso's creator-owned book, with his own characters done in the style of the "Mini Marvels" strips that used to appear at the back of Marvel comics and were generally better than the main story. They're kid superheroes in a world with adults, so we've got them fighting bank robbers and delivering papers, with none of that angst-generating secret identity stuff to worry about. Oh, and there's a subplot about dandelions. It's a sweet and genuinely funny book, and what more would you want?

Jack of Fables #38 - Jack Frost keeps trying to start his career as a professional hero, while in a subplot, the title character continues to be tormented by the artist. To be honest, they're going a bit over the top with that subplot, which wasn't exactly subtle to begin with. Naive rookie hero Jack Frost, who achieves very little but looks very earnest in the process, is more entertaining. I'm not really sure where any of this is heading, though - Jack of Fables tied up most of its outstanding storylines in the recent crossover, so the jury's still out on whether it's laying the groundwork for a new direction, or just sort of meandering a bit.

Marvel Divas #3 - Better than the early covers would have you think. Not to mention the title, which is both thunderously awful and utterly unrelated to anything on the interior pages. It's really not the book that people were expecting - more accurately, dreading. In reality, it's a fairly relaxed drama about some C-list Marvel heroines, and the main selling point is the minimal but attractive art from Tonci Zonjic. Now, that said, it's certainly a bit Disease of the Week, and the referencing of Sex and the City feels terribly dated. There's a few overfamiliar elements. It's not a classic. But if you judge by the interior pages, there's still something quite likeable about it, for all its many flaws.

New Mutants #5 - This is a transition issue between the first storyline and the upcoming "X-Necrosha" crossover. (And please tell me it's not going to be Blackest Night with mutants and circuit boards.) Zeb Wells ties up some loose ends from the Legion arc, and establishes why Dani Moonstar is on this team despite having no powers. It's all done perfectly well, but most notable is the guest art by Zachary Baldus. His characters are a bit off model, admittedly, but it's beautifully expressive stuff, and he even pulls off a decent version of Warlock, always a challenge for artists who have to adapt him to their style. I'd cheerfully see him as the regular artist. There still doesn't seem to be much of a premise to this book beyond "let's reunite the New Mutants from 25 years ago", but at least it's being done well.

Uncanny X-Men #515 - This came out last week in America, but Diamond UK managed to delay it. It's the first part of "Nation X", as the X-Men settle in on their new rock. Greg Land is back on art, which is not good, but he doesn't actually do too much damage to this story - although there's an embarrassingly bad Psylocke scene. Fraction seems more focussed than usual with this issue; instead of worrying about his cast of thousands, we've got interesting scenes with Scott and Xavier talking about where the team's going, and a potentially promising new direction for Emma. Thinning down the herd of characters is very much for the best; there's still quite a few balls in the air, but it's enough for Fraction to keep track of and for the stories to actually get across. I was pleasantly surprised by this issue; it's one of his better scripts for the series.

Unknown: The Devil Made Flesh #1 - Despite the issue number, this is effectively the second arc of Mark Waid and Mink Oosterveer's Unknown, since the first miniseries only finished last month. The basic set-up last time was a terminally ill Sherlock Holmes-type detective applying her powers in search of evidence of the afterlife. The finale of that story was maybe a bit much, but the idea was good. With this story, Waid cleverly inverts the premise and throws up all sorts of other questions. It's an odd book, this, a curious mix of the traditional detective story with explanations so bizarre that even the X-Files would have baulked at them. (Yes, infrasound has been credited as a possible explanation for ghost sightings... but not ghosts that look like Zzzzax.) It could easily be very irritating, but it's self-confident weirdness is strangely engaging, and certainly unique.

X-Factor #49 - The penultimate chapter of the seemingly never-ending storyline? Surely not! Actually, about half the issue is devoted to Guido, Rictor and Shatterstar awkwardly discussing homosexuality, which starts off amusing, but ends up labouring the point somewhat. Meanwhile, the plot lumbers gamely on, with one last cliffhanger twist. I'm sure it'll all read much better as a complete story, but as a monthly serial this feels like it's taking forever, and the story even draws attention to one of its own plot holes. There are good bits in here, but it's not really coming together right now.

X-Men Forever #8 - In which Chris Claremont's version of the X-Men fights a Sentinel in the jungle, and then explores one of those remote scientific facilities that bad guys like to build. It's as melodramatic as ever, but it's decent melodrama which holds together on its own terms, and which sets up its mysteries well. Of course, there's always something to live with: this issue, it's Kitty explaining that she doesn't notice the claw coming out of the back of her hand because it's so sharp. Um, fine, but it's clearly much wider at the base, so that doesn't work. (And besides, why isn't she bleeding?) But I'm willing to give Claremont some room with this book, because for the most part he's winning me over. This issue's art is by Steve Scott; his Beast is a bit clumsy, but otherwise it's a solid effort.

X-Force #19 - I have no idea what's supposed to be going on with the cover; it doesn't have much to do with the actual story. This is mostly an X-23 solo story, as she tries to escape the Facility with the help of Agent Morales. X-Force being X-Force, it's something of a bloodbath, though this time it manages to keep the really excessive stuff down to a couple of spots that actually have a chance to mean something. There are some irritating plot glitches - if shooting Kimura on page 4 keeps her down for a couple of pages, why not do it again later on? - but it works as a B-movie chase sequence, and there's something oddly interesting about X-23's deliberately flat dialogue in this sort of story.

X-Men Forever #1-5

Because you demanded it...

"Love -- and Loss!"
Writer: Chris Claremont
Penciller: Tom Grummett
Inker: Cory Hamscher
Letterer: Tom Orzechowski
Colourist: Wilfredo Quintana
Editor: Mark Paniccia

X-Men Forever must hold some sort of record for the most convoluted premise of an ongoing Marvel series. It's an X-Men series, of course, but not just any X-Men series. No, this is an X-Men series written by Chris Claremont, picking up where he left off in 1991. So it's the stories that would have appeared if Claremont had stuck around... except it isn't, really, because the stories that would have appeared in an alternate 1991 wouldn't have been much like this at all.

How times have changed. The Marvel that cancelled X-Men: The Hidden Years would never have commissioned a series like this. But then, Marvel have been searching for a role for Chris Claremont for a while now. He's no longer a writer that you could put on a flagship title; he's returned to the mainstream X-Men titles twice, to decidedly muted reaction. And he's not at his best having to play along with inter-title crossovers, even though he clearly gives it his best shot. But there's still an audience who want to read his stories, so he's been given a string of self-contained projects on the fringes of the X-Men universe - the off-to-the-side-somewhere X-Treme X-Men, an Excalibur relaunch, an Exiles revamp, X-Men: The End, and most recently GeNext - where he's been allowed, at least for a while, to do his thing for his audience.

Most of those books, though, weren't especially good. Since it was Claremont who got me into superhero comics in the first place, there's always a part of me hoping for a return to form. But I approach a project like this with some scepticism.

But, quite unexpectedly, X-Men Forever turns out to be the best thing Claremont's done in a long while. It's not because of the convoluted premise as such. It's more that the premise frees Claremont from the need to accommodate anyone else's ideas, unless he positively wants to write them in. He seems more comfortable here than he has been in years. Where X-Men: The End was overloaded and Exiles was meandering, this is actually focussed, and energetic, and fun.

Now, that's not to say Claremont is picking up where he left off. He's doing no such thing. To do that series, you'd really need to pick up somewhere before the end of his run, before the editors insisted on hitting the reset button and moving everyone back to the re-built mansion and putting Xavier back in a wheelchair. It's often overlooked now, but by the end of his run Claremont had spent several years doing his best to dismantle the X-Men status quo, and had more or less turned the title into a globetrotting adventure series which didn't even have an official X-Men team to star in it. Left to his own devices, one suspects, he would simply have wandered even further from the classic set-up, or at least strayed for longer.

What's more, if Claremont had been writing the book in 1991, he wouldn't have jettisoned the vast majority of the cast and replaced them with half of Excalibur. He wouldn't have killed off Wolverine in his second issue (he wouldn't have been allowed to, because Wolverine already had a solo title - even if it was a feint, as seems likely). He wouldn't have suddenly brought in Nick Fury out of nowhere, flanked by a continuity-busting team of second generation Howling Commandos murmuring that their dads fought in World War II. He probably wouldn't have revived the "Storm gets turned into a little kid" story which, at the time, had only just been wrapped up.

And he wouldn't have done any of this with Tom Grummett on art. If Claremont had hung around long enough to see Jim Lee depart for Image, he'd probably have ended up working with the likes of Andy Kubert instead, rather than Grummett's more solid and traditional style. The X-Men hadn't looked like this in years - you'd be going back to the earlier days of Marc Silvestri's run, at best, before his style had fully developed.

This is not a comic book of the 1990s, alternate or otherwise. It's a throwback to the eighties. But then, so it should be; that's Claremont's heyday, and that's the period they're really trying for. For the most part, though, he's wisely gone for the style of those stories, rather than picking up on the details of old stories. There's Storm as a young girl, admittedly, and it's odd that the series hasn't seen fit to explain this 20-year-old plot in more detail.

But 1991 was a break point in the X-Men's stories, and Magneto had just been killed off (in the days when this was still somewhat newsworthy, if not exactly novel), so Claremont finds himself free to start a bunch of new stories. He gives us a conspiracy plot about a group called the Consortium who seem to have turned Storm evil, a story which seems to be setting up Sabretooth as a replacement Wolverine, and a big reveal which inverts the whole nature of mutants, casting them as a doomed genetic quirk rather than the next generation of evolution. All of which is actually quite promising stuff, and would have worked back in the day.

I wasn't too impressed by issue #1 when it came out; on first reading, it's basically a big fight scene where the X-Men take on Fabian Cortez and then eventually win. It's much better on a second reading, when you can see it laying the groundwork for future issues. Claremont isn't often regarded as the most subtle of writers, and he does have a tendency to write scenes which practically have a flashing neon sign saying "Look, a subplot!" But there are also plenty of times when he doesn't do this - so, for example, issue #1 has Rogue making throwaway comments that only make sense in the light of the later Storm plot, and Kitty unobtrusively nursing a sore arm to set up a story three issues later. This sort of thing happened a lot in Claremont's original run, and tended to feed the impression that everything was playing into a grand design (and sometimes they even were) - but it hasn't been so apparent in his more recent stories. I'm pleased to see it.

The Storm plot works surprisingly well, too. Claremont's set up a decent mystery here, partly by using the unfashionable device of thought balloons to establish that the adult Storm isn't an impostor (or at least, doesn't think she is), without actually giving away much information about what's going on.

Granted, some of it's stupid. Kitty gets a fully functional retractable claw from Wolverine in a phasing accident? That's stretching the boundaries of credibility, to put it politely. And when the baddies start telling us that Kitty is suddenly massively dangerous now that she has a claw, they're surely overstating the threat posed by what is still essentially just a dagger.

But I can live with some of it being stupid, because in many ways this does manage to recapture the strengths of Claremont's original run, and it is something of a return to form after many nostalgia projects that weren't quite on the money. This could so easily have been an awkward raking over of past glories, and it's an unexpected pleasure to see it actually coming together like this.

The X-Axis - 20 September 2009

After a couple of weeks away, there's something of a backlog building up. So let's start off by ploughing through the X-books and a bunch of debut issues.

Obligatory plug: don't forget to download this week's episode of House to Astonish, where Al and I talk about the big news at Marvel and DC, and review Beasts of Burden, Sweet Tooth and Vengeance of the Moon Knight. Download it here, or visit the podcast webpage, or subscribe via iTunes.

Beasts of Burden #1 - This is a four-issue miniseries - or, more accurately, an "at least four issues and then we'll see how it goes" series - for Evan Dorkin and Jill Thompson's stories about cats and dogs protecting their small town from mystic weirdness. Apparently they've been doing these in anthologies since 2003. It's a beautiful comic. Jill Thompson is a wonderful animal artist, and manages to get tons of expression into the cast with virtually no anthropomorphism going on. At first glance it might look a bit cutesy, but there's a dash of genuine nastiness in here which rears its head from time to time. Now, if it's done badly, that sort of thing can come across as a kids' story with some arbitrary adult content nailed on. But this book gets it right; it feels more like a fairy tale from the days before bowdlerisation. If I've got one criticism - and I do - it's that there's a lot of minor characters wandering around who seem fairly interchangeable. That aside, though, this is an excellent book.

Cable #18 - On this issue's thrilling cover: Cable holds a gun and clutches a child. Say what you will about Marvel, but god, they wouldn't know a decent cover these days if it kicked them in the face. Seriously, what is this meant to tell anyone, other than that it's another issue of Cable exactly like the last seventeen? Because there's already a perfectly good logo that says Cable. Use the rest of the page to say something else. Give people a reason to buy the comic. You know, like you used to do before Bill Jemas decided that every cover should be a generic pin-up shot. He's gone now.

Anyway. In the far future, Cable and Hope have fled into space, and Bishop has given chase. You know, Bishop really should have thought of this possibility when he started blowing up vast chunks of planet Earth just to box them in. And the plot problems don't end there, because even though Bishop is in possession of a nuclear device, and he's aboard the only ship in the universe where Hope might conceivably be, and the captain has even told him that Hope's on board, he's not prepared to detonate it until he has "visual confirmation." What? It's a fucking nuke! Just blow up the ship, you moron!

And that's the problem with this series. The characters are quite well written; Hope's starting to emerge as a decent character; in broad strokes, the story isn't bad; but the plot just falls apart on inspection. It's an infuriating book, because I can't help feeling it's only a couple of drafts away from being good - plugging the plot holes, giving Bishop some genuine reason for doubt. (Cable fires off an empty liferaft pod as a distraction, for example, so Bishop's not sure whether she's still aboard.) In the broader scheme, give Cable and Hope something to aim for so that it isn't just an endless parade of "Bishop chases them through a new environment, repeat until cancelled", and instead you have a macguffin providing the illusion of progress. (For example, what Cable and Hope really need is a replacement time machine - or the parts to repair Cable's.)

It exasperates me, this book. It would take so little to solve its problems... but it hasn't been done

Dark Avengers/Uncanny X-Men: Exodus - It may have taken until the last episode of the crossover, but at least the Dark Avengers finally have a role to play: they're needed to make up the numbers for Osborn's side in the big final battle. That's still a pretty minor role for a team who are supposed to be the co-stars in this story, though, and I can't help but feel that this story should have been simply an X-Men arc guest starring Osborn and his cronies. The upshot of this arc, if you don't know, is that we're moving on from the never-quite-worked San Francisco set-up already, and now the X-Men are living on an island off the coast. Apparently, for the purposes of this story, 1.2 miles off California is not American soil, which is news to me, since it's comfortably within US territorial waters.

The final issue is basically a big fight between everyone under the sun, with lip service paid to a couple of token subplots such as Dani Moonstar becoming a Valkyrie again. There's a rather good sequence with Emma Frost and the Sentry. But fundamentally, it's the same problem I've had with a lot of Matt Fraction's X-Men stories - the cast is too large, there are too many plots being juggled, there's not enough focus. And to be honest, the Utopia set-up doesn't really interest me. The X-Men in San Francisco could have worked (though it didn't). The X-Men on an island in the middle of nowhere is basically a return to the Mansion with more water and less context. I'm not sold.

Dark Wolverine #78 - This is the start of a second arc, as Daken causes PR problems for Norman Osborn, thanks to his overenthusiastic slicing up of baddies. I'm not sure I even buy that as a premise, to be honest. Yes, the Dark Avengers are meant to be bad guys posing as heroes. But they've never seemed all that bothered about using excessive force in public, and it seems to me that the none-too-subtle Bush-administration metaphor makes it something they wouldn't be ashamed about - if anything, they'd consider it a PR boon. "Yes, we torture and murder bad guys. We're keeping America safe. Got a problem with that, liberals?" Isn't that meant to be the story? Or shouldn't it be? For that matter, if Osborn doesn't want one of his heroes slicing up bad guys in public, why on earth did he recruit a Wolverine in the first place? Slicing people up is his only means of attack!

So... we've got a premise that I don't really buy into, and that's followed by a story Daken doesn't really appear in all that much. There's a convoluted conspiracy plot with Osborn, and some gratuitous lingerie scenes. What I liked about the previous three issues - Daken's playing both sides against the middle - isn't so apparent here, and instead it comes off as an exercise in killing time while the creators wait for Dark Reign to end. We all know Osborn's downfall can't come in this book, so where exactly can any of this be leading? On the face of it, nowhere, and that's a problem. If you want to read yet another Dark Reign conspiracy story, this is a decent one, but I think I'm bored of this set-up and I'm ready to move on, thanks.

Exiles #6 - Jeff Parker's relaunch meets with swift cancellation - though to be fair, if it wasn't for the renumbering, this would be something approaching issue #125. There wasn't a lasting increase in sales, so the decision to pull the plug is understandable; as I've said before, Exiles is a fairly narrow concept and probably due for a rest. Still, Parker had some interesting ideas; rehashing the original Exiles set-up with Morph playing the Timebroker, so that long-time readers knew from the outset that something wasn't quite right, was a clever twist on the formula. And Marvel have at least given him a double-sized issue to wrap things up. Inevitably, it still feels terribly rushed, but we do get a resolution to the Magneto storyline, and a head-spinning explanation of why the Exiles exist in the first place (which, basically, asserts that as different worlds get "fixed", the knock-on effects for the universe mean that the explanation itself is retroactively altered). With hindsight, it's a shame that they didn't give the series a proper rest and then relaunch it with Parker, since that might have worked. But it's probably time to put this concept to bed for the moment.

Magog #1 - From the pages of Justice Society of America, apparently. I've never been especially interested in this character, who always struck me as a slightly off-beam representative of "modern" superheroes when he debuted in Kingdom Come. But hey, it's Keith Giffen, so it's probably worth a look. And, well... it's not terrible or anything, but there's nothing much to grab me. Giffen writes Magog as one of those superheroes who spends his time grumbling about the fact that other heroes won't get involved with street crime or Sudanese child soldiers because they're too busy fighting aliens. So he's a sort of globe-trotting street-level superhero, who's very angry about stuff, and likes smashing up opposing henchmen. Nothing you haven't seen before. It's competent but not very memorable.

Models Inc #1 - At least it stands out on the shelf. The art itself is dreadful - it looks like somebody's put a photo through a blurry filter and drawn a black line around it, and frankly they'd have been better off just using a photo - but the cover layout is different from anything else, and that's something. (And if it's not a doctored photo... well, it looks like one, and isn't that the real issue?) As for the story... it's a revival of some of Marvel's 1950s model characters, written by Paul Tobin with art by Vicenc Villagrasa. And that begs the obvious question: why would you want to revive the 1950s model characters? Was the world really crying out for a twenty-first century take on Millie the Model? Even if it was, I doubt this will be the book to satisfy them, because it's excruciating. I have no idea who this could possibly be aimed at - a clumsy book about models having adventures on the fringes of the Marvel Universe. If it was vaguely witty and had properly defined characters, it might have a certain camp or cult appeal, but it doesn't really manage that either. Oh, and there's a back-up strip about some guy who's apparently on television abroad.

Nomad: Girl Without a World #1 - A four-issue miniseries for Rikki Barnes, the Heroes Reborn Bucky. Rikki's a tricky character - she's actually not bad in her own right, but she's tied to a notoriously awful series in Rob Liefeld's Captain America, and her back story, involving artificially created alternate worlds brought into our dimension, is practically impenetrable. Sean McKeever wisely cuts through all that, by stripping it back to a simple idea: Rikki is from a parallel Earth, she's stuck in "our" world which is familiar but different, and her story is about her trying to find a place. And in the first issue she tries to be Bucky again, only to be warned off by the Black Widow. Given that the series is called Nomad, I think it's pretty obvious where this is heading - but McKeever writes this sort of thing well, and he's keeping the series down to earth with a story about high school politics, of all things. This is a pretty good issue. (Oh, and although the cover is a straightforward pin-up, it's at least got some striking colouring.)

Strange Tales #1 - First of a three-issue anthology of indie cartoonists doing comedy strips with Marvel heroes. The main attraction here is the long-awaited appearance of Peter Bagge's The Incorrigible Hulk, which was completed years ago and shelved when Marvel had a panic about damaging the Hulk licence. It's being serialised over these three issues, and on the strength of the opening pages, it's hard to fathom what Marvel could have objected to. ("Second-hand smoke bad for Hulk! It violate Hulk's civil liberties!") All told, it's a pretty good package. Most of the strips are short enough not to outstay their welcome; Paul Pope's tongue-in-cheek semi-deadpan Inhumans story is quite charming, and Junko Mizuno's inexplicable "Spider-Man moves to a city of spider-people where he isn't very special" story is genuinely sweet. A lot of it's just silly, but that's no bad thing.

The Torch #1 - It's Marvel's 70th anniversary, so it must be time to revive the Golden Age Human Torch again! Actually, on the strength of this first issue, it seems to be more of a comic about the Torch's sidekick Toro - who was apparently restored to life somewhere or other, and if only they still did footnotes, I'd know. Avengers/Invaders? Just guessing. The angle is that Toro doesn't fit in anywhere, because everyone he knew has moved on. If you only read one comic this month about a Marvel superhero feeling that they don't fit in, make it Nomad #1. This is okay, but nothing much more than that, and feels like primarily an exercise in reviving a character for the sake of doing so.

Sweet Tooth #1 - See the podcast for more on this. Jeff Lemire's new Vertigo series is definitely more of an indie title in sensibility, and I suspect it's going to be a tough sell, but all credit to Vertigo for trying it. It's a post-apocalypse story about a kid who's grown up in the middle of the forest alone with his father, and now has to go out on his own. Apparently all the post-apocalypse kiddies have animal characteristics, and Gus has antlers and the expression of a startled deer. In plot terms, all very familiar, but the execution is impressive - even if the metaphor of innocence might as well have a flashing neon sign over it. It's a quiet, bleak and brittle piece, which manages to keep up that mood despite fairly racing through the opening plot. From the preview pages, I had this pegged as likely to be irritatingly quirky, but at full length it turns out to be much more enjoyable than I'd expected. Worth a look, particularly given that Vertigo is still selling its first issues for a dollar.

Uncanny X-Men: First Class #3 - This is a Banshee solo story, and it actually finds a relatively underused part of his history to work with. It's his wife Maeve, whose main function has hitherto been to spawn Siryn and get blown up by the IRA in an angstifying flashback. So, nice idea... but we end up with a rather awkward story about voodoo mutants and a bitter father-in-law. It all feels a bit contrived, and with both Sean and Moira featured prominently, much will depend on yuir tolerance fir the ol' Oirish accent. Adequate for what it is.

Vengeance of the Moon Knight #1 - Only in comics would a B-movie title like Vengeance of the Moon Knight actually seem like a good idea. Maybe the next relaunch can be Abbot and Costello Meet the Moon Knight? Anyway, Gregg Hurwitz and Jerome Opena bring Marc Spector back to New York, and he's out to make a name for himself as a proper, saner hero once again. The main theme seems to be Moon Knight's attempt to re-establish himself as an A-lister, which isn't a million miles away from what they've been doing in Ms Marvel. And although this isn't an official Dark Reign tie-in, there's the obligatory "renegade hero operating outside Osborn's control" schtick. It's all quite well done; the story is well paced, enough is done to acknowledge the previous stories without compromising the fresh start, and Opena's art is beautiful. The drawback is that the themes all seem a bit familiar; by this point in the Dark Reign storyline, we've seen pretty much everything. The back-up is a reprint of Moon Knight #1, not a particularly great story in its own right, but interesting for a chance to see Bill Sienkiewicz in the days when he was still finding his style.

X-Factor #48 - Are we nearly there yet? This storyline feels like it's been going on forever. Civilisations will die, continents will rise and fall, man will colonise the stars, and this storyline will still not be over. Apparently the book is heading for a relaunch with issue #200 (which, if you add up the first and second volumes, isn't that far away - though it's also rather meaningless, since the first 74 issues of volume 1 featured a different team of the same name). So presumably this has to end sooner or later, and I wonder whether it's being dragged out to fit that schedule. Anyway, this issue, the various plots shuffle a little further forward, and that's about all you can say about it. The story is over-long, and that's the bottom line.

X-Men Forever #6-7 - One issue drawn by Paul Smith, one by Steve Scott. And they're nice-looking comics, actually, even if Smith seems a bit sketchy at times. Claremont's characteristic juddling of subplots fits nicely with the fortnightly format, which keeps up the momentum while allowing him to pursue his digressions. Issue #7 is certainly something of a digression, as much of the issue is given over to a flashback story with the Howling Commandos. But it bounces along as enthusiastically as ever, and it's a strangely likeable comic for all its rough edges. As promised before my break, I'll come back to look at this series in a bit more detail... honest.

X-Men Legacy Annual #1 - Actually the first part of a four-part storyline which presumably continues in X-Men Legacy itself, although nobody seems to have thought it necessary to specify that in the comic. It's an Emplate story, which takes as its starting point the reasonable observation that the old Generation X villain was supposed to survive by feeding off mutants, so he's had a tough time since M-Day. For whatever reason, he's finally thought of visiting the X-Men to go looking for Penance - who, you might remember, he could feed on indefinitely because of her diamond body. Well, Penance isn't there, so he tries somebody else instead - presumably you're supposed to either remember Bling! from the Peter Milligan run, or figure out for yourself what her powers must be in order for the plot to work. That piece of exposition aside, it's a solid story which seems to be having fun with Emplate's all-round weirdness - though I wonder whether Acuna's art is too realistic to quite pull him off. There's also a back-up strip, picking up on the "Gambit joins Apocalypse" subplot which we all thought had been abandoned; apparently Carey's going to do something with it after all.

The X-Axis - 30 August 2009

Well, I was planning to write something about X-Men Forever before heading off, but it doesn't look like I'm going to get round to it. (Which is another way of saying: barring a last-minute cancellation of tonight's Book Festival show, it ain't happening.) With that in mind, I'll hold off on reviewing this week's X-Men Forever #6.

So, after this, I'll be away for two-and-a-bit weeks. In the meantime, don't forget to download the latest episode of House to Astonish, where we talk about the rumoured management changes at DC, digital comics, the November solicitations, and other stuff, and review 2000AD, Fantastic Four and King City. Download it here, or visit the podcast webpage, or subscribe via iTunes.

(Oh, and I'm told that, contrary to what we assumed when we recorded the show, the 2000AD strip "Kingdom" has actually been running for long enough to pre-date the current Cable series. Just so you know.)

And while I'm away, you should also keep up with Al's blog at HousetoAstonish.com.

Now, then...

Batman & Robin #3 - This is the final part of the Mr Pyg storyline, which could probably have sustained another issue if they'd wanted. But there's nothing wrong with being concise, and this arc has worked very well, setting up the new Batman and Robin, and giving them an appropriately grotesque villain to fight. Frank Quitely's good at grotesque - he's good at everything, actually, but he certainly knows how to draw a maniac in a pig mask wielding household appliances. And Pyg is a well-pitched character; not a traditional spandex supervillain as such, but comfortably in the familiar Batman territory of lunatics with themed henchmen. It's what you want from a Batman comic.

Dark Avengers #8 - Part five of "Utopia", and by this point I'm really starting to wonder why on earth they're running this story as a crossover - besides the obvious point that it boosts sales. The Dark Avengers are in a whole three pages of this issue, squeezed out entirely by an X-Men-versus-Dark-X-Men story which doesn't seem to have a role for them. In fairness, Matt Fraction is telling a story here which does seem to have some significant ramifications for the X-Men - it looks like we're going to do the "man-made island in international waters" routine, so apparently the San Francisco base is being dropped already. Frankly, if this is where they were heading, it's a shame they got rid of Providence, the man-made island in international waters from Cable & Deadpool - but maybe they weren't planning that far ahead. So far, "Utopia" seems to be suffering from a problem that afflicts a lot of Matt Fraction's X-Men stories: it's a good idea in theory, but it's cluttered up with vast amounts of superfluous characters who are just distracting from the real story. Less is more!

Dark Wolverine #77 - I'm pleasantly surprised to say that so far, I've actually enjoyed this series quite a lot. Now, frankly, in part that's because this version of Daken seems to bear little or no resemblance to any that we've seen before. But until now, Daken has been stuck in the leaden Romulus storyline from Wolverine: Origins, and once you remove him from that context, some rather more interesting sides of his character emerge. In this book, Daniel Way and Marjorie Liu (primarily Liu, judging from the interviews) are writing Daken as a schemer whose main concern is to secure his position and to be in control of his own life. So his main concerns are to make sure he's hedging his bets against the fall of Osborn's empire, and to subtly ensure that everyone around him knows he's not under Osborn's thumb, even if that means unwisely needling his own colleagues. This version of Daken is actually quite interesting, and certainly a viable anti-hero. This three-parter, with Daken playing off the ersatz Avengers against the Fantastic Four, and outwitting everyone in the process, is unexpectedly good fun, and suggests that perhaps Daken actually does have some sort of future as a lead character - in fact, he might even work better in that role.

Dark X-Men: The Beginning #3 - The final issue of an anthology series about Norman Osborn recruiting the Dark X-Men. And like its two predecessors, this too is talk-tastic. Paul Cornell and Leonard Kirk's Namor story at least breaks from the usual format, as it's Emma Frost rather than Norman Osborn who gets to do the questioning. But there's some interesting ideas about Namor's character, and at least they liven things up with the old "journey through the mental landscape" routine - sure, it's a cheap trick, but it does give the artist an excuse to draw interesting pictures. Jason Aaron and Jock do a rather nice intro story for Mystique, which says not a great deal about the character, but does it with suitably outrageous levels of bloodshed and firepower. And having run out of Dark X-Men, Simon Spurrier and Paul Davidson round things off with Norman making an unsuccessful attempt to recruit Aurora; this is the closest thing in the series to a proper story, though it runs into a common problem with split-personality characters, namely that they effectively cease to be characters at all. Still, even if this is a series for completists, there's certainly some entertainment to be had here.

Incredible Hulk #601 - Last month's Incredible Hulk #600 was effectively issue #12-and-a-half of Jeph Loeb's Hulk, so in effect this is the first issue of a new ongoing series. Basically, the new status quo is that Hulk gets the Red Hulk storyline (and it can keep it), while Greg Pak and Ariel Olivetti inherit Bruce Banner and Skaar from the Son of Hulk series. The high concept is that Bruce Banner, one of the cleverest men in the world, is in some ways even more dangerous now that he doesn't have to worry about turning into a musclebound thug at inconvenient intervals. And he's decided to try and do something to steer his son in the right direction. It's not bad at all, though Skaar's motivations are a bit obscure - he apparently hates the Hulk and is indifferent towards Banner, for reasons that were presumably explained in an earlier storyline, but aren't recapped here. Ariel Olivetti's art has the usual issues; his characters are nicely three-dimensional, but they don't always mesh neatly with the scanned-in backgrounds that he uses for outdoor sequences, and so sometimes the characters just look like they're standing in front of a backdrop. Generally fine, though.

King City #1 - We talked about this on the podcast; it's a story originally commissioned by Tokyopop, which is now being reprinted at Image over the course of twelve issues. Or, more accurately, they're reprinting the Tokyopop material for the first six issues, and then creator Brandon Graham is producing six more issues to complete the story. It's one of those books about a thief/spy type in a consumerist future city, and if you were looking purely at the plot, it'd be rather familiar. But there are some engaging quirky bits to liven things up, such as an inexplicably omnipotent cat (which, nonetheless, insists on acting like a normal cat). The real selling point, however, is the artwork, which makes incredibly effective use of negative space, unusual framings, and imaginative ways of implying action - plus crystal clear storytelling. It really is a class above most comics, and the book is worth picking up for that alone.

New Mutants #4 - The concluding part of the first arc, and I'll do a full review in due course (by which I mean, in several weeks time, but hey, maybe it'll be out in time for the collection). It's the end of the New Mutants' fight against Legion, and if you don't know who wins, you obviously haven't been reading this series for very long. Wells has a decent handle on all the characters, and makes imaginative use of Legion's gimmick that each of his split personalities has a different superpower. But on the other hand, it's still fundamentally ended up as a straight hero-versus-villain fight, and while Wells has some good ideas for the team dynamic, it's still not exactly clear what the premise of this series is supposed to be, beyond "reunite the cast of New Mutants". It's good as far as it goes, but it's missing a big central idea.

Wolverine: First Class #18 - Madrox shows up to visit, and Peter David takes the opportunity to do an all-ages version of some of the ideas he's been exploring with the character in X-Factor for a few years now. It's a good little story in its own right, but fans of X-Factor will probably want to pick it up too, to see David writing a younger version of the character and retroactively planting the seeds for some of his recent stories. Francis Portela's artwork is excellent, particularly when you consider that he's saddled with the gaudy green-and-yellow costume that Madrox used to wear in his early appearances - yes, it's striking, but it doesn't exactly blend in. I'm quite impressed by the way he manages to make it work.

Wolverine: Origins #39 - In which Daniel Way attempts to explain what the hell Jeph Loeb was banging on about in that Wolverine arc, and kind of sort of gets away with it. Basically, the idea is that Romulus wants to crown a successor, so he's getting his various pawns to fight one another to the death. And part of Way's explanation is that Wolverine was freed from Romulus' influence when Xavier wiped that part of his memory, so that restoring his memories after House of M actually restored Romulus' influence... hence random fight scenes written by Jeph Loeb. Alright, fine... but what's this successor going to be in charge of, if he's already killed all of Romulus' other pawns? A vaguely frustrating mixture of neat ideas and apparent logic holes, though it's worth noting that artist Scot Eaton is doing some excellent work on this story. Oh, and Romulus actually shows up at the end. He's basically an older vsion of Wolverine, although I have a sinking feeling he might be intended as the brother from Paul Jenkins' Wolverine: The End - and that's another story I was hoping never to have to think about again.

X-Force #18 - Well, you can never accuse X-Force of being subtle, and the closing pages of this issue are about as far removed from subtlety as it's possible to get. We're talking really absurd levels of gore here, although they're so absurd that, combined with some appropriately woozy camera angles from artists Mike Choi and Sonia Oback, the scene actually works on a vaguely surreal kind of level. The rest of the issue feels a bit like an obligatory wrap-up for the "exploding mutants" two-parter, but there's some promising material in the subplots, and somewhat against my better judgment, I rather liked this. The art has a lot to do with that, though - it's a rather more palatable series when Choi and Oback are aboard.

The X-Axis - 16 August 2009

I'm still working my way through my backlog of comics, so let's have another batch of capsules to bring us a little further up to date. Actually, X-Men Forever is due for a full-length review by now, and it's turning out that there's quite a bit to say about that book. But we'll come back to that.

Don't forget this week's episode of House to Astonish, with reviews of Doom Patrol, Lenore and Ultimate Comics Avengers. Download it here, or visit the podcast webpage, or download from iTunes.

Adventure Comics #... um... - This would be the first issue of the relaunched Adventure Comics. With Superman himself off in another storyline, the series has been turned into a Superboy title with a Legion of Super-Heroes back-up strip, thus satisfying the nostalgia cravings of people who live in the past. But you can ignore that if you want. It's actually a single book with a parallel structure - both strips are set in Smallville, both are written by Geoff Johns, there's a degree of plot crossover between the two, but rather niftily it provides an excuse to use two artists on the book. And you get thirty pages of story for your $4. The book also manages to set new standards in bizarre numbering: although solicited as Adventure Comics #1, the cover actually has the number 504 superimposed on the number 1, and the indicia identifies it as "Adventure Comics #1/Adventure Comics #504 (variant cover)". Yes, it's full-scale parallel numbering, a system designed to cause maximum confusion!

As for the contents: the Superboy strip plays off the idea that this version of the character is supposed to be the cloned son of both Superman and Lex Luthor. He's come to Smallville to try and emulate his father... or possibly his fathers. Remarkably little actually happens in this first issue, but Johns gets away with it by providing a sustained piece of misdirection and an effective twist. The idea of the character comes across without heavy exposition, and the book looks great - artist Francis Manipaul and colourist Brian Buccellato do some great farmland.

The Legion, on the other hand, have always struck me as a clumsy idea from the Silver Age who have not adapted terribly well to modern conditions (which is to say, the last few decades). They're passably entertaining here, but I just get the feeling that Geoff Johns is in love with these characters and is not really selling me on why I should share that view.

Battlefields: The Tankies #3 - This is the concluding part of Garth Ennis' Battlefields project for Dynamite Entertainment: a trio of three-issue miniseries, allowing him to indulge in his favourite genre, the war story. There's nothing to link the three stories, but a bit of branding can't hurt to raise their profile. In a closing essay, Ennis announces another nine issues, in the same format, for 2010 - including a direct sequel to one of the first Battlefields arcs. Presumably it's this one, since "The Tankies" comes across more as an introduction of some characters for use in further stories. (And the other two don't really lend themselves to sequels at all.) To be honest, though, this struck me as the least successful story of the three. It doesn't have the emotional hook of "Night Witches" or "Dear Billy", and comes across as a rather generic exercise in dark humour crossed with war-is-hell. It's not bad, mind you - the other two Battlefields arcs were exceptionally strong, and even Ennis's weaker stories are miles ahead of the pack. But he's done better.

Cable #17 - As if to prove that nothing, but nothing, can put an end to this "Bishop chases Cable through time" storyline, with the whole world on the verge of destruction, Cable flees into space... and Bishop gives chase. Again. In itself, it's a perfectly good story, but the broader problem is that the book seems to be going round in circles, and there's no real sense that it's building to anything. Of course, if we drag it out long enough, then I suppose eventually Hope gets her powers and something will come of that... but for the moment, we seem to be stuck on a merry-go-round of chase stories. Presumably the idea is to keep increasing the stakes, but I think they peaked on that when Bishop started blowing up whole continents, and the fate of a couple of spaceships seems relatively inconsequential in comparison. That said, these problems are with the broader picture. As a two-parter, this is perfectly decent - veteran artist Paul Gulacy humanises it all, and there's a nice little scene where Hope is reunited with Cable and figures (after getting it wrong in the recent crossover) that this time she's recognised the impostor. All this is fine, but the series as a whole really needs to get to the point pretty soon.

Citizen Rex #1 - Every so often I pick up a book because the creators are acclaimed geniuses, and then it just washes over me without leaving much of an impression at all. This is a six-issue miniseries by Mario and Gilbert Hernandez, and while I'd love to say that I had some great insight to offer, to be honest, I just though it was self-consciously quirky in a mildly irritating way. Let's just say there's an entire sensibility going on here which doesn't do much for me. I can sort of see the appeal - it's got a strong creative voice, and it's certainly different - but it never really connects with me either intellectually or emotionally.

CyberForce/Hunter Killer #1 - Mark Waid relaunches early Image team CyberForce (and some other Top Cow group you've probably never heard of) in a miniseries which the cover optimistically bills as "summer's hottest event series." Good luck with that. It's a perfectly straight superhero book, loosely themed around the power that technology has in our lives. So there's a too-good-to-be-true new mobile phone on the market, and if you can't figure out where that's heading, you're clearly new around here. It's fine, though; Silvestri's characters fit with Waid's style, and Kenneth Rocafort's art is flashy in a rather enjoyable way (and has some great colouring, too). Better than you're probably imagining it was.

Dominic Fortune #1 - A four-issue miniseries for Marvel's Max imprint, in which Howard Chaykin returns to his cynically amoral 1930s adventurer Dominic Fortune. Chaykin is one of those creators who acquired an indestructible critical reputation for his work in the eighties, when he doing all sorts of experiments with storytelling. He also tends to churn out rather uninteresting sex-and-violence fantasies like this, books which just seem terribly old fashioned, as if they're still rehearsing the stuff that would have been transgressive when the creator was 18. That said, there's something curiously compelling about Chaykin's awkward, blocky artwork, which makes up in presence for what it lacks in elegance. But ultimately it just feels like a stock adventure story with some gratuitous censor-baiting.

Doom Patrol #1 - We talk about this on the podcast, but basically, it's a revival of the original Doom Patrol by Keith Giffen and Matthew Clark, with the three founder members back to being used as a field team by a dubiously unsympathetic chief. This first issue is mainly character bits, hung on a fairly basic plot, but it hangs together quite well, and there's certainly a lot in there. The back-up strip, reuniting Giffen with the rest of the creative team of Justice League International on a suburban-sitcom version of the Metal Men, is great (and makes up for its lack of page count by doing ten-panel pages to squeeze in the content). Giffen is hit or miss - as the closing preview for Magog proves - but this is one of his winners.

G-Man: Cape Crisis #1 - This is the Image series by Chris Giarusso, the guy who used to do those Mini Marvels strips that cropped up randomly at the back of Marvel comics and were frequently the best thing in the issue. This is on somewhat similar lines; while Giarusso doesn't have the opportunity to play off familiar characters, the style is much the same, set in what seems to be a world where some of the kids are superheroes, none of the adults are, and actual villainy seems to be a very low story priority. Giarrusso's comic timing has always been great, and he knows how to play off the genre cliches - I love the scene of G-Man trying to explain his power to the other kids and being cut off with objections that you can't be "kind of invulnerable." (I always wanted to argue that point with Rogue. I mean, I knew what Claremont was getting at by "partially invulnerable", but seriously...)

The Marvels Project #1 - Ed Brubaker and Steve Epting begin a sort of shared origin story for superheroes generally in the Marvel Universe. Presumably. I'm a bit wary of books like this, because overarching conspiracy theories rarely fit neatly with every concept. But we're off to a promising start; from the look of it, it's not so much that there's a single cause for everything, as that the US government is giving things a nudge along, with an eye on the upcoming war. Wisely, Brubaker steers clear of the major Golden Age characters, and opts for the Angel as his protagonist - one of those all-purpose vigilantes who's enough of a cipher that you can impose pretty much any role onto him. Basically, it's Brubaker and Epting doing Marvels in the Golden Age, and as thoroughly readable as that implies.

Ultimate Comics Avengers #1 / Ultimate Comics Spider-Man #1 - Again, check the podcast for more on these. By the way, despite those being the official titles, the logos just say Ultimate Avengers and Ultimate Spider-Man, so evidently sanity dawned somewhere along the line. From the look of these books, neither Millar nor Bendis is really all that interested in Ultimatum and its deck clearing exercise - they just want to put it behind them and get back to business as usual. Avengers comes across as essentially a continuation of Mark Millar's Ultimates, but somewhat more restrained and with the bombast toned down a bit. It actually works quite well; Carlos Pacheco does a wonderful job with some of the action scenes, and personally, I always thought Ultimates was the sort of book that would benefit from dialling it back a bit. Spider-Man is more or less what it always was - New York City has been entirely rebuilt in six months, which is pretty obviously the book's way of saying "Let's just pretend that didn't happen." New artist David LaFuente has done some great work in the past, and has some great moments here, but he still seems to be settling on a style; there's a flirtation with manga here that doesn't seem altogether consistent throughout the issue, and makes the book feel a little rough around the edges. But it's refreshingly light on angst, and that's something to be welcomed.

Uncanny X-Men #514 - Part four of the "Utopia" crossover with Dark Avengers. I can see why Matt Fraction was talking in interviews about needing a flowchart to keep track of his cast. At this point, we've got a cast of thousands wandering the pages of the book - the regular X-Men, the "dark" X-Men, Norman Osborn, the Dark Avengers, X-Force, the Science Team... Come to think of it, there's also an entire subplot about Professor X and the Beast in prison which doesn't even make it into this issue. The Dark Avengers seem, at least so far, to be surplus to requirements, in that their role could have been filled perfectly adequately by generic HAMMER troops, thus paring back the cast list to advantage. I can't help wondering whether this story started off as an X-Men "Dark Reign" tie-in and got turned into a Dark Avengers crossover somewhere along the line, complicating it further. It's quite good fun - the Dark X-Men team are quite well balanced, in that most of the team are actually perfectly decent people, and there's nothing really all that dark about them aside from their connection with Osborn. And Terry and Rachel Dodson have always been great superhero artists. But there's probably too much going on here, and it feels like it'd be a stronger story for thinning the herd of characters and focussing on fewer people with more screen time. That said, Fraction is finding the space for Scott and Emma, who are rightly his top priorities, so it works to that extent.

Uncanny X-Men: First Class #2 - Nightcrawler gets into an argument with the Inhumans over an issue of cultural relativism, and the X-Men have to get him out of trouble. It's okay, and perfectly acceptable so far as it goes, but it doesn't have the charm of the Jeff Parker issues, and some of the team (Jean in particular) feel decidedly out of character.

X-Men Forever #5 - Officially the end of the first arc, "Love -- and Loss!" (yes, with that punctuation), although if there wasn't a "part 5 of 5" on it, you'd probably never know. What a strange book this is becoming. I'll write about it in more detail later, but X-Men Forever has turned out to be a strange hybrid of, on the one hand, ideas that Claremont might conceivably have used if he'd stayed with the X-Men in 1991 and, on the other, stuff that would clearly never have seen print in a 1991 X-Men story in a million years. (Wolverine's dead! SHIELD's run by a second generation staff!) This issue even throws in a weird new spin on the entire X-Men concept, which would have dragged the entire franchise away from the "next step in human evolution" premise. Basically, the idea is that mutants burn themselves out by using their powers, so they're pretty much doomed to die young - making their powers a different sort of mixed blessing. Now, obviously, if this was the regular Marvel Universe, or even the diverged-in-1991 version X-Men Forever was supposed to feature, you could cite tons of obvious counter-examples (Magneto and Wolverine, for example), but this is a parallel universe, so Claremont can do what he likes. And hey, it's something different. The book is all over the place, but with a sort of manic enthusiasm that makes it unexpectedly hard to resist.

The X-Axis - 6 August 2009

Okay, then, let's make a start on the backlog. I'm not exactly racing through my pile of comics, partly because I've been kept busy with other stuff this week, and partly because I'm confidently expecting this week's books will be late too. Still, let's at least catch up on the X-books.

Dark Wolverine #76 - That title, that title... It's the sort of title so embarrassingly bad that you almost feel compelled to apologise for writing it down. Like I'm doing now, really. I wonder how long you have to spent saying "Dark Reign" fifty times a day before it all just becomes meaningles noises, and calling a book Dark Wolverine starts to sound like a good idea, rather than a skin-crawlingly awful one? But actually, Daken's kind of growing on me. There were a whole bunch of problems with the character in Wolverine: Origins - not least that he was connected to the Romulus storyline, which is an absolute lost cause. If nothing else, "Dark Reign" has got him away from that quagmire, and given him a better context. The story's pretty straightforward: it's Daken politicking within the Dark Avengers, and the basic question is whether he's trying to expose Bullseye as a traitor or set him up - and vice versa. It's nicely ambiguous about everyone's motives, while still making perfect sense. But I'm actually starting to see something promising in Daken here, as a guy who clearly fancies himself as the smartest guy in the room, and whose main concern in life is just to prove that he's in control of his own life. He likes the fact that his teammates don't trust him, because it means they don't believe they can control him. There's something in there, you know. I'm not sure where you go with him as a lead in the long run, if they're even planning to - he seems like more of a supporting character - but I'm coming round to the guy.

Dark X-Men: The Beginning #2 - Fans of pulse-pounding negotiation-packed talking won't want to miss this issue, which features three thrilling stories of non-stop conversation. Oh, all right, that's a bit harsh. But this issue, we get the recruitment scenes of Cloak & Dagger, Michael Pointer and Daken - and despite the best efforts of the writers, that's really just three scenes of Osborn making people an offer that they can't refuse. Paul Cornell and Leonard Kirk (who seems to be channelling Rick Leonardi) have a stab at giving C&D a plausible reason to join the team, and kind of get to the right ballpark. But they rush through it in a way that doesn't give the duo much chance to put up any resistance, and they end up coming across as a bit timid. The Weapon Omega piece is a contrived blackmail scenario that makes you wonder why Osborn would possibly expect this guy to have the slightest loyalty to him. And Daken... well, there's a couple of nice ideas about his character, as he regards himself as the only sane one in the Dark Avengers. But it really is just a conversation. It's pretty clear that this is one of those series they commissioned first, and figured an idea for the content would come along later.

Wolverine: First Class #17 - This issue, Peter David digs up Patch, Wolverine's old disguise from the Madripoor stories. And then doesn't go to Madripoor. It was David who torpedoed this idea in the first place, during a short run on Wolverine where the supporting cast finally got to roll their eyes and make clear that of course they recognised the guy with the really distinctive hairdo. ("But if the psycho with the claws wants to think he's fooling people, hey, let him...") That's kind of the approach here, with Wolverine evidently convinced Patch is an awesome persona, and Kitty finding it all a bit bizarre. It actually comes off pretty well, getting the basic idea to work, without getting into the continuity. The story itself is about a politician from a dodgy Madripoor family; Kitty thinks he's great, and Wolverine's convinced he must be crooked because, well, he's dodgy, isn't he? David manages to tie up the story without giving a clear answer to that question, and still make it satisfying. There's also strong artwork from Ronan Cliquet, who has more than a hint of Darick Robertson. This is a good issue.

Wolverine: Noir #4 - It's the final issue of the miniseries, and I suppose at some point I should go back and re-read this just to see if it works any better as a whole. But at first glance, it's just another tread through the usual noir cliches mixed with recycled X-Men plot elements, and I still don't see why that's supposed to be a worthwhile exercise. At the very least, the front-and-centre artifice of it makes it impossible to get into the story as anything other than a pointless parlour game. I see they've commissioned another X-Men: Noir miniseries, but I don't plan to bother with it.

Wolverine: Origins #38 - Wolverine and Omega Red have a big fight in a prison. It's a pretty good fight, too. And Scot Eaton continues to get better as a superhero artist. Of course, it's all supposed to be building up to some revelation about Romulus, which is the point where my enthusiasm runs out. But he's not really in this issue much - it's more a stalling device to drag it out a bit longer, which happens to pick up on a more interesting subplot from earlier in the series. There's not much to say about it beyond "it's a fight scene", but at least it's a decent one.

X-Force #17 - Ooh, nice cover. I don't normally much care for the generic pin-up covers, but that's a nice X-23 picture. Anyway, if you were expecting Elixir to explain who the baby was, well, think again. We're back to the Leper Queen storyline which the crossover interrupted in progress, so apparently that's going on the back burner for now. That irritation aside, it's not a bad issue - the good guys get to do some heroism, and there's a promising subplot with Wolfsbane that suggests the book might be planning a story which isn't quite as depressing as its usual fare. And we've got Mike Choi and Sonia Oback on art for this arc, whose art is much more enjoyable than Clayton Crain's murk. On the down side, the book is still going for eye-rollingly gratuitous violence in an effort to justify its brand, which I could live without. But, hey, not a bad story.

X-Men Forever #4 - You'll be pleased to hear (unless you're indifferent, which come to think of it might be more likely) that despite the cover, this story does not unveil Dark Shadowcat. Instead, we get Kitty Pryde with one of Wolverine's claws, which doesn't make a lick of sense, but Claremont just about gets away with it by having people act astonished throughout the issue. X-Men Forever is off to a very odd start; in theory, this series is supposed to be picking up where Claremont's original X-Men run left off in 1991, but even if you leave aside the difference of tone between Jim Lee and Tom Grummett's art, it's hard to believe that a continued Claremont run would have featured anything like this. On the one hand, you've got stories he'd never have done at the time - teasing the death of Wolverine, going back to the Kid Storm period from the late eighties. On the other, you've got things like Sabretooth reverting to his late eighties persona and disregarding the way he's been written for the last twenty years. It's all very strange. But there's a certain enthusiasm to the book that carries it along. I'm not sure how much sense any of this will make to readers who don't have a fairly detailed knowledge of X-Men stories from 20 years ago, but somewhat to my surprise, it's proving oddly compelling.

The X-Axis - 12 July 2009

I have a pile of comics sitting by my desk, comprising the "Ghost Boxes" arc from Astonishing X-Men, the "Messiah War" crossover from X-Force and Cable, and the entirety of "The Great Fables Crossover". At least two of those are a couple of weeks overdue for a proper review. and one of them I'm hopefully going to get done tonight.

So, since none of this week's releases really merited a full review anyway, let's just run through the capsules.

Dark X-Men: The Beginning #1 - Two of this week's books are satellite tie-ins to the "Utopia" crossover between Uncanny X-Men and Dark Avengers. This is the first, a three-issue miniseries where Norman Osborn chats with each of his new recruits in turn.

There are three strips here, but frankly it'd be stretching a point to call any of them stories. In the first, Norman Osborn chats with Namor the Sub-Mariner about why he agreed to join the team. It's by Paul Cornell and Leonard Kirk, so the art is just fine and the dialogue hits the mark, but it's still basically 11 pages of dialogue, much of which seems to be referring to a story I don't recognise at all, possibly from Dark Avengers. There's actually a half-decent idea in here for the character - Namor has never previously made a big deal about being a mutant, but now that his own people have more or less been wiped out, is he latching on to these guys as a surrogate community to save?

Next up is a Mimic piece, which doesn't really work at all. The basic idea is that the Mimic has started taking the meds and got his mood swings under control (an ever-popular device for settling down a character whose personality changes with the weather), but what we actually get is an extended flashback to the highlights of the Mimic's career, in such scattershot terms that it won't mean much to anyone who doesn't already know the character's history. Superfluous at best.

Finally, Shane McCarty and Ibraim Roberson give us Osborn recruiting the Dark Beast. This one probably works the best, since even though it's another conversation piece, there's a bit of plot to go with it, and the conversation does something with one of the key ideas of Dark Reign, namely that Osborn honestly sees himself as someone who's doing the right things, even if that means stuff the public doesn't need to know about. (He's Dick Cheney, in other words.) The Dark Beast gets to play a twisted sort of conscience, since at least he's more honest about why he's getting involved: a nicer place to live. There's some potential in this duo.

All told, it's an acceptable book for completists, but nothing you need to go out of your way to see. Certainly it gives the impression of being created to milk the crossover rather than because anyone had any particularly powerful ideas about stories they wanted to tell.

Genext United #3 - Usual drill, so far as the writing is concerned. It's fairly average Claremont; there are a couple of half-decent ideas, but it's nothing particularly compelling, and oh god, here comes the mind control again. Still, his hardcore fanbase will like it. Actually, what mainly sticks in my mind about this issue is Jonboy Meyers' art. There are plenty of good points - there's a nice, spiky energy to his action sequences - but some of the fundamentals really need a bit of work. He's not good at expressions in quieter scenes, and some of the transitions between panels are very odd indeed. Take a look at page 4 of the story, if you've got a copy to hand, and see if you can figure out where the characters are standing relative to one another, and how they'd have to move between panels in order for this scene to work. No, really, try. The simplest solution is that the entire GeNext team cross the room off-panel somewhere between panels 1 and 4, but since they leave Sophia behind, it's terribly confusing. And then gawp in amazement at the final panel of the next page, where everyone teleports around the room. This is pretty basic stuff, and though in fairness it's generally clear enough what's happening, it still undermines the suspension of disbelief when the characters seem to have no consistent relationship to one another in space. It's really the sort of thing that artists should have knocked out of them before getting pro work for major publishers. Meyers does have plenty of ability, so it's odd that he does things like this.

North 40 #1 - Might do this on the podcast next week, but let's mention it in passing. It's a horror series from WildStorm, by Aaron Williams and Fiona Staples. Ancient magic tome is opened in small American town, surreal and horrible events ensue. It is, in fact, pretty creepy, mainly because it pulls off the tricky balancing act of having a basically normal world with truly bizarre and unpleasant elements thrown in - the art, in particular, pulls this off impressively. My problem with it so far is that it lacks strongly defined characters, so I don't really care all that much about the people this is happening to. But it's certainly got something.

Uncanny X-Men: First Class #1 - There's always one comic that I pick up to review and find myself thinking, "Oh yeah... what happened in that again?" And this week, it's the first issue of Uncanny X-Men: First Class, which so far seems to be not much more than a miniseries set some time shortly after X-Men #100 or so. Nightcrawler is upset about not being able to fit into the normal world, and so he jumps at the chance to visit Attilan, the home of the Inhumans, where everyone looks weird. And, of course, then he finds out that Attilan's not so great either. It's perfectly okay, but where Jeff Parker's X-Men: First Class generally felt like an updated Silver Age X-Men for younger viewers, this just feels like a slightly old-fashioned fill-in story.

Unwritten #3 - Tom Taylor continues to investigate his past, while a bunch of horror writers from assorted sub-genres show up to discuss Frankenstein. Cue a squabble between a thinly disguised version of the writers of Saw, and a character who doesn't seem to be a million miles from Laurell K Hamilton. Now, there's nothing particularly enlightening here about the nature of horror, though the run-down of sub-genres on page 2 is a great scene, but from the way this issue is going, it certainly looks as though Carey is starting to develop Unwritten into a wider discussion about the structure of stories, with genre plot elements (or, perhaps more accurately, plot elements from other genres) starting to invade the "real" world. All very interesting.

Wednesday Comics #1 - We'll be talking about the first two issues of DC's new weekly project on the podcast, so I'll leave the details till then. For now... a page is a very short space, and it's a format that few creators are used to working in. Actually, given the fold-out format, each strip really gets four pages a week, but only Ben Caldwell's unusual take on the origin of Wonder Woman goes that way. Realistically, the stories are going to take a little while to get going, and with hindsight, it's perhaps unfortunate that DC didn't include a couple of comedy strips to provide more instant gratification in the early weeks. A lot of the artwork is excellent, and it's an interesting experiment in format, but as somebody who's interested largely in story and character, let's just say I'm reserving judgment for now. This issue strikes me as more of a technique showcase than a piece of storytelling - I kind of respect the book but I'm not sure whether it actually does anything for me.

X-Men Forever #3 - You know, somewhat to my surprise, I'm actually quite liking this. Chris Claremont writing a "continuation" to his original X-Men run could have been rather depressing, but there's a genuine sense of enthusiasm about this book, and more focus than we've seen in some of his recent work. It's unfortunate that issue #1 was a bit plotless, since the subsequent stories have been tighter. Granted, a 1991 Claremont X-Men comic would have been nothing like this, but without having to accommodate other people's takes on the characters, he really does seem to be enjoying himself, and that comes across on the page.

X-Men: Legacy #226 - This week's second "Utopia" satellite book brings Rogue, Gambit and Danger back to San Francisco to help out with the riots. It's a two-parter and I rather suspect it's here mainly to try and give Legacy a much-needed sales boost, which they'll presumably use to try and springboard the next year's stories based around Rogue. This issue, people run around San Francisco and fight, and some very obscure mutants make cameo appearances. It's all quite well done, and the riot is actually a lot more real here than it was in the main crossover (where Fraction tended to assert it as a fact of the plot, rather than making it viscerally convincing), but whether it's actually about anything, other than reminding readers that Legacy exists, I'm not sure. Dustin Weaver's art is a little inconsistent around the edges, but generally solid.