The Mast Reviews: Thursday's Comics (28/1/2010).

Get off my lawn...

Big news! I have acquired one of the comics I refer to as The Trinity! The Trinity is a group of, as you can imagine, three comics that are massively important to me. Two of these are issues a comic series I am/will be trying to complete, one is a first appearance, not an issue of a series I necessarily like.

It cost me a bit more than I am used to paying for comics (HA! I just got an email telling me I am winner of Understatement of the Year!), but that's how much the copy I bought is absolutely worth. It is on its way to me, or will be soon and you can be DAAAMN sure that as soon as I have read it, turning the page with tweezers and all (I plan to touch it just once), I shall review it. Guess the comic and get a FREE comic sent to you from that very same series! Let's make it fun!

Another week, another batch of comicy juice. Not many at all this week, really. Well, I bought five, but one is Daredevil #504 and I'm not reviewing that on-going until #505, at which point I will cover the backstory with already existing Marvel synopsis. It saves time.

"Enough of all this talking, David. Talk of comics using some words arranged to form sentences!", I hear you cry. Talk of comics I shall.


Guardians of the Galaxy #22.

Kicking off from the last issue where the horrifically impregnated Moondragon was kidnapped by The Universal Church of Truth, we see her being placed on a massive throne high up in the air. As the leader of the Church proceeds to butter her up with a mass of praise and compliments, Moondragon reminds her that she is a psychic. Then, in quite a chilling piece of dialogue, says something along the lines of: "I know you plan to rip this thing out from inside me.".

Moondragon speaks of her growing inability to keep the organism calm, and that it's about to burst out, just as her cavalry arrives in the form of the Guardians. Star-Lord points his weapons at the group and says the very best line that Deadpool should have said:

"I'm Star-Lord. I'd flash my business card, but my hands are too full of guns.".

How is there going to be a better introduction than that, ever?

With help from the Luminals, Star-Lord and the Guardians manage to cause enough chaos and destruction to free Moondragon, killing a few members of the Church on the way. This includes Drax stabbing one of the cardinals through the head. When they get her back to Knowhere, The Guardians are threatened with action for their attack on the Church, but the Luminals threaten to leave the service of Knowhere if they are punished, causing the Council to re-think the decision.

Moondragon gives birth to the creature - off-panel of course - before the Guardians launch it back through The Fault.

The comic ends with the surviving members of The Universal Church of Truth confronting their master and apologising. Their master, in quite an epic twist, is revealed to be none other than Magus, Adam Warlock's evil self.

Interesting as this issue is, it makes me feel as though every title besides Realm of Kings: Imperial Guard has lost its focus. I will purchase Guardians of the Galaxy #23, but if nothing significant happens, it will be the last issue.

As you can expect, Abnett's dialogue is consistently immaculate and his pacing works wonder even in its disharmony of focus. I feel this title would be way more enjoyable to me if I had been reading it anyway, but I am not a Guardians reader. If you are, or you're curious, then check the title out.


Captain America: Reborn #6 of 6.

This issue frustrated me beyond belief.

I love Ed Brubaker as a writer - I think I've made that clear enough without having to pleasure his reputation any further - but this kind of thing really bothers me. "Sir Mast, what kind of thing?", I hear you cry.

Captain America: Reborn was supposed to be a perfectly timed five part mini-series that got Steve Rogers back in time for Siege. This did not happen. What happened was that the series became later and later, then got pushed to an additional issue, bringing it to six. By the time five was out (Maybe even coming out), Steve was already supposed to be back, and had been revealed as such in other books.

Never mind, I figure I'm already four/five issues in and that it's no big deal to finish the series, it looks like it's coming to a good end.

I was wrong. This is essentialy a tacked on ending that does some obvious work, but the obvious work isn't even great. Steve continually fights back against Red Skull (Who took over Steve's body in #5) inside his mind, the mind they both share now, while The New Avengers continue to fight off the M.O.D.O.K. clones. This prevents Skull from killing Bucky (Yeah, reverting back to Bucky cos it's easier and more known) and forces him back into his previous body. As Steve helps Bucky to his feet, both clad in Captain America regalia, they go off to aid The New Avengers.

In the most needlessly confusing piece of set-piece action I've seen in a long time, Henry Pym (The Mighty Avengers' Wasp. Formerly Giant Man/Ant-Man/Yellowjacket) shoots Red Skull with Pym Particles, the substance that makes him shrink/grow. They all fight the giant Red Skull until Sharon Carter revives Vision on their ship, and he interfaces with the ships controls in order to launch missiles at Red Skull. It's almost explicitly said that the Red Skull has died, but his daughter has been scarred in the explosion and it's left her looking like her father. I don't know, was this supposed to be ironic?

As everything winds down and the battle is won, there's a pretty near piece of dialogue. I can't remember who says it, though I think it's Ronin, but someone says: "Let's get out of here before Osborn and his Avengers show up!". To which Steve says: "Wait...Norman Osborn has Avengers?!".

I thought that was kinda cool, because the idea of waking up from a coma or whatever has always fascinated me. The idea of having to re-learn SO much knowledge, depending on how long you've been gone. So, I can only imagine what it's like for Steve to come back and discover that a madman has his own version of The Avengers.

The bit that got me angry was the ending. Steve is out on a balcony, pondering things and musing over the experience he had as Sharon comes out and asks him if he is going to join the party downstairs. He tells her she looks beautiful and asks her to stay with him for a bit, so that he can enjoy this moment while it lasts.

End.

Really? I loyally stick by your books, Ed Brubaker, and even when this was late I still supported it. THIS is what you postponed the book for? If it's not, why did you? It can't be time contraints because Bendis writes about a million a month. He's never late. EVER. Not to my knowledge. I don't know why you were late with this title, so I won't judge, but this ending isn't good at all. If this was the best you could do with the return of Steve Rogers...I'm not happy.

I recommend Captain America: Reborn to EVERYONE, because maybe if you read it whole, it may lack the lack of impact these last two issues had for me due to their delays. It still is a rather enjoyable story, it just has a very flat end and gave us no further resolution to who Captain America will be on a more permanent basis.

Though, I suppose we won't see who that is until post-Siege. I mean, it's been stated that it's likely Bucky will be the new Cap, which FUCKING RULES. I just want it explicitly said.


Thor #606.

I was so ready for this issue. Oh man.

I'm gonna say right now that this is probably set before Siege, just so the continuity doesn't seem off. If anyone can confirm this, please do.

As #605 ended with Dr. Doom smacking Thor through a wall in his newly erected (Shut up) Asgardian Destroyer armour, so #606 begins. The battle outside of Castle Doom is still raging with the Asgardians and King Balder against Dr. Doom's half-cyborg Asgardians. Seeing Thor get blown through walls and stamped on is not a common thing, so let that be a testament to how nightmarish a concept it is to have Dr. Doom in the Asgardian Destroyer armour. He even goes so far as to block Thor's swing, WITH Mjolnir, and hurls him through the castle wall to the outside.

The fight between these two rages and continually interrupts Thor's intended mission to reclaim Queen Kelda's heart (Literally) and restore her to life. As a result, he instructs Balder to do it. Loki, meanwhile, is still on the scene and is using his magic to keep her alive a little longer. It's a very well written and paced piece of action, with suspense and excitement marrying together in harmony.

Dr. Doom continually taunts Thor until he lashes back in a rage for the very unkind things being said about his beloved race. He repeatedly and brutally begins smashing away at the armour, accompanied by some truly robust artwork, until it is revealed that Dr. Doom has vacated the armour...mysteriously.

Kelda, to the joy of Balder and his men, is revived by the returned heart. She immediately asks if Bill lives again, and upon being told he does not, she says that she has no life, despite her resurrection. As Balder orders all of his men back to Asgard, Thor says that nnot all men are going back, implying himself. Balder respectfully agrees that whilst law is law, they remain steadfast friends and will be there for each other during the coming troubles (Thor was exiled for killing a fellow God. The god was disguised by Loki, though, and was also tricked into attacking).

Dr. Doom is revealed to have been teleported out by Loki, expressing his reluctant concern that he was not teleported sooner. I must say, I'm glad that they didn't go with it being a Doombot. It adds drama to the proceeding and underpins the fact that Dr. Doom does have some fear of Thor.

Thor returns to Broxton, Oklahoma as Jane Foster arrives to see him, but the climactic scenes happen at Asgard.

Loki asks Balder if he is in his good graces, to which he is swiftly rebuffed, only for Balder to say that he is not even in his own good graces. You can just FEEL Loki grinning internally, knowing that this was all it took to get a grip on another piece of Asgard for his own ends. He really is an outstanding villain currently. He saved a life so as to gain even a tad of Balder's trust, and that's all he needs.

The next issue is a Siege tie-in, and I can't WAIT!


The New Avengers #61.

As with Thor #606, I'm sure this is pre-Siege.

Now, a lot is revealed in this issue that I wasn't sure we'd see a return to.

It begins with The Hood speaking to his army of street criminals (With powers, naturall) and informing them that he has been granted powers from Asgardian nord stones, as given to him by Loki. They naturally wonder what the Hell this has to do with them, to which he informs them that he can power them all up. NOW, they're listening.

Bucky and Steve are doing a kind of recon (Seemingly this is the end scene from the Dark Avengers Annual, but I can't be sure and don't see why it would be) when they are accosted by the Living Laser. Bucky opens fire and throws his shield to hardly any effect. The Corruptor - a villain with the power to use chemicals to control people's minds - tells Living Laser to back off and let him handle it.

What follows is a fight between Bucky and The Corruptor. However, Bucky becomes paralysed by his chemicals. The chemicals themselves are so powerful that even telling Bucky what's going on won't provide enough mental power to break the hold. The Corruptor uses him to go after Steve, who is left ducking for cover. Bucky fires at Steve and the bullt ricochets back, hitting The Corrupter and somehow disabling him. I'm still not entirely sure why...it's a muddled scene. The Living Laser stares down Steve and Bucky as the scene ends.

The other scene in this comic that happens to be quite prominent is one between Spidey and Spider-Woman. It's inter-woven with the above scene, actually. They're doing surveillance atop a roof and naturally, Spider-Man starts getting on her nerves a bit, but the dialogue and the dynamic between the characters really is enjoyable, though I expect nothing less from Bendis. Comments like: "Stop talking like a renaissance guy, I hate it.", "It's what I do when I'm bored.", really just add an interesting sense of levity to the situation of staking out Avengers Tower.

Two of The Hood's goons - Mandrill and Griffin - survey the two heroes before setting upon them with a great deal of fury. A fight ensues where by Spider-Man is left dodging and weaving Griffin's attacks, where as Mandrill uses his ability to control women's minds on Spider-Woman. The art on the fights in this comics is REALLY amazing, but then, Stuart Immonen is a beast. REALLY.

As Spidey tries to keep on his toes against Griffin, he is blasted from behind by the under-control Spider-Woman. Very creepily, Mandrill says that before she kills Spidey, she is to tell them where ALL the other members of The New Avengers are.

The issue ends.

It's a fantastic issue and both this AND Thor #606 serve as really nice, effective pieces to describe the anxiety before the storm. Bendis is on point here, as always, and it does nothing but warm me up for Siege and Siege: Embedded...NEXT WEEK!

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That's all I got for you information-hungry coyotes! Though, I hope this review was informative for you in some way, since that's the point.

So, NEXT Thursday will be a very exciting comics day, but between now and then I will be back with another edition of The Mast Looks Back. What will I be reviewing? Come and see!

Until then, peace!

-The Mast

The Mast Looks Back: Vol. 4 (The Death of Superman).

Bang! I'm James Bond! *Blood dribbles down*

I almost forgot to do this on account of the fact that I got SO caught up in ranting about comics, specifically Deadpool, to a friend.

Someone actually came to me today and asked me to recommend them some first comics. It's always an honour when someone you know, even solely online, comes up to you and asks YOUR advice on which comics to spend THEIR money on. It's an honour really, especially in this digital age.

I want to thank everyone who reads and gives feedback, by the way. I got some very helpful feedback from my esteemed friend, Pete, and I'm about to test drive it onto your face. I hope your eyes have seatbelts, because I'm about to take them for the ride of their lives (Not really).

As stated yesterday, this will be the first in my review of DC storylines/trade paperbacks that I really enjoy or that have impacted me in some way. Anyway, on with the review!


The Death of Superman.

Never before has a storyline grabbed as much worldwide attention as this one.

I was only young at the time, but someone I knew who read DC called me and told me Superman was dead. That's not something you ever expect to hear, and even fans of the character since his late '30s creation probably didn't even expect to hear such a thing. I suppose the only one that ever came close was Captain America's death in the aftermath of Civil War, but it was nothing like this.

The art on these issues is truly outstanding and gives Superman the heroic quality that I feel he deserves, but lacks too often for my taste. Visually, at least.

As for the story, it's very simple, yet it captures the mythos and concept of Superman amazingly well. The side of Superman I always loved, but can't tolerate for long periods of time, is rife in this issue. Speaking of issues, I'm not sure what issues this storyline spanned since I don't have them (I know someone who does), but I know it involves numerous Superman titles from 1992. I know Superman was one, Superman: The Man of Steel was another, but any others escape me.

In a nutshell, the first we see of the creature that'll come to be known as Doomsday is a gloved hand punching through a gigantic door; a big, jagged hand with bony, knuckley protrusions (Made up the word knuckley, deal). I don't think it's truly comprehendable just how intimidating this first appearance was. At first, Doomsday was clad in a green cloth, with one hand tied behind his back (As if to say: "No, really. Just watch."), emerging from containment. What follows is arguably the biggest and most impactful destructive spree in a short space of time, ever seen throughout comics.



As he stomps across the country side, killing every living thing he comes across, he begins to draw attention to himself. Resultantly, the Justice League turn up to investigate the damage he caused and eventually they come face to face with this monstrocity. What follows is the pinnacle moment in Doomsday becoming as legendary as he is, because any new villain needs a statement of intent. Green Goblin sort of caused the death of Spider-Man's first love, but Doomsday? He's already killed, so where do you go from there?

Simple, really. You take out the entire Justice League with an arm still tied behind your back.

Despite their best efforts, he gives them all concussions and life-threatening beatings for their troubles. This massacre ends with Doomsday punching Booster Gold (Now, I can barely take a majority of DC heroes seriously as it is, but Booster Gold just looks like a fitness instructor) up into the stratosphere where he is caught by Superman. Booster Gold says: "It's like doomsday is here!", thus the name. By this point, you're still thinking that Superman can take the guy in a fight, you're just unusually impressed and intimidated by the immense power of this thing.

Superman and the Justice League members still capable of movement set off after Doomsday again (One of the heroic moments where Superman serves as a source of hope and inspiration to those around him), finding him near the house of a woman and child. They engage him in battle again with similar results, this time destroying the family's house, leaving them in danger amongst the rubble. Everyone decides to combine their entire powers and blast Doomsday with literally everything they have, and promptly do so.

The only discernable result of this is that a lot of his green body suit and mask is burned off. This is the first time, to my recollection, that his face is revealed. A grey behemoth with bones protruding all over his body and long white hair, even appearing to have jagged bones for teeth and boney constructs protecting his eyes.



The fight goes a very similar way to the previous one, with Doomsday decimating the Justice League and leaping away. Superman follows quickly, having to temporarily ignore the family's cries for help, and hurls Doomsday into the bottom of a lake before returning to help the family.

He emerges from the lake and Superman goes at it with him for a bit, becoming increasingly concerned by this awesome force's power and durability. Doomsday leaves and, for some odd reason, trashes an appliance store. In the process of this, he sees a wrestling show advertising the city of Metropolis. Making matters worse for the unknowing citizens of Superman's adoptive city, he sees a road sign directing him to Metropolis. Can you guess where he wants to go? Nope, not to see the wrestling!

Naturally, this is Superman's limit. He's never gonna let Doomsday lay waste to Metropolis, not on his watch. They engage in a fight again and Doomsday is hurled into a mountain in the opposite direction, while Superman follows. The fight, by this point, is getting REALLY violent. They battle through the living forest and during a break in combat, Doomsday leaps away toward Metropolis...arriving in the city.

Superman and Doomsday begin their final, brutal fist fight.



They battle beneath the ground, destroying power lines and gas pipes, hitting each other so hard that it causes shockwaves that breaks windows. The two remain locked in a titanic battle of last ditch heroism Vs a mindless threat that apparently has no forseeable weaknesses. Punch after punch, blow after blow, they beat each other senseless in one of comicdoms most exciting fights. The art is immense to the point that you can almost FEEL the punches. You can almost hear the thud, the smack of fist on flesh, of blood and sweat being shed in the name of survival as Doomsday gives Superman a beating that still lives on today as a lesson learned.

Superman, battered and bleeding, having finally gotten Doomsday looking a little the worst for wear also, hurls one last almight punch toward Doomsday as he also does the same. With news cameras and Lois Lane herself watching, the two beings strike each other with mortal blows in a collision than completely obliterates the ground beneath them.

Doomsday has been defeated, at last, but at a revealed cost that shocked the worlds of DC and readers alike.

Superman emerges from the dust and rubble, costume in tatters and cape completely ripped off. As Lois approaches him, he collapses and asks if Doomsday is dead, not even being able to complete the question. It's such an unbelievably poignent, iconic and powerful image; this seemingly invincible hero reduced to a bloody mess in the arms of his human loved one as she assures hm of his heroism.



Superman dies (Long story) in her arms and the last shot is of Superman's torn cape hanging from a rebar.

If you ever read a Superman story, if you want one book that successfully sums up a great degree of what Superman is about in a good way, then you need this trade paperback or the issues. It's an utterly essential story, even though it's just a fight. The feeling it leaves you with on the very last pages is what makes the preceding pages worth it. It's a premise that only really completes itself on completion.

Superman's unimaginable and selfless devotion to protecting the race that adopted him as their own is a driving force of heroism for him, especially here. Not ONCE does he show fear of being killed, really. Either he doesn't think he will be, or he doesn't care, and I'm inclined to thin the latter. There is no "Oh, I dunno if I wanna fight this guy." about Superman here. He just sees Metropolis in insane danger and knows he has to stop it. It's not even an issue of debate for him.

The weighty consequence and impending crisis of this issue is a result of one source, and that is Doomsday. Without Doomsday, this book doesn't work. End of story.

If you wanna know about Doomsday, you can click here. There's a lot more to him than is shown in these issues, but he is a truly horrifying and formidable opponent. Designed simply to survive at any cost and kill with as much dedication, incapable of being killed the same way twice; and with strength, durability and speed to scary degrees...this is a real monster.



There are villains, there are supervillains, there are horrifying enemies and then there's Doomsday. Straight out of a nightmare, he's one of the best enemies of all time.

The sad part is, where do you go from there? It's like if God went for a job interview, you know? "What are your goals?", "I'm kind of already the Alpha and Omega; the creator of all things. I can't really say there's a promotion I'm shooting for.". On his debut, Doomsday trashed the Justice League and killed Superman (Technically he didn't, I don't THINK, but more on that later). Where do you go from there? If there's ever a supervillain convention and you have to list your most impressive victory, he's the only dude with Superman on his resume. Add to the fact that he beat him IN A FIGHT. This wasn't some kind of hokey magical battle, it was a brawl and he beat Superman up to the point that he died of his injuries.



Terrifying. As is the entirity of the story.

There is a LOT of aftermath from this event, and that's possibly for another review. If you don't wish to wait, then by all means click here for the DC Database's article on The Reign of the Supermen.

I wanted to kick off my promised coverage of DC with a bang, and no better way to start than with The Death of Superman. It's ALLEGEDLY the best selling trade paperback/graphic novel of all time, so you shouldn't have trouble finding it and that's what you should do.

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Well, that's about all I have for you until Thursday. Thanks for reading and I hope this has been another post that contributes to either time well spent, or an interest in comics. Regardless, if you just enjoy reading these posts, thanks for that also. Don't be afraid to comment with thoughts, minor or major. Even criticism, minor or major. It's all welcomed.

Until next time, peace.

-The Mast

The Mast Blogs: Time Travelling to May & Variation Vs Preference.

Jaws!

I realised today that it's finally 2010 and almost February. That means there are only three months worth of time until May. What's in May? Only my most anticipated movie of the ENTIRE YEAR, Iron Man 2! Idiots. Why would you forget that?

I wish I could time travel to that month, but the build up will be so worth it. If you HAVEN'T seen the trailer, what's wrong with you? Go to Marvel's YouTube channel right now and watch it.

I'm holding all of you to The S.N.M.I. (Smash New Moon Initiative), by the way. Go see Iron Man 2 on the day it comes out, more than once if possible. Let's break the opening day record of New Moon.

Come on, who can seriously say New Moon deserves the record over this:



How are you watching that without being hyped up to the sky? You should be.

Anyway, onto the main post.

I was wracking my brain for ideas of something to fill the gaps between the last edition of Thursday's Comics and the next one. I wasn't really fond of doing ANOTHER music review, so I decided I'd do something that occured to me when someone pointed out to me was that I don't really review many other comics than Marvel.

Thus I will use this stop-gap entry before I post the aforementioned idea tomorrow.

Regarding Marvel Vs DC, or any company for that matter, let me clarify the reason behind the bulk of my reviews being Marvel so, if I ever get notoriety, I'm not seen as a DC/Image/Wildstorm/Dark Horse hater or anything. That's not the case.

I've always preferred the real world-based Marvel comics, and the characters just appeal to me more. It literally goes no further than this. I love Batman's mythos, Superman's mythos and the concept of a few others, but I've just never really enjoyed DC Comics on a regular basis, and the same applies to other companies.



I love Haunt, I really like a lot of the old Spawn stuff, I definitely enjoy Hellboy from time to time, too. It just happens that my main source of enjoyment comes from Marvel. There are independent writers I love; Alan Moore, Daniel Clowes, Frank Miller, Neil Gaiman at times and many others. It's just that most of the stuff I like from them happens to be self-contained stories that are not on-goings, so I can't review them.

Needless to say, I will try to offer up some variation wherever I feel possible. I'm not a regular DC reader, but there is lots I enjoy, so here's what I'm gonna do. Over the coming months I am going to offer up reviews on the storylines in DC that I have enjoyed the most, and then you can all suck it.

The first will be up tomorrow, but this was just a simple post to say that I acknowledge what some could call a lack of variation, and I have been wanting to balance it out ANYWAY. So, everyone wins. Stay tuned and join me! PLEASE!

I'm joking, but really, join me.

Until tomorrow, peace.

-The Mast

The Mast Reviews: Thursday's Comics (21/1/2010).

Body in a woodchipper!

Welcome to the Mast and welcome to another fine (Probably) edition of Thursday's Comics! Today, I'm going to things in a slightly different way and change the method with which I review Thursday's Comics.

Before I get started, here's a story all about how my life got flipped, turned upside d...joking. I just have a few things to say to however many of you actually read (SINCE NOBODY COMMENTS).

You see, with so much stuff coming out over the next three or four months, I decided to reconsider what issues I wanted to stop buying. For example: One of the comics I bought today was Nova #33. Now, considering that NOTHING is happening in this series that seemingly ties it to the actual Realm of Kings story in any exciting way, I've decided it's one less comic for me to buy and thus, review. If Guardians of the Galaxy #22 ends up being the same way, I will drop that also.

Due to there generally not being enough hours in the day, I don't always get home from the comic store with enough time to read all of the comics I bought AND do the other things I need to do. As you can imagine, this is slightly problematic regarding having to review four, five or sometimes as many as six comics in that same day. Thus, if I buy comics that don't specifically deal with something important or are not part of my regular titles, there's a large chance I'll skip reviewing it.

Don't feel like you've been screwed, readers. The reason for this is so that I can spend more time doing lengthy reviews of the ones that DO matter, rather than having to update you on shit in Nova's comic that I don't even care about. Also, I'm considering not reviewing comics that I buy solely because Deadpool is in them. If they're good issues, fine, but otherwise no. It's a waste of my time and yours.

With that all said, let's get on with the reviews!


Uncanny X-Men #520.

Typical.

Just when I thought this series gave me enough incentive to ditch it...it becomes mildly interesting. There are two sub-plots here:

The first involves Cyclops sending Wolverine, Psylocke and Colossus off to New York City in order to hunt down the remaining Predator X that they didn't manage to kill during the island invasion a few issues ago. Why? Because it was never meant to kill them, apparently. It was meant to collect data and transmit it back to a source. Naturally, Cyke wants to know what or who this is.

When they arrive and Wolverine sniffs his way to it, they find its corpse. Fantomex - French thief and slick assassin alike - is standing over its body and there's tension between him and Wolverine for a bit. Wolverine suggests that they work together, but Fantomex gives him the standard "That's not what I got paid for." schtick, and leaves.

With that, they head to the headquarters of The Fixer and prepare to throwdown with his minions.

I do like that Psylocke is getting a lot more play as a member of the X-Men now. I never saw her as a main team member, but maybe that's just me not reading the X-Books much.

The second of the two sub-plots is the issue involving Utopia and its impending submergence in the ocean, which makes sense. No, really. Because for all the smart people on the island, it's acceptable that they couldn't realise something will sink if enough weight is put on it with nothing to support it...

Magneto, having previously made that deal with Namor, sees the Atlantean king fulfill his promise and erect a pillar to support Utopia with which all of his seamen can dwell within. What?

During a meeting, Magneto finally tells Cyke about his pillar of seamen and Cyke isn't happy. Not because he doesn't appreciate it, but because he feels Magneto isn't following the chain of command. He asks Magneto why he's here and what he wants, to which he is told: "Your trust, Scott.". Cyke rejects this request and Magneto wanders off to the wilderness to talk to himself about how much blood and bad mistakes he has on his hands, and that it's about time he did something good.

I'm gonna come out and say something I don't usually say, because I think it's self-important. I think Matt Fraction, the series' writer, is wrong. I do not agree with what Fraction is doing with Magneto, I don't. He knows more than me and sure, he's a writer for Marvel and everything, but I think his choice of direction is off. Magneto having something up his sleeve would have been expected, even if it made all of this sycophantic posturing irrelevant, but this is a bit much. I understand that he's not the genocidal tyrannical leader he once was, but that doesn't mean we need more tortured villain-now-hero stories.

I'm curious as to what happens next, but considering how much shit is coming out, I may wait a couple months before I grab issues #521 onward.

It feels like they're just stalling for no reason on this book. It's like when you ask someone a question and they stall on answering it so they can Google the question, you know? It's like they have no direction and, every time they're asked a question, they keep telling us to wait. I'm frustrated.

In light of this issue, I won't say that Uncanny X-Men will not yield pleasant results. I'm not gonna say don't pick it up. I'm just going to say that if you already have a lot to get and X-Men titles are not your most favoured, then you may wanna skip out on this.


Realm of Kings: Inhumans #3 of 5.

Realm of Kings is weird.

It started off with a very loud bang, then it had me guessing whether or not it tried to do too many things in too little time without an anchoring main series. Recently, with Realm of Kings: Imperial Guard # 3 of 5, I've felt as though they're getting toward what we saw in the Realm of Kings #1 one-shot. Then all of a sudden, Realm of Kings: Inhumans #3 of 5 comes out and we're back to the political upheaval of the Kree/Inhuman empire again.

It's not that I don't find it interesting, it's that I feel it should be put into a separate title if that's what they want to depict. I'm having trouble seeing how The Fault and the Cancerverse at the end of it are connected to the Kree empire, or how they're having any effect. You know?

Crystal and Ronan continue their endeavour into the bowels of Kree society in hopes of discovering who had set the alpha primatives against them and such, resulting in a number of ambush attempts and Ronan smashing people in their faces with a hammer. All the while, the house of Queen Medusa realise there's a mole somewhere in their midst. It's all pretty solid, but when the other plotline is Queen Medusa and how she isn't comfortable as queen, it really doesn't have enough of a counterpoint to really suck me in.

Realm of Kings: Imperial Guard, for example, focuses both on the mission that The Starjammers and the Imperial Guard have embarked upon into The Fault, as well as Gladiator's role as Shi'ar emperor. Yet, that is done in an intriguing way because it tells the tale of a lifelong, die-hard warrior who is now essentially relegated to sitting on a throne, and how this drains him. I don't feel the two sub-plots in THIS title have a good enough balance, and that's why I think this arc is going to fall a bit short. To his credit, Abnett's dialogue is utterly flawless and the art is beautiful in all of these books, I just feel there needs to be more involving The Fault.

Regardless, Triton and crew head into The Fault further, following the signals of Black Bolt's voice that they picked up on in the previous issue. They finally find their once thought-dead king in the damaged remains of the terrigen bomb delivery vehicle; the place where Black Bolt and Vulcan fought their final battle at the end of War of Kings, only to realise that it's a mirage. These mirages are memories captured by the vehicle's echotech capacitors, which they destroy, leaving them dejected to remain without their leader.

Crystal and Ronan discover the two Kree rebels that had been conspiring against the empire and interrogate them. One of them - Doctor Vere, Kree scientist - hints that the machine next to them could be detonated to great effect, which Crystal then ruins by making it rain and shorting the machine's circuitry, but the machine explodes anyway.

As they check the body of Doctor Vere, his face dissolves and a droid of Kree design is beneath it. They are interrupted by a transmission from the man revealed to be the betrayer, and it's none other than Maximus. Maximus being a very close worker with the queen and her empire, this sews the seeds for the Inhumans to endure more drama during their reign of the Kree empire. Not only do they have to fight back rebellion on a violent level, but also betrayal from within their own ranks.

I don't know how I can sum up this issue in ways I haven't above. It's only five issues and it's defintely interesting, so you couldn't go wrong in picking it up, at least not as wrong as taking a gamble on certain other comics. It's just the weaker of the two mini-series' that support this story.


Deadpool: Merc with a Mouth #7.

With Deadpool: Merc with a Mouth #7, I discovered that the series I once thought I would truly dislike was becoming the book that most encapsulates Deadpool. It is far from my ideal depiction of Deadpool, but so far it's easily the best on-going he has.

Deadpool has left Doctor Betty in the current timeline and jumped into an alternate reality portal in hopes of returning Headpool to his own dimension. Quite naturally, it's never that simple. First they end up in a reality where Deadpool refers to himself as Major Wilson, and is a member of the army for the Unites States of Canada. After Headpool is captured and Deadpool restrained, Major Deadpool begins interrogating him. Eventually, the two get ready to fight after much trash talking. Major ends up de-masking and revealing that he is a chiselled, handsome version of Deadpool, only to be out-witted in combat as Deadpool and Headpool escape into the portal again.

Showing up in another alternate reality, they see Captain America waging war against rebels, accusing them of being traitors. He is seen challenging one rebel in particular, this turns out to be Lady Deadpool, prompting Headpool to comedically observe: "We're hot!". Deadpool intervenes and they fight Captain America together, with little success. Running away to re-group doesn't impress Lady Deadpool, until Deadpool throws Headpool (Too many 'Pools) at Cap, giving him his first taste of flesh in a LONG time.

As Cap is distracted, they both kick him in the head and then, confused, just decide to make out with one another. The resulting, awkward interaction is genuinely relatable to anyone who's had a kiss they should have, but with added comedy. Deadpool then casually says that he's just gonna cut off Cap's arm in an attempt to stop the zombie virus spreading, and then he'll leave. With that, they leap back into the portal.

The next reality they arrive at is a Western style reality whereby Nick Fury (I think) is the sheriff, with Wolverine as some kind of rogue hero. They apprehend Deadpool and say that no longer will The Deadpool Kid be causing trouble. Perturbed and getting a little tired of it all, Deadpool says he just wants to be on his way back, and shoots the arriving version of himself in the head. They agree to let him go and it's back into the portal once more.

Much to their chagrin, they end up back at the feet of Doctor Betty and she's not particularly happy. Deadpool wonders why they're still there, to which Doctor Voodoo appears and says he may be able to answer that.

This concludes the issue.

I have to say I enjoyed this issue. It was a little longer than usual and didn't really leave me with strayed interest. The idea that each timeline had a different artist was particularly nice and a welcome refreshment to what I feel is an overly cartoony aesthetic in the regular series.

My issue with this series is the same issue I have with every depiction of Deadpool that's out, really.

1) Seriously, stop giving Deadpool two voices in his head, Marvel. If you won't let anyone write for him on a regular basis that can produce a regularly GOOD Deadpool, then please stop giving me three mediocre Deadpool dialogues in one comic.

2) WHERE...THE FUCK...ARE THE POP CULTURE REFERENCES?! Breaking the fourth wall and such is what makes Deadpool who he is, it's why a lot of us fell in love with the dude. Take that away and he's not Deadpool anymore. Way does this in the main series, Gischler does it in this one and whoever happens to be writing Deadpool Team-Up manage to leave this aspect out as well. It's pissing me off.

Aside from what I like to call my standard Deadpool gripes, this is the best series we have. The shame is that it's not in continuity, it's not his main series and it never will be. Therefore there'll probably be no incentive to do any serious or dark storylines. This causes extreme concern for me, especially since Deadpool's main series is going to get worse at the hands of Daniel Way, for reasons I'll highlight next week when Deadpool #19 comes out.


Dark Wolverine #82.

This isn't a series I buy regularly, nor will it be. Though, based on this issue - recommended to me by Andrew Salmond Esq. - I can see myself buying it until Siege ends. Obviously, this a Siege tie-in, so you should probably go read Thursday's Comics (7/1/10) to catch up on my main Siege reviews if you haven't so far.

For the uninitiated, Dark Wolverine is the Dark Avengers' version of Wolverine, played by his son, Daken. He has similar powers except that he can secrete pheremones to control people and has two claws; two on top and one underneath his wrist.

As we see Osborn's crew warming up to go lay waste to Asgard, or attempt to at least, Daken is messing with everyone's mind and narrating about how he has everybody where he wants them to be. He has always been the real manipulator of the Dark Avengers, so this doesn't surprise me. After messing with one of H.A.M.M.E.R.'s soldiers in a very homo-erotic way, he beats him into a pulp so that the soldier doesn't have to go fight...for some reason.

While I'm on the subject, homo-eroticism is something that runs throughout this issue and it's a big part of Daken's character (Someone who ranging from crazily captivating to grossly misused. Daken is DEFINITELY the character the divides opinion the most). I think he just does it to fuck with people, because he's done it to Venom (Dark Avengers' version of Spidey) and others, most notably his ex-girlfriend. She accused him of sleeping with a dude in a motel, which he admitted to doing. He didn't, though, he just gutted the guy.

In this issue, I actually think it adds a very interesting overtone, because homosexuality does make a lot of people uncomfortable when it's forced into their faces. This is no more evident than when Daken continually taunts and, dare I say, flirts with Bullseye (Dark Avengers' version of Hawkeye). Naturally, Daken uses Bullseye's anger against him by accusing him of being in denial.

As Daken narrates over the top of their battle in Asgard (Accompanied by some delicious art! Limbs getting sliced, Asgardians getting decapitated, heads getting blown off etc), we see him being watched through some kind of mystical means. It's revealed that the Norns, the Asgardian fates; Skuld, Verdandi and Urd, believe him to be the bringer of the next Ragnarök cycle (Click the link to discover, overall, what that means). Now, I'm not entirely sure why Daken is chosen or what part he has to play...but that's a massive bombshell and more or less answered the question as to whether or not I'll be buying the next issue.

Eventually Osborn and Daken meet on the battlefield and Daken gives his the usual attitude. Osborn asks if they're going to have a problem and turns away, at which point Daken brutally stabs him through the chest from behind (Draw symbolic parallels if you wish). I don't say, "Oh shit...", much when reading comics nowadays, but this was one of those moments (You weren't kidding, Andrew!). How he penetrated Osborn's Iron Patriot armour with bone claws is unknown to me, though.

Osborn is clutching his chest and asks Daken what he's doing, only to receive the reply: "What I was born to do.". Daken places his hand over Osborn's unmasked face and impales it with his underclaw as the Norns look on and comment that what they see is very promising.

Written by Daniel Way (He's good for something now and then, it seems), this issue drops not ONE bombshell, but two. In the very likely event that Daken didn't really kill Osborn (Dream sequence, hallucination etc. Pick your plot vehicle), it doesn't detract from the gravity of the issue, and that's very good. The fact that Way's revealed Daken as this bringer of end times now means a lot for how Siege will unfold.

A surprisingly entertaining issue. The only problem I have is one I'll address after the next review.


Dark Avengers #13.

For a long time lots of fans have disliked The Sentry. Either because he was essentially viewed as a blonde, Superman-esque Thor wannabe or because they just didn't see that he had ANY point, purpose or place in these stories. I fall into the latter camp.

This issue changes EVERYTHING.

It's long been discussed who Osborn's secret weapon is and people had been saying that to reveal it as The Sentry would be a let-down. I agreed, but despite that happening, it's HOW that makes it worth it. All of this issue centres around The Sentry's wife/ex-wife (Not entirely sure) Lindy telling her version of who The Sentry - otherwise known as Robert "Bob" Reynolds - is.

Let's start with what we know/knew about The Sentry.

We all know that The Sentry is this guy who took this serum and became The Sentry. We know that he is mega powerful and at the same time, has massive agorophobia and borderline schizophrenia. He feels that he is possessed or watched by this evil entity known as The Void, which will do something terribly bad for every good thing he does. Norman Osborn tried to convince him that The Void didn't exist, Emma Frost tried helping him to seal it away in his mind, but nobody has ever really known what it is or why it's there.

Part of the synopsis for this issue is: "The Sentry has died twice before. Once during battle and once at the hand of his own long-suffering wife, Lindy. No one knows how he survived both fatal attacks.". Chilling.

The issue opens in or around the year 1600 B.C.E. with a man preaching to a large group. He says that his lord has spoken to him and that every Hebrew house must have its door painted with lamb's blood, so that the vengeance of the lord will pass over the Israelite offspring when wiping out all the first-born sons of Egypt. Eyes glazed over, the man glances at the sky and says: "Then you will know there is only one true God.". As he looks up, the sky is covered with blackness, implied to be The Void.

Time skips forward to two months before the present. There's a flashback to Osborn's original convo with The Sentry when trying to convince him to become one of the members of The Dark Avengers (Not that he knew better). The added dialogue is where we discover Osborn's sinister, and dangerous (Probably more than he is aware) plan. He has continued to manufacture the serum for The Sentry that made him The Sentry, the serum that rejuvenates him, after Tony Stark refused to before. The room fills with explosive light and The Sentry appears refreshed. He thanks Osborn and says he owes him one, to which Osborn says: "Yes, you do. Do you know what that makes you? My secret weapon.".

Osborn and The Sentry's convo is way more weighty when you read the rest of the issue and think back. You truly realise that Osborn has gone off the wagon and is messing with shit he doesn't understand, or does and doesn't care.

Time passes again and it's now three days prior to the present in Avengers Tower, New York City. The Sentry's monitor droid-thing, Cloc, comes into the room and finds Lindy sitting on the floor next to his unmoving body and eroded face, holding a gun. She cries that she has killed him and begins detailing, through narrative to Cloc, why she did this. Requesting that it be recorded as she does so.

It turns out that Bob was a huge drug fiend and only got hold of the serum because he thought it'd be his next big high, he was looking for meth. He wasn't there to become a hero, like Captain America or such.

Naturally, he didn't know just how otherworldly powerful it would make him, not in the least. The Sentry took it by accident, once, and then became heavily addicted and willing to do anything to get more, prompting Lindy to say: "Does this sound like the origin of a golden superhero to you? No? Then what DOES it sound like the origin of?". I'll admit, it's quite a turn. I never expected a backstory such as this.

For a while she was content to just be dating and be married to a superhero, she loved the perks, but she never bothered to ask the real question: "Where did his power actually come from? What did the serum actually DO to him? Did it break his DNA? Did he break through to the next step of man? Was he a god? Was he even human? Was he possessed?".

One night, however, he confessed all of his sins to her in bed. Lindy describes it as the kind of truth a junkie tells, truth that Osborn knows and Stark knew before him. She says this caused her to realise that he was no more than a drug-addicted, mentally ill, murdering monster who blames all his sins on the Bogey Man.

It's revealed that Bob traded addiction to drugs to addiction to power, to being The Sentry. Both of which she says he has little control over, and that The Sentry and The Void are what happens when people who

Here things get quite interesting indeed, way deeper than I actually expected the plot to go and it gives a whole new perspective on The Sentry and what part he will possibly play in Siege. Lindy says she feels his power is biblical in origin, because where did the likes of Moses and Jesus get THEIR ability to do inexplicable things? She asks rhetorically if it's from God, but regardless, what would someone with that power be like today? She worries that men with that kind of power always end up getting sacrificed because their power either destroys them, or gets them destroyed. Finally, Lindy utters that she should have killed him on their wedding night.

A voice from off-panel says that it hurts to hear her say that, and The Sentry arises from the floor, emiting a kind of firey energy and with his eyes glowing. He begins to taunt Lindy and it's clear that The Void is controlling him. After severely belittling her by saying that the only reason she's alive is because Bob loves her and yet, she betrayed him, Lindy asks him to end it quickly and put her out of her misery. Bob's personality kicks in back and forth as he tries to fight it off, eventually electing to fly out of the building and into space. Cloc tells a distraught Lindy: "Now you see how much he loves you.".

As The Sentry bursts through space in a panic, The Void continues to tell him that it's useless to resist and that he's already tried everything to split them apart, but it won't work. Flying himself into the Sun in a last ditch attempt to save his own soul, The Void continues to antagonise him as his skin is regenerating instantly. It reveals to The Sentry that he is god, or at least he tells him he is, and I assume this is a metaphorical thing. Sort of like a "You might as well be God, you're that powerful." kinda thing.

Transporting him back to Earth, he tells The Sentry that all this time, nothing has been accomplished, that there's no point in fighting and that he should just let what needs to be done, be done. The Void says, chillingly:

You want to do something? You want to have an impact? Allow me. I've done it before and something god always came out of it in the long run. Yes, sure, it's a messy thing.".

Then, on the very last page we see a shot similar to the one in at the start with the preacher, the sky above N.Y.C. is covered in blackness. The Void tells The Sentry: "It's God's way.".

I have to admit, this issue is heavy. Not in comparison to everything else, but shit, for an issue of Dark Avengers? I NEVER expected such plot as this. I am SO intrigued as to whether or not it'll lead to something grand. The Sentry went from being a mis-used, purposeless annoyance, to someone pivotal in the entire Marvel universe.

As always, what carries this issue is that Bendis is amazing at dialogue. Coupled with Mike Deodato's robust, strong and evocative art, they make an amazing duo. I always thought Siege would be more than just a hyped event, but now I'm a believer truly.

My issue, as I stated at the end of the prior review, is how they're going to inter-weave a lot of seemingly important character plots. The Sentry is going biblical, Daken is going all Norse fates and lest we forget that Loki had somehow empowered The Hood with Asgardian magic of some sort. For what purpose? We don't know. I just hope we get resolution to all of these plots without it being crowbarred or ham-fisted, but that remains to be seen.

I seriously cannot give a higher recommendation of this stuff to you guys. I don't know how many of you read this, but if you can get a hold of these issues, do so.

To quote Martin Lawrence: "Shit just got real.".

---

Another week, another edition of Thursday's Comics all wrapped up! Thanks for reading, thanks for being interesting and thanks for supporting me as always.

The huge announcement I originally hinted to is kind of hanging in the balance at the moment, so I'm not entirely sure if it's gonna happen or not, but I'll announce the resurrection or death of this possibility when either happens.

Additionally, I have a VERY...VERY...EXTREMELY special edition of The Mast Looks Back coming around the beginning or middle of April, depending on eBay delivery times. It's a comic, that much is obvious and you will KNOW is madly important to me when you see it, but which one? You'll never believe it.

Stay tuned, true believers.

Until next time, peace!

-The Mast

The Mast Blogs: Daredevil & Me.

Bagpiping fact into blogs.

Today on Welcome to the Mast I have something special. By special I mean absolutely self-indulgent and possibly pretentious. In my defense, this method of tackling this kind of post was suggested to me by another, so shut your pie holes.

Something I'm asked a LOT, besides: "What's your favourite dairy product?", is who my favourite Marvel characters are and why. Naturally, not many people still know of Deadpool or who he is, hence my Deadpool & Me post toward Christmas last year. Today is another post like that, except it doesn't involve The Crimson Comedian, The Regenerating Degenerate, no. It doesn't involve Deadpool.

It involves another crimson-clad warrior whom is extremely dear to me. If anyone could contend with Deadpool for the top spot, it's this guy. I realise me hyping him without naming him is redundant, considering his name is in the title...

Anyway, I present to you my take on The Scarlet Swashbuckler, The Guardian Devil, The Man without Fear!


Daredevil.

As I always plan to do with these kinds of reviews, I'll start by telling you how I first came to be aware of Daredevil. From the top!



Daredevil #187 was my first experience with Daredevil. Unlike when I got into Deadpool - a character who had only been in ONE comic prior to the comic I saw him in - Daredevil had been in 186 of his own comics before this issue. Figure into that fact that he has also had guest appearances and that I first read this comic in 1991. The comic itself came out in 1982! The point is, Daredevil had a whole wealth of history when I had read this comic, and a lot had happened SINCE that issue.

What drew me in was the cover, that's how I so specifically remember it. It was a the same night that I discovered Deadpool (I remember because the X-Force #2 that exposed me to Deadpool came out in Sept of '91). Amongst all the colourful piece of art adorning these comics, this one stood out. A man on his knees, clutching his head (Resist the crass jokes, people) in agony of some kind, with nothing else but a while background. The fact that Daredevil's costume is bright red made everything just pop out at me.

The difference between this and any other comic series or character that stuck with me back then was the fact that the guy owned a LOT of Daredevil, comics I now own. I opened the comic to discover a rather dark plot, way far away from what I thought comics would have been. Remember, this was my first real night of comic exposure. I thought superheroes just went around kicking ass, not experiencing trauma. If that intrigue wasn't enough, the guy who owned them told me he was blind...what do you say to something like that? At first I was scoffing at the concept. Needless to say, it didn't last long.

Many of the single issues I got given to me were not sequential (Though he DID have a lot of continuing issues of other comics), and Daredevil was one of just two characters that I really wanted to piece together the stories for. Well, three if you count Deadpool, but as I said before, that wasn't a success.

Daredevil's series was a series I had CONSISTENTLY been reading from then to now. Obviously there were some gaps, but being that he was so popular, I always got people to buy me whatever the latest issues were when they went to the comic store. I always likened him to Batman, kind of like Marvel's Batman in a sense. Daredevil is what we call a street level hero, though. While it's the Fantastic Four and The Avengers who are off dealing with Galactus, Daredevil is risking his life on the streets every single night, against supervillain and common thug alike. That's what I actually loved about him.

You know that you're never gonna hear about an alien invasion on the news, but you hear about muggers and thieves, robbers and such. These are the kind of people Daredevil dealt with and, as a result, the comics carried a far grittier, realistic-within-reason feel than anything else.



I've still got an amount of Daredevil comics to get before I own them all, but I pretty much know the guy inside out. I would say that, up there with Deadpool, he is my main area of Marvel character expertise. In the beginning, Daredevil was characterised in a remarkably similar way to a lot of heroes at that time; he was a semi-wisecracking superhero who said his own name a lot and was overly descriptive about what was going on around him (God bless Stan Lee's frozen-in-time writing). For example, if a guy was too strong because he had impenetrable skin, Daredevil would say something corny like: "I...can't hurt him! It's like his skin is made of metal! I'd better be careful!", haha.

Indeed, his nickname was The Scarlet Swashbuckler back then. Very much a rogue-type battler with a sense of, I guess, romanticisim about his plight. He was still crazily unique due to the fact that he was blind, but a lot of the plots were kinda laughable and so were the villains. Something you may NOT know is that Daredevil's costume was not always the red, bad-ass simplicity we know and love. Oh no. The above picture shows what his original costume was like; a yellow outfit with a red vest type garment. Not too bad-ass. Luckily, he ditched this in issue #7 (Which I WANT, but it's £69 on eBay).

Throughout the comics, past and present, Matt Murdock would also put his heroism to work in the courtroom. An established and excellent lawyer, he would come to the aid of various Marvel heroes during his existence. That's another thing Stan Lee brought to the world of comics, continuity and connection.

His stories, like most of the Marvel characters post-Stan Lee (No disrespect to the man, he was a genius, but he was limited too), evolved considerably over the years. Most notably when the great Frank Miller took over art on the book in 1979 (May, Daredevil #158, the finale of Roger McKenzie's run). He brought a classily dark, almost noir feeling to the books and it garnered heavy interest in a character that had essentially been second tier up until now. Such was the critical acclaim that he eventually took over full duties as writer in issue #168. This was the most considerable writer change in Daredevil's history, almost inarguably.

Not only was this a monumental issue in terms of what Miller would do with Daredevil, but it also introduced Elektra, one of Miller's best-loved and most famous creations. All of a sudden Daredevil has a past that had either been alluded to or not mentioned at all. Frank Miller brought in The Kingpin, most famous from Spider-Man's comics, and made him one of Daredevil's most formidable villains.

This was when things started becoming legendary. Obviously Daredevil's villains still retained costume qualities with the likes of Elektra (More than a villain, but whatever) and Bullseye, but it was now more firmly rooted in the gritty crimeworld of New York's underbelly as a result of The Kingpin. Something Miller also introduced to great effect, tying it into Daredevil's history and future, was a martial arts element. Ninja clans such as The Hand and their heroic opposite, The Chaste, were introduced to shake up the idea of what a villain could be to a superhero.



Controversy was rife upon Miller's departure from the title. Not long after introducing Elektra, sparking massive fan acclaim, Miller killed her off in the now legendarily epic fight with Bullseye. It was a turning point for Daredevil, as well as his feud with Bullseye, but the controversy lay not in the fictional settings of the comic, but in Marvel Comics itself.

Miller wanted Elektra to remain dead and only revived if he saw fit, and if he was writing for her. It's WIDELY considered to be true that the editor of Marvel at this time (Ralph Macchio, not The Karate Kid) promised Miller, to one degree or another, that Elektra would be left as he desired and any further resurrection or use of the character would have to be approved by him.

Again, for one reason or another, this failed to be maintained. Some say that it was due to Marvel going from a private to a public company and Macchio no longer having the decision, but the truth remains a relatively uncovered mystery.

His run ended at Daredevil #191 (1983), but before he left Marvel for good, Miller returned for a run that many fans consider one of the best runs in comic books. The storyline known as Born Again (#227-#233, February to August 1986) changed Daredevil in a way that fans had never seen, and was way more focused on Matt Murdock than Daredevil himself.

Karen Page - a long-time love interest, first seen in Daredevil #1, who hadn't been seen for ages - had been revealed to have descended into severe drug addiction due to a failed movie career (Causing her to become a porn star). In return for a quick fix, she sells Daredevil's secret identity and this info gets back to The Kingpin. With this priceless info in hand, and after checking its authenticity, The Kingpin sets about systematically destroying Matt Murdock's life. Everything from messing with his finances and freezing his accounts, to costing him his job and leaving him a homeless, borderlined-destitude wreck. It was the darkest point in his life and a the highest mark of Miller's work on the title.

It serves not only as a depiction of one man's struggle against crippling odds and circumstance, with only the desire to not be beaten by crime and corruption as a driving force, but as a stark reminder that some things should always remain guarded and what people can do with them if they so choose.

I would love nothing more than for Miller to write Daredevil again, someday, but I'd say the chances of this are slim-to-none.

Over the years Daredevil would have a number of acclaimed and important runs, garnering critical and commercial acclaim, but none seeming to reach the heights of Frank Miller's run. In my opinion, that was true until recently; Bendis came mighty close, Brubaker smashed it and Diggle looks like he's going to make it three in a row. Before those three guys, however, came another writer who set off the second Daredevil on-going series with a BANG. That man's name is Kevin Smith.

"Wait, Kevin Smith? Fat Kevin Smith? View Askewniverse Kevin Smith? Disses-Fans-at-Comic-Conventions Kevin Smith?", I hear you ask. Yes, that Kevin Smith.

Kevin Smith kicked off the Guardian Devil storyline. A story that re-invigorated interest in Daredevil INSTANTLY. It's still one of my favourite Daredevil runs and I truly believe it worked out because he is a fan of the character. It was a story filled with tragedy that kinda shocked a lot of us, especially with some of the events that happened in it. It weighed heavily on an aspect that hadn't really been touched on to great effect; religion. Daredevil, at least Matt Murdock, is a man of Catholic faith and he hadn't been in touch with it for years. Kevin Smith really piles it onto Daredevil in this run, to the point that Matt Murdock eventually considers killing himself.



It's a harrowing, touching story and it really surprised me to see how well Smith can write. It also opened my eyes to how fucking awesome Marvel's editor (Then and now), Joe Quesada, is as an artist.

Since then, he has been fortunate to have had a string of great runs from some great writers. Bendis, Brubaker and now Diggle are all writers that can say they've contributed weighty pieces to the Daredevil historical puzzle. Those of us who truly adore the character and wondering when the luck will run out and he'll be stuck with a writer who can't write him for shit, but we're enjoying it while it lasts.

If someone asked me to pick a character that I honestly felt I would be reading until I'm too old to do so and my eyes give out, I'd say Daredevil. Deadpool is number one in my heart as a character, probably always will be. Daredevil, however, has always been my favourite comic more or less.

Daredevil stands alone. Many say it, but Daredevil truly does. He's got some acquaintances, he's had some extended runs with a few other people (His comic was actually called Daredevil & Black Widow for a bit, and they had a serious relationship at one point), but he's predominantly a loner.

He's not usually there at big events, he's not blighted my masses of tie-ins, but he's always there somehow.

He's never been an X-Man or never been one of The Avengers.

He doesn't save the world, but he does a little bit each day in the best way he can, for the reasons he thinks are right. He doesn't defend the Earth once every blue moon against a massive cosmic threat, but he's the man that puts the fear into the people that would make life Hell for the residents of his city.

He's out there to strike fear into the hearts of the minions and those who run it all. Whether it's a lowly mugger or The Kingpin of all crime in New York City, he risks his life to make those who want no part of it are safe as they can be. Yet, if someone asked for his help to go fight a cosmic or otherworldly enemy that could probably kill him, he'd still do it. He's had Mephisto and Blackheart as enemies, that shows how truly fearless he is. That's why he is called The Man without Fear; not because he is incapable of being afraid, but because he isn't afraid of fear. Even if it cripples him, he's pushing through it.

He's a remarkably strong character and one of the truest testaments to the human spirit in better and worse senses. There're literally so many reasons why Daredevil is an amazing creation and why so many writers are owed a debt of gratitude from myself for making him who he is.

As majorly flawed and, in some places, sickening as the movie adaptation was (The Director's Cut is a much more tolerable and enjoyable version, though still pretty flawed), I feel like it contains a quote that perfectly captures Daredevil's character (The movie didn't, but the quote did), and it's only fitting I end with it.


"Hell's Kitchen is my neighbourhood. I prowl the rooftops and alleyways at night, watching in the darkness, forever in darkness; a guardian devil.".

That's about all I can say with regards to why this character is a huge part of my life and has been for years. If you aren't sold on the character by now, you never will be! As with anything pertaining to comics or music, if you are curious about getting into Daredevil, I can always tell you where to start if you leave a comment with your questions.

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I think that about does it until Thursday, ladies and gentlemen. Thanks for reading, I hope you found some kind of enjoyment in this post and that it gave you some kind of insight into why I do what I do and love what I love.

Until next time, peace.

-The Mast

The Mast Looks Back: Vol. 3 (Where to Start with Cave In).

Dynamite!

I have wanted to do this for a very, very long time now. The trouble with doing a Where to Start With... is choosing a band or artist that's suitable. You want to pick a subject with enough albums, but you also want one that's varied enough in their work to provide levels of recommendation.

Lots of people come to me for music recommendations and this is as good a method as any to distribute my opinions. People who ask me for new bands to listen to can come here, check these kinds of posts, and go about their business.

I was going to choose an artist extremely dear to my heart, but I figured I'd save that for a specific day in February. So, welcome to my very first post of this kind. I hope you enjoy it, I suppose.

The band I've chosen are still relatively unsung, they probably always will be. They're also one of the best.


Cave In

Cave In, for all intents and purposes, are an alternative rock band with metal influences, some might say alternative metal. I don't do the whole anally labelling of genres thing. Only a few tags were, are and will ever be needed, so deal with it.

Their music ranges from soaring and intricate rock melodies, packed with sharp and glistening tunefulness, to metal straight from the bowels of Boston's harder music scenes. Sometimes Cave In mix the two, sometimes they couldn't be more separate, but either way they do what they do amazingly well. Additionally, Stephen Brodsky is one of the most imaginative lyricists I have read (One of the few lyricists I ever pay attention to) and Cave In are one of the few bands who've never had a shit song title, haha. Seriously, they're all good.

In these posts I will be recommending albums in the following catagories:

• The Avoidable.
• The Wildcard.
• The Good.
• The Best of the Rest.
• The Essential.

This way, you will know which albums you should avoid, which albums you may like, which albums are solid and which albums you'll probably like and can't miss out on respectively.

Do I amaze you?

Anyway, now I've given you the low-down on their sound and stuff, let's get to what you wanna hear.


Creative Eclipses by Cave In.
The Avoidable.

This is actually an EP, not an album, but nevertheless I feel it deserves this spot. It's not bad, by any means. The issue I have is that you shouldn't check it out unless you are already acquainted with Cave In. It contains five songs, only one of which is really any good and that's the opener, Luminance (When I say it's good, I mean it's amazing). Luminance is a spacey, explosive epic, it's a precursor to what Cave In would become, but the rest is just a cover and some filler songs. Fine, if you want to have heard everything by Cave In, but not an area or investment for new fans. It IS important, though, as this CD is the release that saw Cave In hint to something much greater which I will touch on later.


Tides of Tomorrow by Cave In.
The Wildcard.

A wildcard in the sense that it had many fans, but a few detractors, Tides of Tomorrow is yet ANOTHER EP that bridges a gap between albums. Just prior to signing their first major label deal, this is what Cave In produced as a stop-gap between their life as independent champions and a life as proposed mainstream breakthrough artists.

It very much focuses on Cave In's style at the time of its release. Coming out in 2002, this was the second of their efforts that truly heralded their adventures into more varied music.

It has a fair amount of potential, containing such strong tracks as Come into Your Own and The Callus, whilst also boasting the unforgettably powerful rock gem that is Dark Driving. Whether or not you'll like this is totally up in the air, hence calling it the wildcard. If you're not a fan of Cave In's more melodic style, this won't work for you. If you are, you'll probably like it...but you still may not. As good as some of these tracks are, it feels...sterile. It feels ever so slightly edged onto the side of melodic anonymity as opposed to melody that stands out from the crowd. I suppose whether or not you like it depends on whether or not you like this specific set of songs; that's what it'll most likely come down to.

It's worth checking out if you're fond of their work, and while it's not an impossible jumping-on point, it's not necessarily the best one.


Perfect Pitch Black by Cave In.
The Good.

Released in 2005, Perfect Pitch Black was a fairly awaited release due to the album that preceeded it (More or that NEXT).

Eyebrows were raised when it was stated that they had compiled this album through new-old-songs. Songs that had existed for a while and had been played live at shows, but never truly released. Cave In reworked them for this release and, back on their old label, they presented it as a combination of their past metal work and their more current progressive style.

That's quite literally what it is, and in a very good way. It isn't just an album full of melodic song/heavy song/melodic song structure, it actually incorporates both into many of the tracks. The World Is in Your Way is a perfect semi-opener, combining the bombastic rock immensity of Cave In's best progressive style with scorchingly excellent heavy guitar parts and accented heavy vocals by bassist Caleb Scofield (Taking over from lead vocalist Stephen Brodsky, who opted to protect his voice).

Down the Drain is a thoughtfully meditative number containing some muffled and distorted guitar strumming and well timed drum patterns. Trepanning is an all out hard rock stomper with decidedly heavy vocals, again, courtesy of the monstrous Caleb Scofield.

It's a very good effort, but it doesn't show Cave In at their best on either side of the fence. If you want their best metal work, you should be checking out Until Your Heart Stops, not this. This album just shows how well they can do both, but it doesn't show how amazingly they can do one or the other.


Antenna by Cave In.
The Best of the Rest.

Curiously, Cave In don't play much of this album's material live. They simply do not like it, it seems. Whether or not this is because it reminds them of a more unsettling time in the band's history (Their first major label album, and with it, major label politics dealings) or because they just don't like it, is a mystery.

What IS clear is that, to me, it's a testament to their ability as a band. Packed full of outrageously memorable, tuneful and grandiose rock efforts, Antenna is an album that everyone should be checking out if they're into rock music. I actually think it's like their OK Computer; the album that would have had the best mainstream appeal, contained amazing music, but still wasn't their greatest.

Stained Silver is an opener that lets you know a bit of what you can expect with it's loud guitars and accellerated alternative rock riffing. Anchor - made into the band's only true music video to date I believe - is an eternal highlight for me. From the opening riff that extends throughout the song, to the ethereal bridge and back to the tongue-in-cheek lyrics...it's excellent. It's not all stomping rock effort, though. Sea Frost is a nine minute opus that sways back and forth with heavenly blanketed melody and chill, whilst Youth Overrided's odd tempoed rhythms coupled with its astounding chorus provide enough variety for it to keep you interested.

Woodwork, personally, is an underrated masterpiece of a song. That's just me and most fans seem to hate it. Oh well.

If you're gonna check out Cave In, I would say that this is MAYBE the best jumping-on point. A rock masterpiece.


Jupiter by Cave In.
The Essential.

Easily...EASILY one of the absolute best albums of all time, Jupiter is the group's undisputed masterpiece to me. Coming second in 2000's album of the year race to Kid A, barely (Imagine that, BARELY missing out to Kid A), Jupiter is an album that is an exception to the rule.

When a band, famous for being very heavy, turns its eyes toward more melodic leanings, the fans usually tend to scream for justice and beg them not to do it. If it's done for the sake of it, it can indeed be a bad move, and fans usually don't have a clue what'll work anyway. Cave In, however, did NOT have that issue. As soon as their fans heard Jupiter, it was only the staunchest, most idiotic of fans that accused them of anything negative.

From the masterful and geniusly creative ensemble instrumental work of Brodsky, McGrath, Connors and Scofield to the creativity of songwriting that Brodsky provides, everything about this album is as close to perfect as I can imagine. It's a version of perfect, to my ears.

On Jupiter (Title song), the band shows such ambitious and unparalled understanding of rock music that it manages to combine the sound of stadium-filling majesty with cultish, esoteric alternative sensibilities and WORK AMAZINGLY. A chorus unlike anything I'd felt in a long time and imagery beyond most frontmen's ability, these are traits that permeate and soak the entire album.

In the Stream of Commerce will forever rank as one of my favourite songs of all time, showcasing Brodsky's ability to shift from Grohl-esque rock adrenaline to swooping, operatic falsetto. Brain Candle is a song that could cheer up anyone's day with it's 100mph melodic guitar onslaught, and Big Riff has a solo that deserves to be etched in stone in the pantheon of all great guitar solos. As with all great albums, you need a memorable closer, right? New Moon is JUST that, a pounding epic with ferociously passionate vocals and drum work, coupled with echoey guitar blasts (I know, the name reminds me of the franchise we shall not speak of, too. Just try to ignore it).

From songs that come at you unashamedly, to songs that are secretly deceiving, Jupiter is a masterpiece in every single aspect that it tries its luck at...minus the luck. On this album Cave In put the music world's posers and shitkickers to shame with one wave of their collective hand. A portrait of a band going dangerously fast, like a raging river. Not in hopes of stopping a final location, but in fear of ever stopping at all.

It's almost depressing, really. People listen to the likes of Lady Gaga and consider her ahead of the curve, creative and innovative. If only people had the presence of mind to listen to the likes of Jupiter. An album 10 years old containing such unfathomable genius that it probably won't be matched or surpassed by most bands for another 10 or 20 years.

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I hope you enjoyed that post as much as I enjoyed writing it. Seriously check these guys out and you won't regret it, I promise.

Cave In released their most recent and phenomenal work last year as the online/vinyl only EP, Planets of Old. You can find it on the U.S. iTunes store and streaming at this location. It's due for CD release this month, so if you feel so inclined, go pick that up. It's amazing, especially Cayman's Tongue. What a song that is.

That's all I have for you guys right now, unfortunately. Again, thank you so much for reading and keep your eyes fixed to this page for my epic Daredevil post, coming on Tuesday!

Until then, peace.

-The Mast

The Mast Blogs/Reviews: Upcoming Attractions & Thursday's Comics (14/1/10).

Oops! I snap-a de pencil!

First and foremost, you can scroll down or click here for my Haunt #4 review, which I have added to last week's post.

I feel like I haven't actually updated this thing in a while even though it's only been a week, crazy. I think what makes me feel like I haven't updated in a while is the fact that I haven't done any updates between last Thursday and now. I do have an album review planned and I do have my massive Daredevil post in the works, too.

The music post is going to be a guide. I'm thinking of doing a post revolving around Where to Start with *Insert Band/Artist*. You know, a run-down of a band or artist's sound and then recommended albums by that band or artist. Expect that sometime on Saturday or Sunday.

My Daredevil post will be on Monday or Tuesday.

Anyway, with all that said, let's get to my review of Thursday's Comics (14/1/10)!


Dark X-Men #3 of 5.

This is a series I've all but lost interest in. It's not that it's BAD, I just feel that it's a missed and mistimed opportunity. Let me clarify that point.

Dark X-Men, by name included, is an extension of the Dark Reign event (Although it's more a status quo than an event). It involves the return of prodigal mutant shaman, Nate Grey, also known as X-Man (Alternate reality son of a Cyclops clone and a Jean Grey clone). Nate had been missing for a while and I feel that his reveal deserved to be a bit more involving and handled with a bit more grandeur.

I feel as though he was crowbarred into Dark Reign and an ultimately ineffectual X-Men mini-series when his return wasn't even needed. Additionally, it's just hard to tell WHEN all of this is supposed to happen. All of the people featured are currently off raiding Asgard, so how are they also fighting/dealing with Nate Grey? I'm not gonna bitch TOO much, because it's hard enough to keep things as tied together as they do.

Last issue, Nate Grey discovered what Norman Osborn has been up to and he's really not happy. This issue pretty much involves Nate Grey fighting with the Dark Avengers for a bit before freaking Sentry out. Nate refers to a connection between the two and Sentry is visibly shaken, but all of the Dark Avengers descend upon him and eventually appear to have triumphed, even though Nate is not fully invested in the battle. Osborn's plan, obviously, is to use Nate Grey's immense power in the Omega Machine (For those just joining us, it's a device used to siphon mutant powers and pump them into Dark X-Men's Weapon Omega, also known as Michael Pointer).

Nate's body crumbles to dust after a great explosion of light and Osborn declares him dead, saying that his systems find no signs of life. The issue ends with Mystique confronting Osborn and handing out all these extravagant demands in exchange for keeping a secret. The secret, it's revealed, is that Nate has possessed Norman Osborn.

The issue ends.

Ok, so...if you're confused as Hell and happen to be thinking: "It probably makes way more sense if you read it.", then you're wrong. I'm as lost as you guys may be. I don't know if I'm missing something or not reading something, but it honestly seems to me like this is going nowhere. I'm not sure what they were thinking of by having Nate Grey possess Norman. That's a big deal, and considering it would probably put an interesting spin on Dark Reign, it's a shame they decided to wait until everyone had move onto Siege.

It's the continuity that really grabs me about this. In all the other Dark Reign-involved stories I've read, Norman has seemed to have no interaction with Nate Grey or the Dark X-Men.

It seems a shame to stop now, so I'll keep going until the end. If you literally want everything from Dark Reign or you're an X-Man collecter, then this is something you'll want. Outside of that, I can't recommend this title. It's just a little too cluttered and it has come at the wrong time. I think Marvel's writers just tried to have Dark Reign reach TOO far and now it's just too late, what with Siege bringing Dark Reign to an end.

A shame.


Nation X #2 of 4.

You already know my feelings regarding this mini-series by now, and let me say that it doesn't get much better.

Aside from how unstoppably cool Jubilee looks on the cover - in a very neo-'80s manner I might add - the pleasantries go no further. Nation X doesn't seem to be a four parter about life on Utopia, it seems to be a four part series that collects short stories regarding various inhabitants of Utopia. It doesn't seem to be ONE story, but a VERY vague underpinning thread that connects everyone.

I never liked Jubilee, never will. She's pointless to me. This issue focuses on stories from the point of view of Northstar, Jubilee and Gambit as the cover would suggest. Jubilee's tale isn't bad, to be honest. It features her trying to write and re-write a letter to her former compatriots on Utopia (She's no longer an X-Man OR a mutant anymore. See M-Day for details), whilst simultaneously having a chat to some of the current residents of the island.

It has interesting elements that could be worked with; a girl who never fit in because she was a mutant, and now she feels left out because she's no longer a mutant. There's themes of mid-to-late teen-ery there that could be used to non-annoying degrees, but like EVERY ONE of the X-Books right now, nothing will come of it.

Northstar's story is accompanied by such abominably awful art that I couldn't bear to read it. Seriously, if you ever get the chance, check it out for a laugh (Andrew, if you get a chance to flip through it at work, do so! I've not seen art so bad in a while!). Gambit's isn't as bad, but the dialogue is utterly dreadful and the story is nothingness.

I started picking up Nation X because it stemmed from Utopia...which had ties to Dark Reign. This is just bullshit. I'm definitely convinced it IS the X-Men, not the writers. Matt Fraction (Not the writer of Nation X) writes a MEAN Thor and according to Andrew, a good Iron Man (I need to get some trades for the recent Iron Man series actually!), but his X-Men works are just failure.

X-Men exist in that area of uselessness. The Avengers have always had individual characters that, alone or together, make up great stories or are capable of great stories. The X-Men do not, and I wouldn't mind if they combined to form something good, but they don't.

If you're short on cash, even if you're not, avoid the X-Books. Really. Avoid Nation X, avoid Uncanny X-Men, avoid Dark X-Men.

Bloody Hell! There are only three comics today and two of them have been negative reviews! We'll soon fix that.


Realm of Kings: Imperial Guard #3 of 5.

Ahhh! *Bathes in good comic-ness*

Last issue we saw The Shi'ar Imperial Guard and their former enemies, The Starjammers, venture into The Fault to retrieve empirical data on this STILL unknown force. Upon being swallowed by a dead biological warship of IMMENSE proportions, they discovered that cannibalistic organisms were feeding on it, and fancied a taste of Shi'ar royalty and intergalactic pirate!

In this issue, the suspense is built around them being closed in on from all angles and having to repair their ship in time. If that wasn't enough, the ship that they're currently residing in has decided that it would rather self-dissolve than be eaten alive...or dead. I gotta say, Abnett is doing a BANGING job of making The Fault seem indescribably dangerous. We have already seen a snippet of what's come to be known as the Cancerverse, of course (See Realm of Kings #1 review), and it does The Fault justice.

As you'll know from reading this blog, I'm a big fan of dialogue that SELLS me the story. If you can convince me that the enemy is a big bad-ass that deserves to be feared, if you can make me believe that it poses a threat, I'm in. Bendis is great at this, amazing in fact. Abnett, cosmic-story wizard that he is, also happens to be a master of this. When Oracle surmises that the only reason for a biological ship to be eating itself into oblivion is because it has enemies of such ravenous hunger and evil that even in death it does not which to suffer them, you KNOW the shit is serious.

Eventually, they escape and continue along their journey to find the data they are looking for. Unfortunately for them, they also find what the ship before them was seemingly so afraid of...and it's the first real, big encounter that anyone has had with creatures from The Fault.

This thing...things, I don't even know what they are or IT is, but The Starjammers' ship is dwarfed by it. Hilariously and frighteningly dwarfed by this nightmarish concept and monstrosity that lay before them.

Finally, the two mini-series' that seemed lost without a central series to anchor them seem to finally be picking up. I'm VERY excited for #4, I can say that much. I only hope that between the last two issues of Realm of Kings: Imperial Guard and last three of Realm of Kings: Inhumans, we get lots of shit that makes the event worthwhile. Two/Three issues to get shit done isn't always a lot, really.

There are always the Nova/Guardians tie-ins, but you should never rely on those things.

Regardless, Abnett is on-point yet again. Unsurprisingly. I sound like a broken record, but if you want a solid writer to invest in outside of Bendis, Brubaker or Van Lente, you go with Abnett. He has single handedly not only revitalised a lot of fringe cosmic characters, but written them into stories so epic that I can't recommend them enough.

Realm of Kings is one of those.

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Well, I'm afraid that's about all I've got for you guys today!

One last thing, though. I may be ready to unleash my mega-announcement in the near future. Trust me when I say that if it works out - me announcing it will mean such, as I won't announce it if it's uncertain - it's going to be amazing!

Watch this space for 2010, guys and girls. You WON'T regret it.

Until next time, peace.

-The Mast

The Mast Reviews: Thursday's Comics (7/1/2010).

Avast!

My apologies for this not being up yesterday; I had it all mostly written and saved, but for some reason Blogspot wouldn't load/post for me, AND my internet was being funky. I've dated it according to the date I saved the drafts, though.

So, without further ado I bid you welcome to the first edition of Thursday's Comics of 2010! Only three comics this week, but boy are they good. Let's talk some stuff!

EDIT: Now with added Haunt #4!


Haunt #4.

SUCH a good series.

I was discussing this with Andrew recently. What seemed like a piece of mid-'90s violent pleasure has now turned into a rather captivating and intriguing thriller/horror/action story!

So, where were we last issue? Ahh, yes. The organisation that Kurt Kilgore worked for has a mole and nobody besides the reader knows who that mole is. The agency tells Daniel in no uncertain terms that he is to be treated as his brother was. He has all clearance levels at H.Q. and will be privvy to specific, classified information.

While he is standing with Director Stanz, observing one of Dr. Shillinger's failed test subjects, it is surmised that should the technology fall into the wrong hands...it could be dire. The information contained within his elusive and missing notebook contains all the secrets regarding what he was up to and what he achieved. The test subjects mutate and develop insane strength and high pain resistance, and the excuse we get for wanting the details back is because the military could weaponise it or a terrorist could weaponise it etc. Very cliche, but this series has proven it's not above that.

Amanda, Kurt's former girlfriend, is said to be in great danger and thus the agency is monitoring her as she is protected by two guards. The guards are assassinated in gruesome fashion by someone off-panel and we see Amanda being dragged out of the car. The agency traces her as Daniel bonds with Kurt's spirit to become Haunt, setting off to rescue her...in a car.

Now, I loved that, I really think it helped ground the character. They're still learning how to work together as one, and it would have made less sense if they just went off, goo-swinging through the city. The part where they (Isn't it weird how I never refer to Carnage or Venom as THEY, but I do with Haunt) accidentally drive out of a high-storey parking garage was a nice touch of team work. Kurt telling Daniel to go limp if he didn't want his arms broken - so that he could extend his limbs out of the car and brace for impact by using his tendrils as bungee cords - was also pretty good in terms of getting across the infancy of such a character.

Anyway, HE catches up with the kidnappers and, after busting through the wall, kills them all in THE most delicious of ways. I mean, really. He fires a tendril-blade at this guy's mouth and it half-decapitates him, leaving only his tongue and bottom row of teeth.

This is REAL nasty stuff, and it's fucking awesome.

Cobra shows up and gives Haunt a run for his money before in an act of desperation, Haunt caves his face in and forces him to retreat. Haunt MASSIVELY depletes the hosts energy, so it can only be used in bursts; the obligatory downside to having such awesome powers, but it had to come sooner or later.

Needless to say, Haunt saves Amanda and after all that, she doesn't actually know where the notes are, it turns out. Nor does she know who Haunt is underneath. Mr. Hurg, the obvious main bad guy, is scolding Cobra for his failure after years of continued good service. He warns him not to consider this a second chance, but a last chance, and says that he better not fail agaim.

He is interrupted by a phone call asking if he is still interesting in Dr. Shillinger's notes. After agreeing to listen, the phone call switches from Hurg's view to the caller's; a chick clad in all black, with a sniper rifle strapped to her back and the bag of notes resting at her feet. She tells Hurg that if he's willing to buy, she's willing to sell and the issue ends.

Haunt was always going to be a very tricky sell, it has a LOT of pits to avoid falling into and a lot of labels that it needed to avoid, and no, it doesn't avoid them all. It's a very cliched story up to this point and I don't ever forsee it becoming something original. It has massively clear ties to McFarlane's run as Spider-Man artist and that whole symbiotic relationship that was made famous by Venom (He's the inker/co-creator and sometimes cover artist, not actual comic artist on Haunt. That's Ryan Ottley, penciller). It has your standard characters; the ambigious agency director, the brothers-at-war-but-slowly-making-peace, the love interest caught in the middle.

I don't think Kirkman or McFarlane would begrudge the title being labelled as those things, and it would be remarkably naive of them to suggest their title does not carry these traits with it.

However, it's a breath of fresh air when every fight in the modern comics era seems to be consisting of a few punches thrown and that's it. Granted, I'm a Marvel head and outside of the MAX series, you can't expect them to be featuring impalement and decapitation, but it IS a welcome change. It's very beautiful gore, also. It's not intentionally comedic as Kill Bill was, it IS intense, but it's almost balletic. There's something so artistic about seeing this wirey-yet-muscley figure flying through the air, liberating body parts from bodies in the most imaginative of ways.

It's like something out of Clive Barker's books. Better yet, if you've ever seen Hellraiser or any of its sequels, you know the kind of gore I'm talking about. Ryan Ottley's pencil work really helps this sense of lethality because EVERYTHING looks sharp, it's exciting. I also REALLY love the covers, but unfortunately the ones I seem to get, except for #2, are all the normal versions. They're so cool, but there always seems to be a really gory variant and I never seem to see it.

For example, here's Haunt #4's variant.

You know? I digress.

Aside from the aforementioned cliches and redeemingly beautiful gore/art, the story is also reasonably cliche, but still intriguing enough to secure me as a regular buyer. I would be lying if I said I hadn't seen this kind of set up before, but I've seen it done badly way more than good, and this is GOOD. Better than good.

I do have a feeling there's a lot more of this story to tell and that it could very well be something unmissable if they turn it into a gem of a unique title.

I'll keep my eye open for the first trade, and let y'all peoples know when it's out and where you can get it from. This isn't a series to slack off on, especially since we're only four issues into the first EVER volume. Pick it up.



Deadpool Team-Up #897.

Adam Glass isn't someone I'm overly familiar with as a writer, and that's why I wasn't entirely sure what to expect from this issue.

For those of you who have followed my blog for a while, you'll know my opinion of this series. For those of you that don't, let me tell you. Deadpool Team-Up, as a series, is like Foo Fighters albums. You know it will be the same thing every time, so essentially it depends on two things:

1) If you like Foo Fighters.

2) If you happen to like ths songs on that particular album.

This series is the same kind of deal. It's the same thing in every issue, and whether or not you like it will depend heavily on whether you like Deadpool and/or whether you like that specific story.

Deadpool Team-Up #897 features the brothers in vengeance themselves, Danny Ketch and Johnny Blaze, The Ghost Riders.

Deadpool is hired by a midget and a bearded lady to take out their rather vicious freakshow owner. Deadpool, after interrogating them in hopes of discovering that they are from Punk'D, accepts this job and sets off to the carnival.

Upon finding the man giving a speech on stage, Deadpool attempts to assassinate him. The shot to the head fails as he rises up and most of the crowd turn into demons. The Ghost Riders show up and stop Deadpool from killing all the innocents, which Deadpool believes to be the humans, but is quickly corrected when they inform him that the demons are just innocent people possessed.

They team up and head off to find the freakshow leader. By this point it is revealed by The Ghost Riders that he - Known as Lobster Boy, by the way - is possessed by one of "The Fallen", a demon known as Xaphon.

Arriving at his tent, Deadpool sneaks in by disguising himself as a freak. This hilariously involves him cutting off his own legs and crawling there without his mask on, then looking up at the guards and saying: "Sup?!", with an incredibly cheesy grin.

Deadpool allows himself to be possessed so that The Ghost Riders can temporarily kill his body, thus killing the demon inside without killing an innocent host. The issue ends with Deadpool, and the bearded lady who hired him, walking off into the sunset.

I think the great thing about this series is that they are one-and-dones that people can easily jump in on. If you want a dose of Deadpool that isn't necessarily accurate or in continuity, then Deadpool Team-Up is DEFINITELY for you. You don't have to pick it up every month, they're all self-contained and by sheer virtue of Marvel having lots of writers, some are bound to be better than others.

Three issues in (Not including Deadpool #900) and we've had two decent issues and one that's pretty ok. I'm indifferent to this particular issue, really. The Ghost Riders aren't people that should be in this book, at all. Hercules? Yeah. The Zapata Bros? Yeah. The Ghost Riders? Not at all. Any character guest starring in these books will be subject to comedic depiction and The Ghost Riders are just not those kind of guys.

The story was, as I said, something I'm indifferent to. I would not lament the loss of this on-going, let me say that. One less subscription wouldn't bother me at all if this was the book that got cancelled. It's by no means bad, but it's not guaranteed to be good seeing as it has a different writer each month. I'm obligated to keep buying them because I didn't spend nearly a grand to restart and complete my Deadpool collection only to stop now. If you're interested at all, hit up your comic shop and grab one of the three that are out (I have reviewed all of them on here, if you want to know what I thought).

My advice would be to not get next month's, though. Simply because it looks irredeemably stupid.

Your call.


Siege: Embedded #1 of 4.

I was going to review this before Siege #1, since that's the BIG comic this week (Not that I haven't been waiting for it for AGES or anything), but such is the story of this that it needed to come after.

At first I thought this title was just a variant of Siege #1, but it's not.

The Civil War event was accompanied by a mini-series called Civil War: Frontline. This series details former Daily Bugle reporter Ben Urich's work on left-wing publication, Frontline. It was basically the events of Civil War as seen through his publication, with more added side-story thrown in.

Siege: Embedded is sort of like that, pleasantly surprising me. Ben Urich arrives in Chicago to report on the damage of the Soldier Field incident involving Volstagg and The U-Foes.

He is arrested and left in a cop car until his friend - William Stern, a disgraced news anchor - coincidentally shows up and frees him. At the same time, a plot point develops involving a very Fox News-esque television host and the agents of H.A.M.M.E.R., that involve Norman Osborn's public image. This isn't delved into much on account of Siege's main book needing to not be spoiled, but it revolves around Osborn wanting the media to make him look as biasedly heroic as possible.

After escaping, Urich and Stern discreetly observe the damage as Norman Osborn and co are aiding in the clear-up. Urich and Stern go to a diner where they discuss their theories of Norman Osborn and his possible involvement, stopping only to talk shit about Todd Keller (The Fox News-esque guy).

Coincidentally, Volstagg is seen walking past the diner and they go to request an interview with him. After pairing up, he agrees to travel with them to Asgard - where he was on his way to anyway, to face what he feels is a necessary punishment for the chaos caused by him - as they confess they are going to bring down Norman Osborn with journalism.

This issue was cool, but only for the ideas presented and only because I dig the alternate storytelling of events like this. Not to mention that I've always liked Ben Urich.

I just feel that the flaws are a bit too clear in this issue. Everything that happens to Urich happens in an unbelievably coincidental manner, and though I understand this is to get the premise out of the way for future issues, it's a tad annoying. Todd Keller's plotline can't progress because it would reveal parts of the story that I don't feel are allowed to be revealed yet. Additionally, I think a slightly more seedy kind of artwork fares better on titles that aren't packed with action. From Hell, for example, wouldn't have worked in colour as much. I'm not saying Siege: Embedded should be black and white, I just feel the art isn't the most appropriate, though it is good enough.

This issue also has an amazing cover, courtesy of the one and only Adi Granov.

In summation: It's a good issue. I can be less harsh on these flaws because I understand why they're there. I think this series shows promise, I really do. It won't be crucial, but it can offer an intriguing take on what, in theory, could be Marvel's most legendary event in a long time.


Siege #1 of 4.

If you wish to know a bit about how Siege came to be, read my Dark Reign retrospective or my review of Siege: The Cabal. Also, check out the free online Siege: Prologue for an exclusive pre-story story!

Anyway...

This is it. The start.

The issue begins with Loki and Norman Osborn discussing how to hatch their plans to deal with Asgard being on Earth, a plan conceived in Siege: The Cabal. This conversation is held via speech boxes, voiceovers if you wish to call them that. It sees Norman and Loki discussing their plans in the past as the event they planned actually unfolds before the reader.

Volstagg of Asgard is seen stopping a robber. However, due to his inability to comprehend how his powers will affect the mortal world - add to the the fact that he's a bit stupid - he causes a HUGE amount of inner-city damage. The U-Foes, by command of Norman Osborn, do battle with him, blasting him into a nearby baseball stadium, Soldier Field in Chicago.

As Vector and X-Ray hurl massive energy blasts at him, he deflects them. Unfortunately, this causes the destruction of the stadium and deaths of, presumably, everyone in it. This was the inciting incident that they both planned to use to sway the government's opinion and get them to see Asgard as a threat, thus approving an invasion.

After saying: "Send for The (Dark) Avengers and the entire roster of The Initiative; we're invading Asgard.", Osborn proceeds to brief the Dark Avengers on this plan to varying degrees of success. I'd like to point out that the combination of Bendis' pin-point dialogue and Olivier Coipel's art truly does set that moment in stone. When Osborn says - facing the viewer - that they will invade Asgard, you don't know whether he's gone truly off the wagon or if he clearly and sanely believes he can do this.

The dialogue between himself and Ares is just exquisite; it really is. Bendis truly does nail the one thing that needed to be nailed; we needed to believe that Osborn was going too far and that even his sometimes insane associates believed so too.

Ares opposes the idea, almost instantly disagreeing with a war against gods, saying that it's something no mortal man should do. Osborn convinces him, though his agreement is painfully reluctant. The conversation ends with Ares telling Osborn that he will cut his head off: "Armour and all.", if he is lying.

The rest of the Dark Avengers consider Osborn to be similarly nuts, but they agree after being told that they can go free if they help him on this last mission. Again, Bendis conveys the difference of opinion between all parties so excellently, whilst also conveying the fact that no matter what the reaction, they all think Osborn has gone batshit insane. Bullseye would probably be the star of this, I'd say. He's the first to proclaim bad-ass status, but when asked if he won't do it because he's afraid, he literally has no shame. This moment of clarity in the minds of the otherwise insane is what the believability of Osborn's sanity, or lack thereof, hinged on.

Elsewhere, it turns out that the government absolutely does not approve of Osborn's plans at all. While on the phone with Victoria Hand, the President goes so far as saying that he's out of control, the complete opposite reaction that Osborn hoped for. Ares delivers a rousing speech to the multiple hundreds, possibly thousands, of gathered superheroes and supposedly reformed supervillains alike, before they all go out to storm Asgard.

Loki, ever the instigator, appears before King Balder and informs him of Osborn's plans. He claims that he tried to stop him, but the incident with Volstagg has forced the hand of the mortal men. The Asgardians assemble as Osborn and his troops arrive and the battle sort of begins.

Sentry is seen flying into battle in front of Osborn and the gravity of this event appears to be real. It's at this particular moment, and thanks to the art of Coipel, that I started to believe Siege really would be what it was hyped as.

The best moment, for me, was when the scene switched to a hospital in Broxton, Oklahoma; otherwise known as the current location of Asgard. As Dr. Donald Blake (Thor's human form) watched over the hospitalised Tony Stark, Maria Hill called his attention to the window. Upon seeing jets and H.A.M.M.E.R. tech fly over, Blake quickly realises they're after Asgard, not Stark.

In a massively exciting moment, Blake tells Maria to take Stark and get away from the area. He wanders outside and with the jets flying overhead, says: "Guide me, Father.". Ramming his cane into the ground, he transforms into Thor and flies toward his home.

Naturally, when lightning began to fill the sky, Osborn and his troops started getting scared. Thor flies down at a rapid rate, but is intercepted by Sentry who manages to drill him into the floor in the desert outside Asgard. Thor responds by smacking him into the Heavens as Osborn and troops descend upon him.

I must say, I loved the fact that they teased the fight we all want to see, but in two blows it felt like they had just touched on it enough, you know? Sentry got a hit in, Thor got a hit in; so epic. I hope those two throw down before Siege is over.

Osborn and others begin blasting away at Thor, and as a news helicopter begins to broadcast that Thor has been taken down (We don't see this, we only see figures in the dust below), the issue ends with Steve Rogers - Captain America costume and all - grimacing as he watches.

I wasn't totally expecting a massive blow-out in the first issue, and that's not what we got. I am so glad that Siege had the feeling of precisely that, a Siege, but a calculated one. We got a fair amount of action that benefitted from all this hype and a bit of preparation in this issue itself. Everything felt like an appropriate reactionary story, and with multiple tie-ins and three more issues to go until it ends, I am MASSIVELY confident that this series will live up to the hype plus more.

Bendis has got me squirming on the hook. I await to be reeled in.

All in all, a PHENOMENAL start.

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Once again, I want to thank you all for reading and, if you haven't read my blog before, for checking it out in the first place. In which case, welcome!

I'm not entirely sure that there're many comics coming out next week either, probably another four. So, for those of you who thought the six/seven comics per week was too much to read, enjoy this while you can!

I may retroactively review Haunt #4 and stick it in this post, or I may just tack it onto next week's edition of Thursday's Comics; we'll see and I'll keep you posted.

For now, though, that's all I've got for you people.

Before I go, though, I have TWO pieces of news.

1) I am thinking of doing a massive Daredevil post in a similar vein to my Deadpool one. Thoughts?

2) In a couple of weeks or more I MAY...MAY...have an announcement of massive proportions. Keep your eyes peeled, cos this will be huge if I pull it off.

Until next time, peace.

-The Mast