New Beginnings - All-New Marvel Now Point One

It's almost becoming traditional to start the year with a review of a Marvel Point One issue. The big question each year is what is it going to be all about? Followed by musing on whether they will make good on these initial short stores. There are still some unresolved ideas from last year's Point One after all.

This year's issue is a sneak peek at the following:

• Loki: Agent of Asgard (Ewing and Garbett)
• Ms Marvel (Wilson and Alphona)
• Silver Surfer (Slott and Allred)
• All New Invaders (Robinson and Pugh)
• Black Widow (Edmonson and Noto)
• Avengers World (Hickman and Spencer)

Following a similar vein to last year, all of the different titles follow a thread headed up by a main character who this time around is a slightly older Loki. This may catch some people off guard to begin with as he has aged since his rebirth in Journey into Mystery (circa Fear Itself) as a relative child. Now we have early twenties Loki following recent events in Young Avengers.

Loki is chasing down a number of mystical keys which are spread across the universe. When all are possessed, they will open a secret casket containing an incredibly powerful weapon – Gram, the sword of Sigurd – which in his normal egotistical way is only fitting for him as an Agent of Asgard. What he will do with it in the series we don’t know but will be interesting to see.

Moving through the comic chronologically we have another restart of Silver Surfer from Dan Slott. As mini stories go it’s a standalone to give a basic introduction to Norrin Radd and Dawn as they visit a planet in time for a celestial event. What is meant to be a treat is somewhat tainted by the Surfer's presence as all perceive him as the Herald for Galactus rather than someone taking a trip to see things. There is a lot of levity in the story and some jokes – occasionally a bit hammy – to keep things moving along. The artwork though didn’t really hit it with me as Michael Allred’s work isn’t my particular taste (but I know Ben is delighted to see Allred on a book that he feels finally fits the artist's style).

The All-New Invaders is pure set up for the series. After seeing the Red Skull lose yet another key – a point which I think is more used as a reminder that he now has the late Professor X’s brain more than a main story point – the Kree Empire becomes the narrator. Highlighting the need for power and as such chasing the “God’s Whisper,” Tanulth the Pursuer is set upon Namor, Bucky and Jim Hammond, the original android Human Torch.

Each of these three hold a key element to the God Whisper which has kept them youthful, enabling James Robinson to put the team back together. It’s also made the three of them targets for the Kree Empire. There is nothing much given here as to where this can really go, but for the time being we know who's involved and that it has great visuals.

Predator is all about the now more prominent Natasha Romanov with Black Widow getting a solo title. Beginning as an introspective piece, very much like the recent Origin II, we see Black Widow in a frozen wasteland facing the end of her life. Looking at who she is and where she has been - whilst tied into her current predicament - explores more about her than the recent films have managed to do. There is no doubt about it - she’s cold, calculated and deadly. My concern is that this could be a fairly basic premise of her having contracts to complete and how she goes about it. Hopefully not. Artistically though this is a lovely looking piece - I'm hoping that Phil Noto remains on it and we see more of his work in the future too.

Veering away from the idea of Loki and ultimate mischievous power, we are shown a new Ms Marvel. Now this is a brand new character and this is echoed by characters in the comic when people in the street also question which one she is. As well as establishing this character Marvel are trying to cross more boundaries here. Kamala Kahn, a young Pakistani Muslim with all the usual problems of a girl her age. Very reminiscent of a young Peter Parker, I feel.

Again visually this is a lovely looking comic and I liked Adrian Alphona’s work. Along with almost educational depiction of traditional Pakistani attire, it’s a good all round read. Potentially aimed at a slightly younger market as well, it could certainly capture a new reader grouping.

Finally an amalgamation of two stories opens us up to the precursor to Avengers World (also released this week). On one hand we have what is intended to be a covert operation with Sunspot and Cannonball. AIM have retroactively engineered a serum from Bruce Banner which can temporarily transform you into a Hulk. Dangerous stuff in the wrong hands really, hence the operation. Things don’t necessarily go to plan though. The other side of things is a negotiation between Maria Hill and Captain America, where an awkward alliance between S.H.I.E.L.D. and the Avengers is forged. Two teams working together adding force when Maria needs it with all the intel and secrets opened up when Cap asks. An interesting combination for the future and something previous Directors of S.H.I.E.L.D. have strived for on a number of occasions. Although not a groundbreaking story it does hold up for something very good indeed. How far it goes is yet to be seen though.

From this Point One issue I have to say that Avengers World is the title that has piqued my interest the most closely followed by Loki: Agent of Asgard. That said the remaining do seem to be quite strong, despite my misgivings regarding Allred's artwork. There was a little overshadowing of it all though, with teasers for the Watcher's chalk outline and blood stains building anticipation for the Original Sin event later this year, but that is in itself a good bit of marketing. Which titles will survive or fall remains to be seen.

Matt Puddy is looking forward to next week's Deadpool parody of Kirkman's finest zombies...

New Beginnings - Wolverine #1

British writer Paul Cornell (known for DC titles such as Demon Knights and Saucer Country, episodes of fan favourite TV show Doctor Who and various books including the acclaimed London Falling) is now the writer for Marvel stalwart, Wolverine. Combining his efforts with Alan Davis on the artwork, we have a new series in what can sometimes feel like an ocean of Wolverine titles.

The story opens with Logan in an unnatural situation where his clothes are partially gone, his ribs showing and there's nothing but bone on his right hand. And yet throughout it all, he is still trying to reassure a frightened boy. Even in a exceedingly dark moment, he still acts like the superhero he tells the boy he is. Logan is caught in the middle of what appears to be a hostage situation, but with the number of hostages rapidly decreasing there is obviously something more going on.

To his luck, Wolverine's mutant ability to rapidly heal from virtually anything means that when blasted again with an energy weapon, his “murderer” thinks he is gone for good. Seemingly no longer a threat, this gives him the opportunity to rescue his attacker's son and end the siege.

It’s only after this that the real threat becomes apparent. The boy remember that his Dad changed when he came into possession of the weapon, yet no one sees the same change in the boy until it’s too late. Fleeing the scene - and in the process hitting Wolvie with a car - the boy escapes. Wolverine’s natural instinct is to protect everyone he can and so the hunt begins...

I found the writing of this issue really strong. It would be very easy to have just let the story tell itself, but Cornell has taken great effort to differentiate the characteristics and language between the father and son. The difference in them both does make you think about things, without spelling it out. Who is controlling them? How? Where did the weapon come from? There are plenty more that spring to mind as well. Somehow I don’t think that this is going to be quite the hunt that Logan expected and we'll have three more issues to find out some answers.

As I mentioned at the beginning Alan Davis provides the artwork. There is no denying that the characters convey their feelings well, even when they are meant to be emotionless and clinical. This is also something that emphasises the point of change in the little boy, further supporting the story. However, I find the style a little too retro for my particular taste. It is also a style that concentrates predominantly on the forefront of the story, often leaving a lack of background to the images with only the wide angles being given more information that just the immediate. It still works well with the writing and the raw feel to the art also fits in with the whole Wolverine persona so the package completes itself.

Although not a story that visually grabs me, this is still a very strong start and I think that Wolverine fans will enjoy the new solo title. It’s getting back to his instincts without having to be out in the wilds. He's a hero again.

Matt Puddy is aware that many consider Alan Davis to be a comic book legend.

New Beginnings - Guardians Of The Galaxy #0.1

Way back at the end of October last year I had the chance to review the Marvel Now Point One issue and whilst it was a mixed bag, it did contain a few interesting stories. One of those was Guardians of the Galaxy brought to us by the team of Brian Bendis and Steve McNiven.

I think it's only fair to make it clear that this is a #0.1 issue and feels rather strange. All of the other point one issues were used as jump-on points for new readers from within existing storylines using the established characters. However in this instance, Star-Lord is not someone who already has their own current comic. In fact, despite the Abnett and Lanning cosmic Marvel events and ongoing series from 2006-2011, it's probably fair to say that Star-Lord isn't that well known to the average Marvel reader.

So is a spotlight issue on this man the right way to start?

The story begins 30 years ago when a crashed starship brings a member of the Spartaxian Royal family to Earth. It’s a frantic initial meeting with the woman whose land he crashes on, but in time it obviously turns into something far more. When it’s finally time for J’Son to leave - against his own wishes and desires but instead for duty - it’s clear that he has left a legacy behind. His son.

Moving forward to only 20 years ago, a young Peter Quill is being a typical boy wanting to read comics and not do homework. Not having a father figure for the start of his life has had an effect, but not in all of the stereotypical ways. Despite having a temper and unresolved anger towards his upbringing, he also has a distinctly strong moral compass which gets him in just as much trouble.

It’s at this point that I felt a little let down, as this is where the Marvel Now Point One issue from October steps back in and takes over. If you have read that comic then the next eight pages (almost half the comic) are old news. The upside is that it fits perfectly in for continuity and as a reader you have been given. The remainder of childhood is a little glossed over as the camera takes a step back to reveal that this was essentially narrated by Star-Lord in the present day. Here we meet the new interation of the Guardians Of The Galaxy - Rocket Raccoon, Groot, Drax the Destroyer, Gamora and finally Iron Man! So the team has at least one well known and heavy hitting face.

In a self-proclaimed team mission, Star-Lord is out to make sure that the war that is spanning the galaxy does not make it’s way to Earth.

It’s not a bad premise to a story but there isn’t anything else around it. As a reader there is a very loose outline presented to you and then an extra bonus is the addition of Stark (which does kind of fit in with his current storyline but not fully) but as a #0.1 issue it is still very noncommittal.

Steve McNiven's artwork is something I have mentioned before as liking. His art is something that I would happily cast my eyes over every time, as I find his work detailed and refined. This issue is no different in that respect too. Some of the faces may seem a little off, but there is plenty of emotion and feeling conveyed in them all. It was in this respect too that I was glad that Tony Stark was there as I did become a little worried that McNiven could only draw negative images as you can count on one hand the truly happy or smug faces seen inside the pages.

It's obvious Marvel has gone back to basics with these characters, in an attempt to reintroduce them and build a fanbase before the upcoming film. As a first issue though, I wasn’t completely overwhelmed but I think it has set the scene for the proper beginning in issue #1. You have all the personal motivation and back story you need. I will certainly be looking forward to the full launch of this title to get some meat on it’s well rounded bones.

Despite being an international jetset playboy man of mystery, Matt Puddy is not responsible for this latest review being late.

New Beginnings - Uncanny X-Men #1 (Marvel Now)

In Bendis we trust... but do we? Or should we? Well it’s certainly a question that I asked myself when I saw his name on the cover of this week’s issue for review. I’m not saying that I don’t like his work but he is definitely a mainstay over at the House Of Ideas these days and his Avengers run had certainly started to feel like it was drying out by the end.

So with the most open mind I could muster I opened the cover on Uncanny X-Men #1.

Now from the word go there are a couple of things worth mentioning. Firstly if you have missed out on the whole AvX arc Marvel gave us, but know of the X-Men before this, then things could get a little confusing as there are more changes than just the physical image of Cyclops. Both the political and emotional stance he now takes and represents are different. Gone is the blue suit, with yellow stripe and the red visor. Instead there is a far darker, more sinister black and red suit very much in the forefront. It’s edge is slightly taken away by the Ben 10 Omnitrix style watch but you can overlook that. Conversely we see Magneto now presented in a saintly white costume and Emma Frost has also turned to the dark side of the wardrobe.

If, on the other hand, you are a completely new reader then you will have missed out on all of the back

story and personal change that has occurred to bring us to this point. However the changes were mostly completed before this issue begins, so you could come into it all fresh and learn as you go, I just fear it might not have the same resonance.

Now I know it seems that I have spent a disproportionate time talking already about Scott but this is because he is the total centre of attention in this issue, and quite rightly so too. The story is told almost from a narrative point of view by a mostly unknown character (although you can figure it out quite quickly) who has descended upon S.H.I.E.L.D. in an effort to provide intel over the biggest threat that they have known for and against mutantkind - Scott Summers himself.

Through the retelling of a recent mutant emergence incident we learn why as well. His involvement with the Pheonix Force has left him broken in more ways than one including his grasp on his own mutant abilities.

Aside from unveiling the new Cyclops the story is very much about introducing the new team. Many will know Magik, Emma and Magnus but they have all changed and have their own new flaws. For those who have read the preceding issues of All New X-Men you will recognise Tempus but maybe not so much the new unnamed healer on the crew.

This all also leads up to the *shock* reveal that the new source for S.H.I.E.L.D. is none other than Magneto himself, whose concern and belief in his original motives have lead him down this path. I was left wondering if Bendis has left a snake in the new team to mix things up, and what Magneto's motivation will lead him to do next. Personally it looks as though there is a very large precipice that Scott is heading towards, but only time will tell.

Chris Bachalo has been handed the pencils to this issue, including the cover art for consistency, although there are numerous variant covers from the usual suspects like Skottie Young, Joe Quesada and Stuart Immonen. I’ve liked the art in the issue. It’s got a good mix of detail but also soft line work in there as well. That said there is a lot conveyed in the faces of the characters, which adds yet another level to the story too. It seems to me that judging by the faces there is more to the team than is let on in this first issue.

I have to admit some of the personal re-imagining has caught me off guard a little but that is always to be expected with something new.

It’s fairly well known from my previous reviews that X-Men isn’t really a title I tend to follow but as this is breaking from the norm and reinventing the scenario I have to admit that I’ve liked it and this is a title that I could happily follow. My one regret is that I now feel I don’t know enough having missed all of the AvX event. That said it shouldn’t stop new and old fans jumping on board.

Matt Puddy is surprisingly informed regarding Ben 10.

New Beginnings - Superior Spider-Man #2

In the past months we have reviewed both Amazing Spider-Man #700 and Superior Spider-Man #1 and after such a pair of issues it only felt right to break the trend and also follow on to the second issue for those who were still a little sceptical of it all.

Unsurprisingly the story is still Dan Slott and the artist is Ryan Stegman so I won’t cover old ground from my last review. Instead it means that the story can be looked at.

With the bombshell dropping at the end of the first issue that Peter Parker (the real one) isn’t completely gone, the whole story opens up. Continuing on straight away with what is dubbed simply. “Second day on the job.” Spidey is returning stolen property and further endearing himself to the public. On the outside there is a calm exterior, but on the inside there is a screaming Peter Parker who is outraged by the limelight being given to this impostor! What makes it worse is the J. Jonah Jameson finally shakes his hand as an equal...

This is a continuing theme throughout the issue as Otto is starting to use criminal masterplan logic to arrange what should be a perfect life for Parker.  And in some cases actually looks like it’s working. Even with the derision that his spectral accomplice is more than happy to hand out, Otto uses his genius to create Spider-Bots which revolutionise his coverage of the city. Where Parker saw duty and responsibility, Otto sees opportunity.

Otto’s new approach takes a lot into account, including the wooing of MJ. Even he can’t understand why Parker let her get away and for the most part he plans to change this. Being the man he is, the idea of emotion and relationships escapes him. All he can do is see it as an equation which has an escaping answer. It’s only when he uses the influence of the costumed identity that he realises the real reason that Parker and MJ struggled to make it work. In a stroke of personal genius he does the one thing Parker never could. He lets her go to move on and stops the cycle.

As this is all going on, to Parker’s envy and later admiration towards the end, there are subtle hints and clues being dropped as Otto continues. Even though MJ is frustratingly oblivious to them all, Carlie is seeing them and combined with her last encounter with Peter in Otto’s frail body, things are slowly adding up.

It seems that the adage about not being able to fool everyone all of the time is starting to ring true and Otto’s war for Spider-Man’s body is beginning on two fronts, with a detective’s enquiry on the outside and a ghostly presence on the inside. The series is really starting to pick up now and if you aren’t on board you best start.

Matt Puddy loved the cover to #2 too...

New Beginnings - Young Avengers #1

"Young Avengers in its first incarnation was about being sixteen. This Young Avengers is about being eighteen." Kieron Gillen

I was struggling to review Young Avengers #1. Why? The simple answer is it's very, very good. The story, the characterisation, the art, the dialogue - it aligns to make one of the best comics I've seen from Marvel in years (second only to Matt Fraction's Hawkeye).

So unless I devoted 500+ words as to why Kate Bishop clearly has the Midas Touch, I was stuck. Reviews that gush are often dull, sycophantic nonsense. Similarly though, reviews that cynically trawl for a flaw in an otherwise stunning piece of work tend to reveal the underlying bitterness of the reviewer - a failed author swiping at the more fortunate.

Then I read Gillen's editorial piece in the back, in lieu of a letter column, and the quote above helped it all click into place.

I loved Young Avengers. Introduced in the wake of Avengers Disassembled, Allan Heinberg and Jim Cheung brought us a book about motivated individuals who aspired to be heroes. Rooted in Avengers lore - but not confined by it - the kids were first and foremost characters rather than components of an ensemble team.

Sadly, it was dogged by delays and concluded after twelve issues and a special. After that Marvel dabbled with a few miniseries, all with different writers, agendas and decidedly mixed results, culminating in the recent Children's Crusade - featuring the return of Heinberg and Cheung, and frustratingly delayed releases.

Enter Kieron Gillen and Jamie McKelvie, the creators behind the wonderful Phonogram. Picking up the best remnants of the old team, Gillen is adding the new Miss America; his own reimagined Kid Loki from Journey Into Mystery; and Noh-Varr - who is quickly shorn of his ridiculous Protector identity and neatly ditches all the nonsense he was saddled with during AvX.

The story contains sex, confusion, defiance, magic, conflict, science fiction, heroics, horror and a loving relationship. Plus the age old struggle between adolescents who are becoming adults and parents who refuse to accept that.

The art work is deceptively simple, with clean pencil lines and neat panel layouts, coupled with a perfect use of colour akin to cel shading in my eyes. The characters are recognisable and yet completely McKelvie, which seems to be so rare in franchised comics these days. Too often a stylised artist distorts a character's look away form what makes them identifiable - particularly Ramos and Allred - or we get an identikit in-house approach to the art that reflects none of the artists' personalities.

This is a 21st Century comic book, with style and substance despite the issue's bold title. It's diverse without feeling like it wants to be a banner pole for diversity.

Bryan Lee O'Malley variant cover!

It's about being 18 and all the wonder, pain and intensity that brought with it. There's a passion for music within, but moreover there's a passion for the Marvel Universe and these young characters within. There's no clumsy exposition here to artificially pull them together; in time you can trust their lives will force them together.

That and Loki's machinations no doubt.

And above all it's very, very good. ;)

 Ben Fardon is tired but glad that a few things have clicked into place.

New Beginnings - Superior Spider-Man #1 (CONTAINS SPOILERS!)

EDITOR'S NOTE: This review contains HUGE spoilers. Admittedly those spoilers are all over the internet, but be warned if you haven't read this yet, you may want to click away.

You have been warned!

Only a couple of weeks ago I reviewed the rather controversial "final" issue of Amazing Spider-Man. Now for many it was the end of an era, so much so that the backlash from some readers reached as far as national mainstream news, but to others it was an opening for something more.

Issue #700 did provoke a large response from fans as they had to wave goodbye to Peter Parker and try to swallow the fact that Otto Octavius was now in essence Spider-man 2.0. A driven, ruthless genius filled with Peter’s memories. To many this was a step too far but have they been short sighted and not seen the bigger picture? Would Dan Slott really close the door on Peter Parker?

The issue begins exactly where it's divisive predecessor emotionally ends. Otto has not only accepted that he is now Spider-Man but he is also donning the full mantle and responsibilities that the mask carries too. Symbolically visiting the new grave of his former life he waves it farewell and moves on.

Getting thrown right in at the deep end, Otto is called to the scene of carnage being created by the new Sinister Six which provides a rather interesting dynamic. He's now on the other side of the fence. A side that he appears to be sick of almost immediately, as his ego can see how pathetic they really are. He struggles with them not because they pose a threat but simply because of how insipid he finds them.

Taking them lightly though doesn’t work well and Otto finds himself doing something that bemuses the Six, something Spider-Man has never done before; he goes to run away. But in the instant he turns his back Boomerang endangers the surrounding civilians and for some unknown (to him) reason Otto finds himself back in the thick of it to save them.

It’s all change in some respects, but all the same in the others as Otto figures out what is going on and how to counter the Six in some quite ingenious ways. More tellingly is the manner in which he does it. I mentioned ruthless earlier and the streak is most certainly there. All the way to the very end when, in front of a camera crew, he is about to strike the killing blow when a hand stops him. Not understanding what is going on, as he cannot see it or feel the presence around him, another force has prevented Otto from finishing things off. That other force... is Peter Parker.

It goes without saying that the final page is one to read and will have significant impact on this series. Those fans in revolt need to check it out before nailing down the coffin.

Ryan Stegman has the job of pencilling the series from the start. His style is a frustrating one for me. On the more open frames where there is a lot of action and multiple characters I like how he draws. There’s a lot of diversity and characters although they lose definition feel believeable. But when you have an individual highlighted I find that the definition goes. A more cartoon-like style comes to the front and they seem to lose much of their sincerity.

Stegman has also done the cover art for the issue I had and I found myself drawn to Spider-Man’s knuckles and how strange they looked, which slightly devalued it’s impact for me. As an aside within the pages of the issue you will find a page dedicated to seeing the variant covers which are also very good. My particular favourite being from Camuncoli, who although I don’t know him specifically I liked his work.

This is an issue to get. Full stop. I’m hoping to keep my review copy and will be following the series to see where it goes. I would strongly suggest that anyone who was unhappy with the end of Amazing Spider-Man needs to read this before making their minds up fully.

Matt Puddy was overruled about blowing the spoiler here - direct any criticism to the editor.

New Beginnings - New Avengers #1

Very recently, we saw Jonathan Hickman taking the helm for the Avengers and this week, in a possibly confusing fashion, we also see him re-launching New Avengers.

The thing that strikes you immediately is that unlike Brian Michael Bendis' recent runs on Avenegrs and New Avengers, Hickman is creating two very distinctly different books. Flashing back to a quite a significant moment in the Marvel Universe, we are reminded that Black Panther previously made a moral stand against what became the Illuminati. This was the moment when the self-appointed strongest in the world were deciding its fate, and as a result Wakanda withdrew further from the fray.

Jumping forward to a more present moment, we are also given a very teasing single page with Reed Richards accepting the fate that everything dies, but without anything further we are left to wonder.

The main story revolves solely around the Black Panther and a number of Wakandan youths who are exploring their surroundings - and also their minds - in a test to prove their worthiness for greater things. All is going well until what can be described as an other worldly influence threatens to end the existence of the planet. Although it is merely a minor plot to go over at the moment, it will no doubt have a greater influence in the longer term, as this attracts the attention of the Illuminati. Their arrival in Wakanda (less the presence of Professor X for obvious reasons) leaves the Black Panther with a very difficult dilemma as to where his next steps lie.

The buildup through the comic leads you to believe that there will be a large deal of opposition to them however the cover, a lovely image provided by Jock, suggests strongly to the contrary.

For the rest of the issue Steve Epting has the pencils and I have to say I really liked his style for it. For once, it shows three variations on style to illustrate different points and ideas. This was a really nice touch I felt as the haziness of the past was met with the clarity of the immediate present. There is a lot of detail conveyed in all of the frames both directly and indirectly which means the reader is far more involved in the issue as a whole. A good example of this is when Panther enters the main story and he isn’t actually draw in, a lot of this is provided through use of shadow and empty space to provide the detail in the depiction.

I also liked the effort that was given at the end of the issue to re-introduce the Illuminati as well but without giving a huge reveal until the final page. Previous readers will have still known who they were but it was also something for new readers to take on board as well. The gravitas of the arrival was deepened by the simple use of a few panels.

As a package Hickman and Epting work really well together - after all this is the coupling who killed off the Human Torch and changed the line up of the Fantastic Four. The comic will no doubt be of high quality and this is the perfect point to pick it up and get on board with it too. There is some history behind it all as well but this is slowly being given to the reader so fans and newbies alike should get on well with it. I highly recommend that you pick this one up, regardless of whether you are also reading Avengers.

Matt Puddy is gearing up Superior Spider-Man next week...

Marvel Now Iron Man - SPECIAL OFFER!

After being gravely disappointed with the first issue of the new Iron Man series, I have to say issues #2 and #3 were a mild improvement for me, but still left me pining for ol' Shellhead's better days.

Thankfully, I'm pleased to discover that with issue #4, Kieron Gillen may have finally found his feet! It's a wonderful issue, one that feels fresh and compelling, rather than trading on past glories. The story also plays to Greg Land's strengths too, and leaves an interesting thread for future storytelling.

To celebrate, here's a special offer for all the blog readers. Buy Iron Man #4 at full price, and get any or all of the previous issues for only £1.50 per issue. That's a saving of over 50% on the back issues!

Offer available whilst stock last. Merry Christmas Tony Stark!

New Beginnings - Cable & X-Force #1

After this year's earlier review of Marvel Now Point One it was safe to say that I was more than a little excited by the prospect of this new title. OK, I admit that Cable and Forge are not characters I have any real knowledge about, however the teaser that we were given was great. Couple that with the previewed cover for issue #1, and I was sold from the moment I saw it. So was I right?

Staying with the artwork, my expectations were quite high. The combination of Salvador Larroca and Frank D’Armata is one that has been seen before on Invincible Iron Man, and it has a huge amount of detail in it. I am biased as Larroca has probably my favourite comic book artist and this occasion is one that will simply further that. The lines are smooth and clean with plenty to take in through every frame. Everything seems to have been carefully considered, all the way down to the reactions and facial expressions of those who aren’t in the forefront of the frame. For me he even managed to make Dr. Nemesis - from behind his mask - appear nervous in a fantastic little section where Hope is reunited with Cable.

The character makeovers are good too. A new version of the team has been designed, without compromising who they are. The attention to detail gives greater depth for this as well, with all the technical aspects of Forge and Cable being further emphasised.

My only complaint is the colouring. Throughout D’Armata's prestigious career his use of colour has been vast, but for whatever reason it appears that all he is left with is mainly green and its various shades to use. It doesn’t lessen the comic but was something that stuck out for me.

The story is written by Dennis Hopeless (X-Men Season One and Avengers Arena - also out this week) and starts with a seemingly destructive scene being broken up by Havok and his team of Uncanny Avengers. There’s actually quite a tongue-in-cheek moment when Alex comments on the bad name the Summers family is getting - referring to Cable’s Dad aka Cyclops. The story skips back to a few days earlier where we learn how Cable received his new arm and also how the team is put together (with the exception of Colossus).

Domino receives the lion's share though as we follow her in a slightly humourous fashion on a job, but this is essentially a bridge to bring her in as well as catalysing the meeting of Cable and Hope. All this capitulates in a vision that Cable has had (complete with severe headaches) as it comes true; a ship wrecks itself on a beach seemingly infected with the techno-organic virus that he recently became rid of.

The story was so good I'd devoured it before I knew it. The old adage of time flying when you have fun was ringing true. I was left wanting to see and know more, which in my book is a very good sign. Admittedly though, there wasn’t much more than set up in the first issue and although you can guess the path that it will go down given Cable’s past. I really enjoyed this title and immediately asked for it to go on my pulllist the moment I got a copy in my paws (without even reading it I have to add too) and I haven’t been disappointed. For old and new readers of X-Force alike I would suggest getting a copy.

Matt Puddy is excited to learn that issue #2 is out next week!

New Beginnings - Avengers #1

As part of the Marvel Now musical chairs, the Avengers franchise bids farewell to Brian Michael Bendis, and welcomes former Fantastic Four, FF and SHIELD writer Jonathan Hickman in to the fold.

Instead of being a complete new beginning, there is a slight external influence as the team and story builds from the success of the recent films we've seen with Cap, Iron Man, Hawkeye, Black Widow, Thor and Hulk being the starting point.

Hickman is well known for his science fiction stories that push humanity to their potential greatness, from both the aforementioned Marvel titles and things like Red Wing and Manhattan Projects, which bodes well for Avengers and New Avengers. From the cover of issue #1 the story promised to be a strong one. Opening with a quick retro story, this issue is more about the why than the what. It also laces you with ideas and teasers, such as the variety of broken armours in one frame or the intergalactic war that is poised in the preceding image too.

One element of this is Ex Nihilus and his godlike fascination with terraforming Mars and the Earth into something new and better. Ex Nihilus appears to be a new enemy; his name is from the latin for “From Nothing” and is therefore ironic in his approach - trying to renew the Earth into something far more advanced. To be honest it is very “Wrath of Khan” in its approach, but as a catalyst to prompt the Avengers is works perfectly.

Unfortunately for them this isn’t Star Trek and one by one they are all neutralised - starting with Hulk himself surprisingly. Seeing Captain America as a symbol held high by humanity, he is unceremoniously thrown back to Earth - beaten, battered and broken. But instead of humbling them it did the complete opposite. A rally cry was sent out calling those who would stand with him - and what hero wouldn’t stand with him?

With the simple words of “Assemble at dawn,” a new, diverse, roster of Avengers has been brought together.

Hickman’s story is a compelling and motivating one. You feel for Captain America and can understand his drive without it even being stated or pushed. I also liked the understated third party narrative which floats in and out. It’s clear who it is, but it ultimately asks a bigger question of why?

Jerome Opena is the artist for this issue and his work is most recently on display in Uncanny X-Force. On the whole I really like it with a lot of fine detail and great linework, however I disliked his interpretation of Hulk. Very retro indeed and he lost some of the presence that he had under the pen of other artists. I’m also not sure if it is meant to be the overwhelming tone but characters also seem to be very solemn with a lot of downturned facial expressions.

There is one other thing that I did really like from the artwork - which wasn’t really an integral part of it, but does make a fleeting show in the background – the Avengers sign complete with new extra adornments surrounding it. It’s simple, clean but also diverse too. I can’t put a finger on it completely, but the design is attractive and hints at increasing links between this new larger roster.

As a first issue, it is a cracker. It sets up for a whole lot more and with Hickman it promises to be a lot.

It’ll be interesting to see how long he will stay on the title and where he takes it - but since he just did three years with the Fantastic Four, it’s a ride worth taking.

Matt Puddy is wondering what magic Hickman will bring to New Avengers...

New Beginnings - Fantastic Four #1 & FF #1 (MARVEL NOW)

Over just a year ago Marvel separated out one of its franchises into two separate titles, Fantastic Four and FF. Both titles are back as part of Marvel Now. In what could be a stroke a genius (or madness) Matt Fraction is writing both titles, with different artists penciling the titles. For Fantastic Four he teams with Mark Bagley and on FF it's Michael Allred.

Now I know that there is an old adage saying that you should never judge a book by its cover, but considering that both these comics are penned by the same writer you could certainly get the chance to ignore that rule. However, with that said, I think the distinct difference in artwork between the two will divide the camps.

Personally I prefer Bagley’s work and as a result felt the Fantastic Four comic was far more appealing. Michael Allred’s art style is most definitely a marmite decision - either loved or hated. For me I’m the former. Whereas Bagley uses much cleaner and finer lines, Allred’s work comes across as a far more basic with a greater emphasis on bold linework and colouring too. One thing that can be said is that it is incredibly distinctive.

Fantastic Four was purposely released two weeks ahead of FF as it sets up both titles. Fantastic Four will follow the path of a sci-fi safari and a medical crusade, while FF takes the arduous task of creating hope and a safer future world too.

Reed has made another discovery, and one that isn’t favoured by him at all. He is dying. It turns out that the cosmic force that gave the Fantastic Four superpowers is also now ending it. There is nothing in the known universe that can save them, so it is the unknown universes that must be explored and used to provide a cure. There is a lovely little aspect to it as well which I enjoyed - even though they will go through a lot they will only lose four minutes of our time. Something I will return to.

This also leaves a second dilemma. If the Fantastic Four are away then who will be responsible for the world in their place? This is the pitch for the new FF title. Interspersed by “interviews” with the Future Foundation children, issue #1 works to establish pretty much all of the characters involved. Due to the quick punchy method it uses, it doesn’t necessarily give you everything but does work to establish their characters. For example the opening shot with Val and Franklyn, where you have a super genius child being eloquent and educated - able to understand and communicate effectively - whilst her older brother is pulling faces in the background. Quite impressive for a child who is possibly one of the strongest mutants there is - casually broaching it with a comment that he has a pet Galactus.

The meat of the story follows the main Fantastic Four players visiting allies and essentially recruiting them into the fold to look after things while they are away. Each of them uses their own style tailored to whom they were speaking with. It is only Ant-man who shows some apprehension as his elation of being a Fantastic Four member wanes when he realises that entails also being the Future Foundation babysitter too, something that I feel most readers will realise he has underestimated completely.

The thing I liked most, as I mentioned earlier, is that throughout this it is made clear that Reed feels that this will only be for four minutes and yet none of our heroes find this strange, odd or out of the ordinary. It’s a quirky element to pick on I know but I liked it. The reverence that is held and understanding that even in such a tiny amount of time so much can happen is right there.

Looking at both comics, and even though they have the same writer, I know I will gravitate towards Fantastic Four simply because I like the artwork as well as the story. Fraction’s quality shows on both titles, but I think you’ll need to be a fan of Allred’s work as well for the full impact.

This is a split decision for me as I know the story will be great but I don’t know my eyes will agree.

Matt Puddy is not responsible for this review being so late.

New Beginnings - Indestructible Hulk #1 (MARVEL NOW)

Another year, another Hulk relaunch. It seems that the Jade Giant just can't catch a break.

For over a decade both Marvel and readers alike knew that Bruce Banner and his alter ego were safe in the hands of Peter David. Sadly though, after that the character languished until Bruce Jones did some wonderful stuff in a run that was annoyingly cut short when Jones signed an exclusive contract with DC. Peter David returned for less than a year, leaving again due to his own high workload. Then came Greg Pak with Planet Hulk, possibly the finest Hulk story ever crafted - a science fiction opus with oppressive regimes, gladiatorial games and rebellions that owed a debt to Messrs Ridley Scott and George Lucas, yet was greater than the sum of its parts.

Unfortunately the subsequent World War Hulk was akin to watching students trying and failing to recapture the magic of an unexpectedly awesome house party. Even as a publishing event, Marvel branded it as a '"sorbet to cleanse your palate" rather than the hearty dining experience of Civil War. And then once again, Hulk and the good Doctor caught the yips, being sidelined by Jeph Loeb's Red Hulk nonsense.

I know Red Hulk was well received by many, but the publishing delays and the mystery behind his identity were badly handled. I'm still convinced the ultimate identity reveal was fudged and altered after internet speculation hit on the originally intended alter ego (*cough* Talbot *cough*). Seriously, his moustache disappears when Ross becomes the Hulk? WHAT? Red Hulk was a great idea from Mark Millar's original Civil War outline, that would have made a great self-contained story like Planet Hulk or Millar's own Old Man Logan, but Loeb and the powers-that-be at Marvel made it into a shambolic mess.

Soon after we ended up with both a (Red) Hulk comic and an Incredible Hulks comic, the latter featuring Banner and his half-alien son. I kid you not. It was frustrating. Iron Man may be my favourite Avenger, but Hulk is the close second and it's hard to see Bruce Banner treated so poorly when he's such a great analogy for young men struggling with their own rage, power and intelligence. A modern day Jekyll and Hyde, with a soupçon of something more.

Then came news of possible salvation in the shape of Jason Aaron and Marc Silvestri. Incredible Hulk relaunched last year under these two celebrated creators. I was excited.

It was crap.

The Hulk and Banner had been separated after the events of Fear Itself. Hulk was the reluctant hero. Banner was the monster - a mad man consumed with mad science. It was miles away from what made Hulk special; a terrible misstep by Jason Aaron (whose Thor God Of Thunder #1 released last week is a testament to how good he can be!). Even Silvestri left after five issues. The two subsequent story arcs ultimately put the toys back in the box - reuniting Banner and Hulk - albeit with a brief diversion to essentially rip-off the Crank movies. Badly.

So here we are, just over a year on and the Incredible Hulk has been cancelled and replaced by the Indestructible Hulk. The new writer Mark Waid is a man you can often trust to deliver a fresh take and some solid quality. He was the only writer other than Ed Brubaker to make the mainstream Captain America readable for me. Both Irredeemable and Incorruptible are a fantastic look at the superhero genre taken to an extreme, without resorting to hyper-violence and harsh language. Not to mention the seminal Kingdom Come and the acclaimed new run on Daredevil. And I'm relieved to say he's done it again.

This first issue of Indestructible Hulk is a masterclass in comic writing, as it both delivers an entertaining self-contained story, whilst also setting up the premise for this new run.

It's a short time after AvX and SHIELD has lost all trace of Banner/Hulk, much to the chagrin of Director Maria Hill. It turns out the man has been off thinking: weighing up his options, reflecting on his mistakes and consulting with his inner monster. In short, he's had a bit of a breakthrough. The Hulk isn't something he can cure, but it is something he can live with - managing the transformations - taking inspiration from the thousands of people who deal with diabetes or MS. With that, the world is his oyster once more. Rather than treating Hulk like a ticking bomb, he's a cannon to be aimed at a problem when the time comes.

So he's come to SHIELD for funding and support. When he's Banner, they get one of the brightest minds in the Marvel Universe, finally free of the self-imposed shackles of guilt and responsibility, ready to contribute and help - determined to leave a positive legacy like his peers. When he's the Hulk, he's a weapon - the strongest SHIELD agent they've ever had. He's even approached Hill on the day of a dangerous op, planning to save lives and audition for his new role in one grand swoop.

It's a bold new beginning and exactly what I've been waiting for. Leinil Yu's intricate pencils bring the whole thing to life and have a feel that reminds me of his lovely work on Secret Invasion (rather than his slightly underwhelming New Avengers art), though I'm reminded that Yu's art needs a good inker to give his fine lines some definition where appropriate. Thankfully he has one here, though I'm not sure whether that's down to Yu himself or colourist Sunny Cho. The colouring occasionally wanders off piste - most notable when Hill briefly looks like she's come down with a bad case of the Red Hulks - but for the most part it's a good effort.

So Hulk in comics seems to have followed a path similar to Hulk in film and TV adaptations. After a long running, much loved TV series, the Ang Lee film was a horrid travesty. And whilst the Ed Norton penned Incredible Hulk film was pretty good, it wasn't great, and it was no great shock when Marvel passed on a sequel to focus on other characters. Then came the Avengers, where Mark Ruffalo's Hulk was arguably the breakout star. Like Ruffalo's interpretation, Waid's Indestructible Hulk similarly feels like a fresh twist that somehow still embodies the heart of the classic character.

The Hulk has a bright future ahead I feel. If you also felt burnt by the promise of last year's Incredible Hulk, rest assured that Indestructible Hulk does deliver.

Ben Fardon eagerly awaits issue #2.

New Beginnings - All New X-Men #1 (MARVEL NOW)

This week, as part of Marvel Now, we finally have the new X-Men comic that has been advertised for quite a while with a new campaign built around the retro image on the front cover.

Whilst on that subject it is worth mentioning that the cover, brought by Grawbadger, Immonen and Gracia together may not look totally enticing but give it a shot as it’s a double spread opening up with the back page too making it a whole world better! Although I have to admit that my favourite is the back page.

Here's the wrap cover from issue #1, plus the start of the cover for issue #2...

The story is a continuation from the AvX arc but starts with a very different scene. Beast is struggling, his mutation on the verge of changing once again. Will this be once too many? Even he doesn’t know. It’s a tense double page spread which leaves the reader hanging for the rest of the issue (and beyond) meaning all the time there is a cliffhanger waiting to drop.

Bendis then radically changes the scene to another new mutation, where following on from the Phoenix force’s reawakening of the X-gene, another new mutant emerges in the midst bustling nightlife. For her it’s confusing and new - she can’t even believe it in herself - but for the fugitive Cyclops he knows exactly what is going on and in his mind he believes he knows how to handle it.

Although this comic is essentially about finding new mutants and the repercussions it is creating, there’s also a significant amount of “evolution” tying in with the Join the Revolution theme of Marvel Now. As mentioned before there is Beast, followed by the new kids but perhaps even more sinister is Scott’s evolution. Here we have the man who has finally stepped out of Charles Xavier’s shadow not to fulfil his dream but now resembling the political stance and actions of Magneto more than ever.

But it is for these actions that the second act of the comic is created. In an attempt to fix things, and undoubtedly himself too in the process, Beast breaks the time continuum to visit the first X-Men to bring them back in an attempt to stop Scott’s radical stance.

The dilemma it poses is layered in multiple ways so that it will be a hard thing to refuse.

The visuals are brought to us by Stuart Immonen and inked by the fabulously named Wade Von Grawbadger. It’s vibrant and capturing but often also has a colour wash running through an entire double page spread to hold it all together. I especially liked the pages where Eva’s mutant ability manifests. I just like how it looks and I can’t quite put my finger on why! One thing that can be said is that Immonen is very good at conveying emotion through facial expressions and takes care to involve everyone in the frame. It doesn’t always have all of the detail in the world but then again I don’t feel it needs it either.

I’ll be the first to admit that in my comic world bubble the X-Men are not my first choice of comic to read, however, I was really surprised by the content of this new start. There is definitely a new feel to it and the story has matured, coming a long way in its time so I found it personally enjoyable to read.

As a new start for a completely blank reader it would work, although there would be a great deal of questions posed. This has been restarted from where things were left so there is no quirky reworks or story alterations to make things fit. As a way of jumping into the pool, it's a welcoming dive into the deep end.

Matt Puddy is off to another continent and will return in two weeks.

New Beginnings - Thor God Of Thunder #1 (MARVEL NOW)

Time travel can be a fickle beast can't it? Especially in fiction, where the myriad of possibilities enthral some while alienating others. Be it a narrative that crashes through time, with the audience experiencing things first hand like the Doctor and his companions, or showing disparate but connecting time zones like Cloud Atlas, it can be a very divisive storytelling device.

Personally I tend to love time travel stories, as they can maintain the thrust of a progressing plotline, whilst compellingly obfuscating certain details until the moment is right. With Thor God Of Thunder #1, Jason Aaron has chosen to do exactly that. The story initially moves back and forth between a young Thor, fighting and carousing alongside Vikings and the Thor of now, answering a young child's cries for help in deep space.

Well, I say cries, it's actually her prayers. This first issue firmly reestablishes that the Marvel Universe has various pantheons of Gods. I know that some readers will struggle with this, for a variety of reasons. Mark Millar's Ultimates' Thor neatly sidestepped this controversy by implying at first that he might simply be a madman with delusions of pagan deification. But this is Earth-616 Thor, the mainstay of Marvel comics and this character firmly believes he is a God. It's even in the title after all!

There's no hint of the Marvel Cinematic Universe take on it all here either. If - in order to suspend disbelief - it helps you to believe that there are older alien races with superior technology and physiology, and that these Gods are simply such as those who have bought into their own hype, then there's also nothing here to contradict that. Prayers for help could simply be a form of telepathic SOS after all.

The point I'm making here is that Jason Aaron has embraced Thor wholeheartedly in a way that even JMS didn't quite manage during his run. Rather than modernise Thor by blurring the lines as in the Ultimates or trying to blend the middle America with the fantasy of Asgard, Aaron presents us with classic Thor in a supremely confident way, without teetering into arrogance. Across three time zones, we see the God Of Thunder at various stages in his life, confronted by the same menace and responding as only Thor can.

Three time zones? Oh yes, that's the crowning jewel in this Asgardian treasury of a first issue. There is a menace that Thor has encountered before, first depositing the dead God of a Native American tribe on the shores of a Viking settlement, then later slaughtering a whole pantheon of alien Gods in deep space. There's a God Butcher on the loose. And so, several millennia from now, Thor the King of Asgard sits atop his throne - the last of his kind, waiting to face the one responsible for deicide in final glorious battle. According to interviews with Aaron, the story will continue to unfold across these three times, first showing us what Thor learnt from his first encounter, before setting up the beginning of the end in present day and culminating with the epic showdown in the future. As I said, supremely confident storytelling.

It reminds me of the way I felt about Brubaker's run on Captain America. Both the Super Soldier and the Thunder God are Avengers that failed to inspire me as a teenager. I flat out disliked their stories on the whole and gave them a wide berth. Brubaker made me put Cap on my pulllist and - damn it - I'm certain Aaron just sold me on Thor. Even JMS didn't manage that, though admittedly he came close.

The artwork from Esad Ribic is beautiful, like an ethereal painting that fits this story of dark fantasy and heroic majesty. Thor does look a little effeminate when he smiles, but it's a minor criticism in the grand scheme of things.

Last week's Iron Man fell short, but this book, Deadpool, Fantastic Four and All New X-Men are all a breath of fresh air. Thor God Of Thunder #1 embodies the quality I'll be holding Marvel Now to. It sets a nice high benchmark. I never thought I'd say that about a Thor comic!

Ben Fardon is pleasantly surprised!