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Ultimate Wolverine vs. Hulk

I’m on a bit of a Wolverine binge at the moment. I got the quite enjoyable Old Man Logan last week and am slowly working my way through the Wolverine Omnibus at the moment. I would have picked up Enemy of the State if it had a nice hardback version. But such is life. I figured I’d dip my toes into Marvel’s Ultimate line. Basically a shrewd marketing decision to launch all their titles from scratch – the hope being that the line could attract readers alienated by decades of continuity in mainstream comics. The experiment was a bit of a mixed success – Ultimate Spider-Man might be the most successful interpretation of the web-slinger this decade, but Ultimate X-Men left a lot to be desired. However, this continuity-free playground offered Marvel a chance to do two things: invite big-name film and television writers to handle their properties (such as allowing Lost scribe Brian K. Vaughan and Heroes writer Aron E. Coleite to work on Ultimate X-Men), but also to shameless release miniseries to capitalise on their big screen projects. Released between the big screen adaptations of The Incredible Hulk and X-Men Origins: Wolverine and featuring the work of Star Trek co-writer Damon Lindelof, this series attempts to do both. Does it succeed?

It's a game of two halves...

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Wolverine: Old Man Logan (Review)

What is it about the X-Men and crapsack futures? Mark Millar has taken everybody’s favourite feral anti-hero and dropped him in his own particular horrible future. Old Man Logan takes a familiar Millar conceit – “what if the bad guys won?” – and applies it to the familiar Marvel Universe. Of course, this being Millar, he’s piled even more horror and crappiness on top of that, giving us an inbred Hulk family and wild dinosaurs, but it’s an idea that many will recognise from his own Wanted, among other works. Of course, this being a Wolverine book, we follow the familiar antihero as he attempts to navigate post-apocalyptic America (divided into four kingdoms) while delivering a mysterious package with former Avenger Hawkeye.

A hulkin' good time...

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Astonishing X-Men Omnibus by Joss Whedon & John Cassaday

Why did I have to follow Grant Morrison?

– Joss Whedon’s email correspondence with Marvel

What with all that talk of Whedon directing The Avengers on the big screen, I decided it was worth checking out his run on one of the most enduring superhero teams of all time.

Is this a breakout hit?

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Matt Fraction’s Run on The Invincible Iron Man – Vol. 1 (Hardcover)

Released just in time for you to play catchup before Iron Man 2 hits the cinemas, Marvel have published the first nineteen issues of Matt Fraction’s run on The Invincible Iron Man. It’s a big book. Unfortunately, it only contains two storylines (it looks like the era of decompression isn’t quite over), but despite some storytelling issues it manages to be a fairly entertaining read. Mostly because Fraction seems to have a fairly solid handle on the man inside the suit of armour.

Iron Woman...

Note: I do feel a little bit robbed. I bought this on amazon.com advertised as a Marvel Omnibus. It arrives at my door as a slightly larger than usual hardcover. There are next-to-no extras or commentaries or anything. I was looking forward to shelving this with my cool Omnibus collection – they do just look better. It isn’t any smaller than the Death of Captain America Omnibus or the second Brubaker Daredevil Omnibus. I’m a little bit ticked off. But I’ll get over it.

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The Crisis Surrounding “Crisis Crossovers”

We’re a bit late to the party, but this week we’ll be celebrating the 75th anniversary of DC Comics, with a look at the medium, the company and the characters in a selection of bonus features running Monday through Friday. This is one of those articles. Be sure to join us for the rest.

In 2012, we will witness the first true superhero crossover on the big screen, with Iron Man, Captain America and Thor joining forces as The Avengers to battle evil. The Hulk may even get in on the action. However,this sort of overlap is hardly new to the source material which will inform the film. It seems that the comic book medium is dominated by the crossover fad, with the two major companies churning out massive event after massive event. Is this a good thing which demonstrates the strength and flexibility of the monthly-publishing schedule, or does this style of writing only serve to make the medium even more insular?

Yeah, see how messy this picture looks? Multiply that by about 42 and that gives you the idea of the complexity we're looking at...

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The Death of Captain America Omnibus (Review)

I was impressed by the original Captain America by Ed Brubaker Omnibus, but I wasn’t as blown away by his run as almost everyone else seems to have been. A lot of my problems were outside Brubaker’s control – the big Civil War event in the Marvel Universe loomed large over the climax of his run – and, in fairness to him, he worked around it as well as he could have been expected to. His on-going run is continued in a second (albeit smaller) omnibus, succinctly entitled The Death of Captain America Omnibus, which does exactly what it says on the tin, following the events which immediately followed the climax of the last omnibus (even going so far as to reprint the last issue in that volume as the first one in this volume). It’s just over half the size of the early collection – even factoring in the reprint – but I’ll concede that I actually enjoyed it a lot more. Maybe it was the sense that Brubaker was delivering a pay-off to all the threads opened in the first part of his run, or that he was solidly unfettered by editorial mandate this time around, or even that the storyline was considerably more streamlined and focused – no matter what the reason, the vast majority of my (already admittedly small) qualms about the first collection are dealt with here.

That's gonna be a pain to clean...

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Robert Kirkman’s Run on Ultimate X-Men – Vol. 7-9 (Hardcover)

Ultimate X-Men is a tough title to get a read on. The fact that the run has been broken down into blocks by all manner of superstar writers means that there’s really no consistent underlying principle feeding through the eight-year life of the title. On the other hand, the fact that none of these big name writers like Mark Millar or Brian Michael Bendis could create a book living up to the series’ potential indicates that maybe there wasn’t a writer who could steward the book through its entire life cycle. Ultimate Spider-Man serves in many ways as a fulfillment of the promise of the Ultimate line, it’s almost a single, decade-long story of growth and development, the very evolution of a world of superheroes. Ultimate X-Men is very much the opposite, the constantly bending backwards over itself, jolting, starting and reversing as it seems unable to decide where exactly it’s going at any given moment. Robert Kirkman’s run is perhaps the best examples of the series’ strengths and ultimately (ha!) its weaknesses.

Somebody's been watching Terminator a bit too often...

Note: Some of Aron Coleitte’s work is covered in the Hardcover Volume 9 (with the rest of his short run spilling over into the Ultimatum Hardcover). If I can bring myself to pick up Ultimatum, I will run a review of his rather short tenure on the title. This review is only concerned with Kirkman’s run – up until the end of the Apocalypse arc.

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Kevin Smith & David Mack’s Runs on Daredevil (Hardcover Vol. #1)

It’s said that imitation is the sincerest form of flattery. It’s also been said that Frank Miller’s Born Again pretty much defined Daredevil. So it should really come as no surprise that Kevin Smith borrowed from that particular story wholesale for his relaunch of the character back in 1999. It’s not necessarily a bad thing – Smith has the decency to admit that the concept isn’t incredibly original – and in a way it provides a suitable note upon which to relaunch the title.

Bring your child to work day was not the resounding success Matt Murdock expected...

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Should Marvel Look at Merging Some of Its Smaller Projects?

There’s been a lot of buzz generated about the new “shared universe” that Marvel is generating on-screen in the run up to The Avengers, being released in 2012. It has generated fantastic buzz and discussion given there are only really two scenes that have been screened suggesting how the the format might work: the presence of Samuel L. Jackson at the end of Iron Man, welcoming Tony Stark into a wider “universe” and the one-scene appearance of Robert Downey Jnr. at the end of The Incredible Hulk. Undoubtedly next year’s Iron Man 2 will feature even more treats (as will Thor and Captain America: The First Avenger), but it’s interesting to see the fuss that two tiny scenes have generated. I really do think that Marvel are on to box office gold here, and I also think it’s an interesting (and honest) attempt to transfer the medium of comics to film. However, these are all playing into one giant box office buster. Might it be worth taking the same concept and applying it to some of Marvel’s smaller screen franchises?

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Fighting over top billing...

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Brian Michael Bendis’ Run on Ultimate X-Men – Vol. 4 (Hardcover)

Talk about a change of pace. Apparently it was originally conceived that Bendis would be in charge of both Ultimate Spider-Man and Ultimate X-Men during their run. Instead he’s spent almost a decade at this stage with the web-spinner, but he did migrate over to the sister title for a year at the end of Mark Millar’s run. The run is unfortunately too short to fully develop the potential of Bendis on the title, but it represents a massive upwards swing in the quality of the book from the crazy illogical and teen-angst-filled Millar run. It’s still far from a classic, but – read in the context of the entire series – it is perhaps a better representation of what Ultimate X-Men could have been.

And he still doesn't shave...

And he still doesn't shave...

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