Robert [Member Since: December 06 '07]
<—Bzzd is one of my favorite Lanterns (after Mogo).
I’m currently a pharmacy technician working at Walgreens and I’m working towards a degree in Environmental Studies. I love my 360, my DS and my Gamecube, but I barely have any time to play them. (Currently Playing but not really since I don’t have any time to play them: Zelda: Phantom Hourglass, Phoenix Wright, Ace Attorney: Trials and Tribulations, and Advance Wars: Days of Ruin).
Twitter.com/Stobert
Wow. This is one of the most well written stories I’ve ever read. I stumbled upon it by chance, looking for stuff written by Warren Ellis and it is absolutely amazing.
I love the idea too. “Damn! If only we had someone here who knew quantum physics! bleepbloop Okay we got a guy at MIT on the line.” That’s more or less how each of the individual stories go. A group of 1001 people linked together by uber cell phones who work together to protect the planet from various crises by combining their skills, abilities and knowledge.
For Heavy Ink’s discounted price of $11.99, I absolutely urge you to try this trade out. After I finished it I immediately grabbed the second one.
The story was decent. The focus was on Peter and Mary Jane while the villain of the story took the backseat. It was a little annoying because I feel that the villain story wasn’t very fleshed out and I’m really not sure what happened there at the end. But overall a pretty good story.
What knocked what would have been a 4 star issue to 3 stars was the art. This has possibly been the most fugly art I’ve ever seen in the Ultimate Universe. This art was even worse than Kaare Andrews’s art in U. X-Men #23 & 24 (it was super cartoony, bleh, not matching the feel of U. X-Men at all). It clearly states that Peter and M.J. are 15 (which I wish they would bump up a year or two, because they’ve been 15 for a while now…) but they look five. In an art style that is way too anime (in a bad way) for my tastes, Peter and M.J. look like toddlers. For the sake of the Ultimate Universe, David Lafuente never works as the artist again.
I really like where this and Green Lantern are going. The build up for Blackest Night has been amazing. It would be very easy to stumble and just make all the various lantern sects be just multi-colored carbon copies of each other, but we’re getting insight to every single new lantern that is introduced. I really liked how Miri was able to become a Star Sapphire, it showed great writing.
I’m definately psyched for everything leading up to Blackest Night.
So far things are going in a direction that I like. My only problem with this series so far is the art. The action scenes are barely comprehensible. Especially on the second page, bottom left panel. What the hell is happening right there? Chase is on Xavin’s back for some reason? I don’t know but it’s way to muddled for my tastes. My second problem with the art is Nico’s character design. Is Ramos aware that it’s possible to draw an character of Asian descent without having super-slanted eyes? The art for Brian K. Vaughan’s reign on Runaways was top notch. I just hope the art in this series improves a bit or I’ll have to wait for it to grow on me.
My only problem with the actual story itself is that it seems that Karolina’s and Xavin’s relationship issues seemed really forced. There was no indication throughout the entire issue that something was wrong, and yet apparently there is. Just like how Joss Whedon just decided that Nico and Victor were going to break up just because some random dancing chick caught his eye. None of these break ups make any sense!! Have any of these writers actually been in a relationship?
EDIT: Okay, it explains things a little bit at the end of issue 3. I’ll be pissed if Karolina and Xavin don’t get things patched up though.
The story is alright. I liked the fight between Marvel’s two biggest heavyweights. My biggest problem with this was the art. I am definately not a fan of how the Thing is drawn. He’s very, very fugly.
I am a big fan of the Jeph Loeb and the Carlos Pacheco combination. The story is fun and the artwork to go with it is fantastic.
This was just a great trade. It’s a perfect recipe really: Take Superman and Batman and make them fascists. I don’t know why it’s awesome, it just is. There’s something about making those two bad guys that makes a great story. You see plenty of “bad” Superman stories (Frank Miller’s Dark Knight books, Red Son) but there really aren’t that many “bad” Batman stories out there (that I know of). It’s simple but it works well.
About a week before this issue came out, Newsarama.com had a pretty scathing review up on Runaways 3 #1. I read it and I was pretty uneasy to whether I should even order this series or not. In the end I decided to get it and I’m glad I did. The points the Newsarama.com made were still valid, but I think they blew it way out of proportion.
The biggest issue was that Joss Whedon was taking too long to finish his run on Runaways so Terry Moore had to start writing before Whedon had finished his story arc. So some character development that was put in the end of Whedon’s run isn’t in Moore’s writing yet. Hopefully now that Whedon is done Moore can catch up with the story points.
I was not expecting to love this trade as much as I did. I normally like to pick up the trades featuring old issues for the nostalgia, but usually I find myself bored with the old-timey writing and art.
I actually really liked a lot of the art here, especially Bob Brown and Klaus Janson’s depiction of Daredevil’s super senses in the first issue. What really makes this trade amazing is the very last issue where Daredevil is standing over Bullseye’s paralyzed body, contemplating life. Frank Miller did an absolute fantastic job.
The whole “Don’t judge a book by its cover” axiom really comes to mind. I was under the impression that this would be set in medieval times but I was pleasantly surprised.
The only problem I had with it was that the first 3/4 of it was summarizing what he had already done in previous issues. To me, Pilot Season is about giving new comics a chance decided by public demand. I kinda wish he had just started over instead of just starting where he had left off.
Here’s the thing, it wasn’t bad writing. It actually interested me a lot. It reminded me of a female, mild version of Kick-Ass and I liked this version of it. The one problem was that nothing really happened. If it wins the Pilot Season, then I would be very interested in seeing where this series is going. The only requirement for this is that it actually has to go somewhere.
























