Comics // Review // Old Man Logan #1 / Secret Wars

Concise

This is a fitting revival of this brutal world picking up shortly after the conclusion of the original story and weaves in some interesting elements from the wider Secret Wars event. Bendis delivers on the promise of an uncensored Logan in full cowboy mode in a book that demonstrates a clear love for classic westerns, whilst some powerful art and colouring amp up the visceral atmosphere and intensity of this dark and dusty world. If you’ve got the stomach for it this is an exciting, interesting, and welcome reprisal of a unique vision of the Marvel Universe.

Old Man Logan #1 Cover

Spoilerful

It has been a while since I read the original Old Man Logan, and despite a few questionable moments I remember it quite fondly. It was a brutal, violent, and over the top vision of Logan as cowboy, broken by his past and forced to become a weapon of vengeance. Writer Brian Michael Bendis seems keen to have a lot fun in this world and so he leaves the tragedy of Logan’s personal losses (his family, the X-Men) behind in favour of a more playful Dirty Harry meets Man With No Name interpretation of the character. This is a great choice; we aren’t likely to be spending a long time in this world, or with these characters, so taking the opportunity to tell a fun and fresh tale rather than dwelling too much on an intensely tragic past is a wise idea. That’s not to say there isn’t some depth or pathos in this book though, as Bendis mines the extended cast, and our knowledge of the Marvel multiverse (as was), for some terrific character moments.

The book opens with an intense action scene as Logan busts up a bunch of scumbags who have terrorised New Vegas for long enough. The gang wear Daredevil style outfits and markings (with a little bit of Iron Man gear too) in a perverse denigration of Matt Murdock’s costumed identity; this is a brilliantly dark idea (I don’t recall if these guys were present in the original) as it demonstrates the depths of the darkness that has overcome this Earth. Not only are many heroes long dead, but now their identities have been corrupted and remade into the banners of the very thing they fought against. After dealing with these unsavoury types Logan makes an uncompromising promise (threat, actually) to the now free people of New Vegas; make this town into something worthwhile or he’ll be back to “burn this place down and let someone else start all over again“. And with that Logan’s work is done. This is a great opening sequence for this book, it gives us a chance to see a fully realised Old Man Logan, out for justice and riffing on classic cowboy tropes. On his way home, though, Logan encounters a disembodied Ultron head and the ties to the larger Secret Wars story become apparent. Again this works well, Logan gets to have a nice scene with Danielle Cage, one that answers questions about where the Hulk baby would fit into this story and offers a brief yet poignant reminder of what came before the fall of this world, and then he heads off to seek the council of Ultron (amazing!).

And here is were the real emotional core of this issue can be found as Logan encounters the White Queen herself Emma Frost. After a classic bit of Jean Grey deflection (another light touch reminder of what Logan has long since lost) Emma confesses how she came to be here, and it isn’t a pretty story. We see again that the use of a hero’s(ish) name and iconography lends a dark tone to the villains of this place as the Punisher gang run riot (even if the Punisher isn’t classically heroic himself). The sequence that depicts Emma arriving in town and subsequently crashing her car, all from her point of view, is a wonderful device that really captures the frantic and confusing nature of the moment. After some smart, and funny, dialogue Emma’s fate is revealed – she was injured by the Punishers and is near death. This entire sequence is an effective way to frame Logan’s next adventure, he is going to go over the wall to find out what is really going on out there because everything he knew on this side is either dead or lost. His history is gone now, but that little Hulk baby might have a future, and Logan is going to do everything he can to make sure it’s a safe one.

The art and colouring, from Andrea Sorrentino and Marcelo Maiolo respectively, are impressive throughout the book capturing the dark atmosphere of the oppressive Daredevils club, their blood soaked punishment, the rich dust swept wilderness, and the immensity of Doom’s wall with equal nuance and brilliance. The opening scenes are particularly striking in both choreography (the non-contiguous panels lending an immediate visual impact to the various dismemberments taking place) and colouring (everything is suddenly, but not overpoweringly, black and white and red (with it’s obvious connotations of blood, as well as of Daredevil’s outfit). When Logan heads out into the dust bowl the temperature and atmosphere of the book completely changes – gone are the oppressive city streets and bleak surroundings, and in their place are epic vistas, wide open spaces, and innumerable beautiful shades of orange and brown.

The danger of the Secret Wars tie in books was always going to be that they must be the servants of two masters; on the one hand they represent a chance to revisit popular worlds and characters that have long since faded from view, but on the other they have to lead into a cohesive line wide event that pitches all those characters against one another. This book manages that balance brilliantly with enough Logan going about his vengeful business, enough brutality and action, enough further exploration of this world delivered alongside the hints of a wider and even more epic story unfolding in the heavens. Bendis and his art team are having fun utilising the tropes of classic westerns and mixing in some dark almost Dredd-esque urban gang warfare – yes it is violent and excessive, but it is all in service of an interesting story and a compelling protagonist. This is a tie in book that so far stands on it’s own, and I can’t wait to see where Old Man Logan goes next.

Old Man Logan #1 Panel

Old Man Logan #1 // Writer – Brian Michael Bendis / Artist – Andrea Sorrentino / Colourist – Marcelo Maiolo // Marvel

Notes and Observations:

  • I’m assuming Danielle Cage has inherited her father’s powers, otherwise a Hulk baby throwing a tantrum could be a very painful problem!
  • The other franchise that this world reminds of is Mad Max of course, with a similarly rich visual palette drawn out of what could have become a monotone nightmare.
  • Logan leaves his horse at a gas station whilst he has a little beer break; it’s a fun little visual.
  • I’ve got a lot of questions about that Ultron head and I’m very much looking forward to finding out what on Earth is going on!

All art belongs to the copyright holder

Comics // Review // Uncanny X-Men #34

Concise

There is a lot to like in this issue, and even if there are a few things that don’t work here my hesitation to fully embrace it more likely stems from my wider feelings about this run. There are some smart ideas, some well deserved (if a little too neat) closure, some good jokes, and a couple of intriguing nods to the future. And Kris Anka is dependable as ever, drawing some attractively clean and simple panels that work well with the narrative content. This issue doesn’t have the power and focus of the previous one, nor does it really delve deeply enough into the character dynamics at play, but it is a solid read non-the-less.

Uncanny X-Men #34 Cover

Spoilerful

There are more than a few characters from writer Brian Michael Bendis’ time stewarding the X-Men who have had inconsistent characterisation and erratic story arcs. Whilst for some characters, such as Cyclops, it is a major problem for the two characters taking centre stage in this issue it is actually a boon. Mystique has long been a multifaceted villain, sometimes fighting the good fight (even as a “one of Xavier’s soldiers” which is an interesting choice of words*), but more often she has walked a darker path and the fact that she has been on the run since Madripoor and the Dazzler impersonation adds a certain credibility to this tale of ice cold revenge. Mystique is a changeling both in power and in personality and her motives are rarely clear, but Dazzler on the other hand is a champion of light and a true hero. The fact that she has a very legitimate grudge against Mystique was always going to be a difficult story to bring to a satisfying conclusion, and I’m not entirely convince this issue gets things quite right. A knock down drag out fight wouldn’t have been the way to go either, but I wonder if a slightly sharper script wouldn’t have served this quieter approach better. That said, one of the most interesting elements of this issue is the conversation that takes place at its centre.
The use of Cyclops in this dialogue was a smart move by both Bendis and Dazzler. It was immediately intriguing to see Scott suddenly casual and chatty in Mystique’s apartment. In fact I was quickly of the opinion that this was exactly what Scott should have been doing all along – a revolution is at its heart about persuading people to see the world your way, and wouldn’t Scott having a few calm conversations with key mutants around the world have been an interesting way to show the founding of a new mutant-rights movement? Where things don’t quite work is in some of the clunky dialogue or unimpressive philosophising, for example, the constant repetition of dialogue that works once or twice but becomes a little grating; “again“, “really talk“, “I need more“, that entire “technically” conversation between Dazzler and Hill (plus “can I see them?” surely can’t be followed by another person saying “I could if you were still an agent“). In any case the reveal that this was Dazzler all along was nicely played, especially considering that the intercut conversation with Maria Hill took place a week earlier and would have given Dazzler plenty of prep time (hands up if, like me, you were expecting Dazzler to swing through a window or something!) It was also really nice to see the new mutants from Scott’s defunct-revolution helping Dazzler out (plus the idea that Mystique was using anti-psychic nano-technology is super cool), and that she was intent on showing them a better way of dealing with the darkness in the world.
Kris Anka is a very safe pair of hands when it comes to the X-Men; he often draws with a simple elegance and confidence that supports the core storytelling and that is mostly the case here. The big moments this issue are primarily dialogue driven so Anka is restricted to drawing close-up one character panels with a few static long shots thrown in to break the pace up. That is a tough thing to keep fresh and interesting so it’s not surprising that the art never really comes to life. After the reveal that Cyclops was in fact Dazzler it made his sudden easy going attitude and posture make a lot more sense, and that is a great detail that helps given this world more believability. The changing layouts spice things up a little but I must admit there were a couple of times I read ahead a panel or two due to the sudden switch from single to double page spreads. Also, how many repeat close-ups and block back grounds were there in this issue?! Things do liven up somewhat in the final few pages as Dazzler displays her mutant and musical abilities in quick succession, and Anka draws the ‘new X-Kids’ in a pleasantly wholesome way. Similarly colourist Marte Garcia doesn’t have a great deal of room to do anything more than solid work, we’re mostly looking at the interior of Mystique’s apartment and the Helicarrier bridge, but there are some really nice moments scattered throughout, particularly those at Dazzler’s gig.
This issue was another solid move towards wrapping up Bendis’ run; Mystique got her punishment, Dazzler got her revenge and a reaffirmed future, the X-Kids got enigmatic. Nothing in here was particularly surprising or unexpected, in fact much of it felt like a neat tick in the box, and so it wasn’t quite as cathartic an experience as it perhaps should have been. Mystique has been a true villain in this run so no amount of hand-wringing ‘what about the good times’ dialogue can distract from the fact she kidnapped, abused, and exploited Dazzler. The fact that Dazzler brought her down is rewarding, as is it that she did so in a remarkably efficient and effective way, but then it’s all over and everyone is at the club all of a sudden. There wasn’t the emotional impact I was expecting here; I get that this is comics and things like this are happening all the time, but the really great stories manage to deal with the bombast of superheroes alongside the intimate and personal moments too. This was a worthy effort, but it didn’t quite resonate with me as powerfully as it perhaps should have.
*Bendis has regularly written Xavier as a bit of an aloof and impersonal jerk, but his ‘mission’ has traditionally been considered one of altruism and inclusion. The phrase “one of Xavier’s soldiers” gives the whole thing a much darker tone – this is Dazzler talking, but I can’t help but hear Bendis’ voice here given his characterisation of Xavier, and it sounds derisive of Xavier’s ‘man of peace’ credentials. Does Bendis consider Xavier to be closer to Magneto in his methods?
Uncanny X-Men #34 Panel
Uncanny X-Men #34 // Writer – Brian Michael Bendis / Art – Kris Anka / Colour Art – Marte Garcia // Marvel

Notes and Observations:

  • So how did Dazzler track down Mystique?
  • So how did the Cuckoo’s overpower Mystique’s mental blocks, especially given she has found a way to shield herself from Charles Xavier and/or Cerebro?
  • Golden Balls is in full control of his powers now (he was only popping small targeted balls) so that’s pretty cool.
  • I like no-nonsense Maria Hill a lot, and Dazzler making the deal to protect the kids was a strong moment, but I still can’t understand why a mutant ‘revolution’ is considered an off the charts “insane” idea. Especially considering the X-Men were doing stuff like moving to an island off the US coast and forming a mutant nation not so long ago.
  • There’s a panel where Scott has a gun to his head that is very reminiscent of the cover for Uncanny X-Men #18, which was a curious coincidence.

All art belongs to the copyright holder

Comics // Review // Silk #4

Concise

Despite the cover telling you otherwise the art this issue isn’t handled by series regular Stacey Lee, and whilst the fill-in artist is perfectly fine there is a unique synergy between Lee’s art and Cindy Moon’s character that is sadly missing here. The story this issue also seems to be lacking a certain something as some of the jokes fail to land and things move at a curious pace. This is certainly not a bad issue, but it is lacking the magic of the previous few.

Silk #4 Cover

Spoilerful

Last issue left us with Cindy near breakdown and sequestered away in her bunker as an awkwardly caring (mildly creepy?) Spider-Man arrived with help in the form of the Fantastic Four. Spider-Man’s tone, the fact that we know Cindy is being monitored by shadowy figures, and the randomness of Spidey calling on the FF left me a little suspicious, but it seems I was wrong to have doubts – this is the genuine FF and they really are here to help. Reed Richards spends the opening of this issue performing some curiously vague yet complex tests – in order to test Cindy’s physical speed/reaction time she is suspended in cryo-sleep and projected into a virtual reality where Reed can pretend to be planet destroying God Galactus. OK, a few questions then. If you’re testing reflexes and reaction time why wouldn’t you just use an obstacle course or, y’know, ‘danger room’? Under what conditions could Cindy realistically be expected to beat Galactus on her own, and therefore how is this a useful test? If Reed is playing Galactus then isn’t he only testing Cindy’s reaction speed against his own, not against Galactus’?

Anyway, weird science aside, Reed pretty much nails the diagnosis as Cindy has clearly been suffering from some form of PTSD or anxiety since this book began. Reed is well written in this scene, his shock at Cindy’s time in the bunker, his bedside manner, and his referral to a more qualified specialist all paint him as a good doctor and a decent man (I’ve read a lot of Reed as ‘distant scientist’ characterisations and I prefer this version). I don’t know who Dr Sinclair is (and a quick google yielded nothing concrete), but I very much like the idea of a psychiatrist equivalent of Night Nurse who is treating superheroes with psychological problems (so all of them presumably). The rest of the FF come across relatively well too, Ben is the playful ‘grumpy’ uncle as ever and Sue gets to josh around making jokes at Reed’s expense. Johnny is perhaps the most broadly drawn character here though, strangely given he has the most page-time, and his usual womanising streak seems to be replaced with a puppy dog crush on Cindy. I’m not sure if Thompson is just showing us Johnny with a fleeting infatuation or if it is supposed to be the start of something special (I suspect the former), but the whole thing plays a little strangely to me given the obvious context of trying to hurt Spidey.

It is completely understandable that Cindy is upset with Peter, not least for betraying her personal secrets to Reed, but it is clear that it is coming from a good place (even if all his dialogue this issue paints him as a creepy-spurned-lover-stalker type) so I am struggling to be on Cindy’s side as she displays her intense anger at him. I guess some of this is stemming from her potential mental illness, and that she hasn’t been behaving entirely rationally; these are important things to explore as they affect many real people and shouldn’t be kept in the dark, so it is refreshing to see it tackled in a mainstream superhero book. However, I would have thought Peter’s actions (seeking help when he was concerned about someone he cares for and bringing in specialists) would be seen as the right thing to do even if Cindy doesn’t know she needs this help, so that makes the writing of Peter as just another jealous guy seem like a bad choice.

The pace of this book has been quite slow thus far, writer Robbie Thompson has been content to deal with the immediate threats of Black Cat and Cindy reacclimatising to society than delve too deeply into the case of her missing family. That hasn’t previously been a problem, and it isn’t quite one here, but without the wonderful art from Stacey Lee that really brings this book to life I did find myself viewing this as ‘filler’. Nothing is wrong with this issue per se, but I do hope we start to inch towards some answers soon. The real discovery for me this issue was just how much I rely on Lee’s art to make the dialogue, characters, and plot of this book ‘pop’, I for one hope she isn’t gone for too long.

Silk #4 Panel

Silk #4 // Writer – Robbie Thompson / Artist – Annapaola Martello / Colour Artist – Ian Herring // Marvel

Notes and Observations:

  • It’s Slobberin’ Time” is so good it makes me wonder if Thompson came up with that first and wanted to find a way to get the Fantastic Four into his book!
  • Cindy and Lola are out clubbing before her date with Johnny at 8pm – everyone is in the club dancing like crazy at like 7:30pm?! They are some uninhibited people!
  • As ever the flashbacks to Cindy pre-bunker are the best part of this story; seeing Cindy’s origin and her life with her parents adds a compelling complexity to her character in the present.
  • Jumping out of the awkward date was a fun moment, although I find it very hard to believe that serial womaniser Johnny Storm doesn’t have some solid first date patter.
  • The check in with Black Cat and her new super trooper squad was  a cool cliffhanger.

All art belongs to the copyright holder

Comics // Review // They’re Not Like Us #5

Concise

Another sublime issue of this tremendous book that packs more than one emotional wallop, and a whole lot of brilliant character building. We are far from having all the answers, but after tensions flared last issue the history of Syd’s new friends is explored in much greater detail, even as the wheels start turning on some pretty dramatic events in the present. The art and writing are as tight as ever in an issue that rewards patient readers with hints of the past and portents of what may be to come.

They're Not Like Us #5 Cover

Spoilerful

This issue is another strong example of why this is one of the best books currently out there; subtle story and character beats from previous issues have been brought to the fore and tied together in an unexpected way. Every time a question or plot point presents itself it is quickly followed by smart and surprising exposition, character motivations appear clear and are then cleverly obfuscated, and actions take place on a very blurry line between ‘right’ and ‘wrong’. Last time it seemed that a clearer picture of The Voice’s actions was emerging – that he has been manipulating everyone to his advantage and potentially even keeping people in the house against their will (and maybe keeping people unaware that they even wanted to leave), but this issue adds many layers to The Voice’s character that makes his actions seem just as murky as they ever have been.

The chief of this issue centres on the intense night-time conversation that Maisie and Syd have about the personal history of The Voice, and it isn’t a pretty history at all. I still don’t know who can possibly be trusted in this house, but this issue goes to great lengths to suggest that Maisie is on Syd’s side – she reveals closely guarded secrets about The Voice in an effort to help Syd understand his behaviour, and also shows she trusts Syd by revealing her own secret, that she attempted suicide. But could this entire thing be a huge piece of misdirection? Maisie can see the future, and she was shown to be in league with The Voice last issue – if she knows that the group have gone to kill or confront Syd’s parents then this conversation could all be for show, and maybe she even knows that Blurgirl has attempted suicide, or even that MiseryKid is doing some dark stuff. It may all be true, but Maisie only really tells Syd things she wants to hear – this is the legitimate reason why The Voice hates all parents, this is why he is tough and does questionable things, here is a reason to trust me (after all I’m just like you), etc. However much genuine information Maisie gives to Syd, and I think it mostly is true, this whole conversation feels somehow suspicious to me, especially given that this kind of information has been far from forthcoming in the past. In any case The Voice is simultaneously shown to be sympathetic and dangerously scarily ruthless. Stephenson does so much great work keeping things the right side of ambiguous, The Voice could be (subjectively) ‘good’ or ‘bad’ or both.

After finding out some of his past it’s now far less surprising, though no less sinister, that The Voice demands that every new member of the group must kill their parents – he doesn’t believe parents can be trusted and places a lot of blame at their feet. By killing his parents The Voice appears to have taken his revenge, but he clearly hasn’t moved past his past; he still lives in the same home, is possessed of an aggressive anti-social disposition, and takes fashion and style inspiration from his parents and his ‘mentor’. And what of this mentor Heasley? This is the first mention we’ve had of a true Xavier/Magneto figure in this book, a person who ‘saved’ and trained a lost but gifted youth and set him on his ideological path. Until now it seemed like The Voice may have self-initiated this group and it’s political stance so the revelation that there was indeed an external actor who guided his development is an interesting one. No mention is made of Heasley’s fate, whether he is still out there or if he moved on from his experiment, or even what his actual powers were. This all serves to offer an increasingly rich history for this world and these characters, and will no doubt be the seeds of future stories, so it is wonderful to see these kind of world building details expertly integrated into the story. We get enough information to help drive the current narrative and provide a little more insight into The Voice as a person, but there is a wealth of valuable information left un-revealed.

It should come as no surprise by now that I am a huge fan of Simon Gane’s art and Jordie Bellaire’s colours on this book. Every issue is a joy to read and explore as the art works to craft a rich world, it truly serves to enhance the story at every turn. A few particularly brilliant panels from this issue included; the full page spread of The Voice in his hospital bed (the drab and overlapping blues and greys portraying a world of intense sadness and loss, whilst the tangled web of IVs and medical equipment speak to his complex and fundamentally broken emotional condition), the portrait of The Voice blood red against a collapsing tapestry of blocks (mirroring the pictures of his family and the way we are all made up of our experiences and influences), all of those family pictures, the info-graphic about The Voice’s relationship to his brothers, and the sudden starkness of Heasley’s intervention in The Voice’s life (all of the complexity and background sadness drops away as Heasley and The Voice become the only important entities in the world).

There are so many moments of intensity and drama in this issue; Maisie’s revelation that she attempted suicide (and her apparent resentment of Blurgirl and Moon), The Voice’s dark tragic history, Heasley’s existence, Blurgirl’s possible suicide, MiseryKid’s possible murder/betrayal, The Voice and team arriving at Syd’s parents house. This is a huge issue that reveals so much at the same time as casting doubt on everything we know and it is expertly delivered by an unstoppable creative team. The writing, art, colours, and lettering on this book are so consistently great that it is no wonder this is one of my absolute favourite reads each month. I really hope we get to see a long run from this team and this book because there is so much quality story left to be told.

They're Not Like Us #5 Panel

They’re Not Like Us #5 // Story – Eric Stephenson / Art – Simon Gane / Colours – Jordie Bellaire // Image

Notes and Observations:

  • The issue title is from another Stephen Duffy track, this time it’s both a lyric and the track title.
  • Interestingly the back page quote isn’t a lyric this time, but is actually a quote from former British intelligence officer Kim Philby who defected to the Soviet’s in 1963. It is an incredibly fitting if ambiguous quote for this issue – is this referring to the ‘betrayal’ of Syd by her friends as they may be on their way to kill her parents, the betrayal of The Voice’s parents, or is it relating to MiseryKid’s apparent betrayal by murder?
  • It is intriguing to see that Syd and The Voice’s parents are very well off; I wonder who many of these kids come from affluent backgrounds, and if that is a factor in their disaffection.

All art belongs to the copyright holders

Comics // Review // Silver Surfer #11

Concise

This issue is stunning. Storytellers Dan Slott and Mike Allred have crafted a truly incredible space faring adventure in this over-sized story that is smart, surprising, touching, and so incredibly inventive that it is a unique and exhilarating reading experience. The narrative is brilliantly simple, yet the execution is absolutely wonderful – this is a testament to what a great creative team firing on all cylinders can deliver.

Silver Surfer #11 Cover

Spoilerful

The Möbius strip on the cover of this issue seemed like a neat piece of abstract art for this funky sic-fi book, but never did I imagine that it would be the basis of the storytelling structure for this issue. And what an issue it is! Writer Dan Slott and artist Mike Allred (understandably sharing storyteller credit) evoke the very best of classic science fiction stories with this simple tale of a band of space faring refugees seeking a safe haven. As they continue their search, with the Surfer at their side, they encounter temporal anomalies, aggressive alien forces, and tough choices. From page one we are aware that something isn’t quite right with the universe though, as the Never Queen makes a welcome return to narrate an explanation of the trap the Surfer and friends find themselves in. And then you turn the page.

This issue runs in both directions, with panels progressing across the top of the page in the usual order, whilst at the bottom of the page they are inverted (you have to rotate the book 180 degrees to read them the right way). The entire book is a Möbius strip; you read it the usual way and then rotate and read it the reverse way, and then rotate again. It is a fun device, and in the hands of lesser storytellers that is it would have been, a little bit of fun, but here Slott and Allred use it to their advantage in every way possible. The core narrative is re-enforced by the repetitive structure, the perspectives of the story are revealed as we move between characters with each rotation, and the science fiction plot (a temporal/warp weapon/disturbance) is made tangible by the book’s very construction.

It was refreshing to see new shades of all of the players involved. The Surfer is clearly deeply affected by Dawn’s distance, it is heartbreaking to see, but it is equally heartbreaking to see Dawn’s side. After a whirlwind friendship/romance Dawn is understandably broken by the recent revelations about Norrin’s past lives. This is high stakes drama and it is emphasised by the rigmarole of the current time prison – when a relationship is on the verge of collapse it can often feel like you are just going through the motions and running on autopilot, every day blending into the next. Again the book’s Möbius structure serves its narrative themes. Other characters also get to reveal some more nuance such as Founder Keen and Krattaka. Both have demonstrated courage and bravery in previous issues as they fought for Newhaven and their friends, so it was hard to see them so weary and beaten in this issue, driven to making dark decisions. Krattaka’s decision to abandon the infirmary was surprising and upsetting enough, but the masterfully implemented ending was the real gut punch – Founder Keen was willing to sacrifice the infirmary to save the other refugees. It is hard to see either character as villains given their situation, but it is certainly a tough moment and that is tribute to the brilliant writing and characterisation. These characters feel rounded and believable, so their actions have a terrible impact.

Every issue of this book has built on the relationship between Dawn and Norrin and this one is no different – this run has been so successful because it has characters at its heart. But it also has incredible art, wonderful storytelling, and crazy brilliantly implemented scifi ideas! This issue is an absolute standout; recent story lines like the breakdown in the Dawn/Surfer relationship and the refugees from Newhaven are given time to breathe, even as the temporal anomaly/alien foes story is at the fore front. Characters make surprising choices, events unfold in unusual and compelling ways, fun things happen, heartbreaking things happen – basically this is everything you could want from a story about a kooky space surfing adventurer. If you haven’t been reading this book then this issue is a wake up call to urgently do so. If you have been reading this book then this issue is a delightful reward.

Silver Surfer #11 Panel

Silver Surfer #11 // Storytellers – Dan Slott & Mike Allred / Colour Artists – Mike & Laura Allred // Marvel

Notes and Observations:

  • Laura Allred always gets the colours just perfect in this book; in this issue I was especially enamoured of pink space and that lovely green planet – beautiful stuff.
  • Pteroteers = brilliant!

All art belongs to the copyright holders