Tuesday, November 25, 2014

Review Daredevil #8-10

For this review I am covering an arc from a great book.  This arc handles a subject that is personal to me, depression.  I have to thank my co-creator Tony for pointing this arc out to me.


Daredevil #8-10
Written By Mark Waid
Art By Chris Samnee


I have really enjoyed the first two arcs to Waid’s Daredevil run, but I fell off shortly after.  Not because I didn’t like it, but because I was already picking up so many books.  The light hearted feel that Waid brings really breathes new life into the character.  And then you have the stable of artists that have worked on this series.  There wasn’t a single artist to work on it that didn’t bring their own feel to book while still keeping with the same general attitude and appeal.

In this arc Waid brings in Purple Man, a villain that really stands out in every book I have read that he has appeared in.  Even if his name is kind of hokey, he is a diabolical character that can control whoever he talks to.  But he isn’t alone.  As the book opens it is revealed that over the years Purple Man has been creating a family for himself by sleeping with women then making them forget that they slept with him.  Each of the kids are harmless alone, but once they are gathered they have a power over even the Purple Man.  The kids have the ability to control emotions of anyone near by, and make Purple Man try to kill himself.   

Where Daredevil comes in is Matt is currently thinking about writing an autobiography.  But Foggy is worried about what dark memories will resurface if he tries to relive them.  And when the children start riots in the streets because of their powers, Matt jumps into action to attempt to save them at first thinking they are under the influence of Purple Man.  But when he gets close to them he realizes the effects are coming from them.  By the time he realizes it though their powers take effect on him and drag up all of the dark memories that Foggy was worried about surfacing.

Depression really takes center stage at this point.  And Samnee’s art really makes for a great vehicle to get across what is going on in Matt’s head.  First through a page of five split panels.  One side being half of one of the kids face, the other side being half of Daredevils face and a bad memory being dragged up.  But at his darkest moments the panels are extremely simple, only showing Matt in his radar view in fetal position on an all black panel.  The thought bubbles on these panels perfectly explains what it feels like to be in the grips of depression.  

Daredevil gets a grip enough to stop Purple Man from going after his kids and separates the kids to negate their powers.  But the wrap up of Matt’s bout with depression took all of the attention from it.  He tries his hardest to hide how much he was affected by the encounter, but his girlfriend sees right through his bluff and stays by him to help get him through it.  

The creative team of Waid and Samnee work well together.  These three issues make for a great read with beautiful imagery.  I will probably go back at some point and read more of the previous issues of the run.

Ratings: 4 out of 5.
I highly suggest this three issue run.  It uses a really good villain that is often overlooked, and tackles an issue that is just as overlooked.

Thanks for reading my review.  If you have any comments or suggestions leave them in the comments section.  And remember, keep reading comics fans.

Monday, November 24, 2014

Spider-Woman #1



Spider-Woman #1
Writer:  Dennis Hopeless
Artist: Greg Land
Publisher:  Marvel Comics

This book could be summed up with an analogy: it’s like someone getting ready to swim for the first time, but does so with a cinder block chained around their neck.

I’ve been looking forward to this book since it was announced because Dennis Hopeless is an excellent writer and has done some really good work. But I’ve also had a huge sense of trepidation because Greg Land would be doing the art.  

Sadly, my fears were proven warranted.  His art continues to be heavily photo referenced, mainly from some massive porn collection.  His layouts seem to be for the sake of being as dynamic as possible with little regard for actual storytelling.  Try looking at the book without looking at the word balloons and see if you can get a general idea of the story.  It can’t be done.  Why does this guy keep getting work and high profile work, at that!?

Hopeless has an interesting challenge.  He has to launch a series and have it tie into a crossover event.  I don’t envy that task.  It keeps him from getting much of a chance to establish his voice for the characters and supporting cast before having to hit the ground running.  With that considered, he makes a valiant attempt.  Hopefully, after the Spider-Verse craziness dies down, he’ll really be able to make this book his own and take it to wonderful heights.  

The high watermark for Jessica Drew thus far...
The verdict:  This book has a rather high bar to reach in order to be considered the finest Spider-Woman book ever.  That goes to the superlative, albeit short lived, Spider-Woman book from 2010 by Brian Michael Bendis and Alex Maleev.  I have faith that Hopeless has the talent to pull that off, but they really need to jettison Land.  He’ll continue to hold this book back until they do so.  I’m going to give this book my usual first-arc chance.  If Land is still around for long after that, I won’t be.

The score: 2 out of 5 stars.  I’d probably bump it up by at least another star if we had a different artist.

Sunday, November 23, 2014

Creator Interview With Jeff Parker




Creator Interview With Jeff Parker

When I first got back into comics I discovered the writing talent of Jeff Parker.  I was first introduced to him through an in store appearance at my local comic shop I Like Comics.  I bought the first issue of his run on Hulk that day to get it signed, and after reading it I wanted to read some of his other books.  It was an issue of Thunderbolts that sealed the deal though.  He created a fun book filled with great relationships within the team and a good sense of humor.  I have tried almost every book he has written since that day.  It is because of this that I reached out to Jeff Parker to see if he would be willing to do an interview for Once Upon a Longbox.  I am honored that he accepted.  So here we go, the first installment of creator interviews.  Hopefully I will be able to put together more in the future.

Teddy McHugh:  First of all, let me thank you for agreeing to do this interview for Once Upon A Longbox.  It means a lot.

You have been in the comics industry for a while now, and I know you worked in story-boarding before comics.  How did you make the jump between story-boarding and comics?

Jeff Parker:  Really I started in comics as an artist, and then went into animation and storyboards, then came back to comics. I really never stopped doing comics, but drawing boards was the day job for a few years.

When the comics industry had shrank about as small as it could get without forming a black hole in the late 90s, I did a storyboard finishing test for Sony Animation, and got accepted to work on the Big Guy and Rusty cartoon. During that I started learning how to do storyboards, on the job. I kept working on The Interman, an adventure gn  I released in 2003, which is what led to people asking me to write. Doing all the boards for commercials, videos and small films really influenced my comics work, I became more focused on how a scene can build and have a life its own.

McHugh: Your experience in animation can really be seen in you comics work.  So what was the first book you worked on when you came back into comics?  

Parker:  I still did an occasional comics job during that, like a couple issues of Robin I drew. After The Interman came out I think I drew an issue of Batgirl, then did some Dark Horse stuff. I wrote and drew a story in The Escapist comic, I remember that.  And then around that time Mark Paniccia at Marvel asked if I wanted to work on the newly revamped Marvel Adventures line, and my first work there was an issue of Spider-Man as the writer. That went over well, so when the writer on the MA Fantastic Four book had to drop out for some reason, they asked me to take on that, so FF was my first regular writing work.

McHugh:  So you really got to work on some bigger characters early into your return to comics.  The Marvel Adventures line must have been a really great Starting point for getting your name out there with Marvel.  

You and Gabe Hardman have really done some great work together, just look at the runs you two did on books like Agents of Atlas and Hulk.  Why do you feel you and Hardman work so well together?

Parker:  The best thing about that book line was the main requirement, that all issues had to be done in one stories, there couldn’t be continuity from one to another, so any kid who got an issue wasn’t lost with the story. That helped me REALLY learn how to end a story, when by page 22 everything had to be resolved and satisfying. I wish there were still a comics line like that and new writers required to go through it before they write monthlies, it would really prepare them.

I always love working with Hardman. He’s such a pro about making a story work on its own terms, he’s one of the best I know for doing what it takes to sell a scene or a moment. Probably because he doesn’t have to worry about achieving the image on a technical level, he’s way beyond that point- it’s going to be a well composed and executed drawing, and most people are just trying to make that happen. He’s considering what will best get across the story beat to the reader. Gabe talks a lot about ‘putting the camera where the story is’ when he describes this stuff, but as simple as that sounds I think it’s over a lot of people’s heads.

We have a certain Venn diagram overlap of stuff that we both are into and I try my best to stay in that zone to keep him interested. It’s tough sometimes because it also depends on what project is paying us, but I like to think I can find the intriguing areas in anything. Like I know we both would have rather done more Atlas than move on to the Red Hulk book, it just had more opportunities of material to plumb. But that also forced us to bend that Hulk book into a really different shape than anyone probably expected, to get to the kinds of stories we wanted to do.

That’s probably a big key to a good creative team. If they’re too different, nothing clicks and the stories will feel at odds with itself- if they’re too alike you’re going to get a narrow spectrum hitting too many of the same notes. He and I have a good balance for pushing each other to create things neither of us would have done on our own. I would still love to follow up in a larger way with the grounded approach to Batman that we did with that Legends of the Dark Knight story. And with Bettie Breitweiser coloring, of course.

McHugh:  That Legends of the Dark Knight story you two did was really impressive.  You and Hardman really brought Batman back to being a much more believable character.  And sometimes I feel that the character of Batman really gets turned into a little too larger than life character.  I personally think he works better as a street level character.  If you ever do get the chance to continue your take on Batman I would most certainly read it.

My co-creator at Once Upon A Longbox was wondering how is writing process for a digital issue different from the writing process for a traditional print comic? More specifically what was the writing process like for the first issue of Batman 66 where there was a more interactive function to the sound effect bubbles?

Parker:  Before all the extra material, you have to consider the page differently. A digital page, shaped for holding a tablet or a computer screen, is half a print page. So you don’t do the big tall splash panels like you might in print. And you have to think about how the action moves and leaves off with half the page you’re used to.

As for the more involved stuff- at first all we knew for certain is that the sound effects would be separated into their own panels to mimic the tv show, and then we had to improvise after that. Jonathan Case established a lot of how its done, since he was drawing digitally and knew what would make more of an experience for the reader while keeping it fast for himself.

We figured out really quickly that we didn’t want to do things that essentially made it limited animation, because then you’re expecting animation. Really we’re trying to put in more story beats. Jonathan did neat stuff like color shifts on the swipe, things that felt stylistically like the show and made turning the page fun, because you got more ‘reveals’ as you read. That’s the only way I think I could phrase what you have to do in this kind of storytelling, there’s no one approach that will work for all books. When I’m writing panel descriptions, I make lots of suggestions of ways a panel can be used to get more beats out of the moment, especially when it would involve adding or subtracting layers to a photoshop file.


McHugh:  It is amazing how many differences there are between the two formats.  Thank you for sharing your insight.  And thanks again for giving me some of your time.  I know I am new to this whole thing, but you made my first attempt feel pretty smooth.  I look forward to reading your work in the future.   

Parker:  You’re welcome Ted!

It was an extreme pleasure to get the chance to have this conversation with Jeff Parker.  He gave up some of his valuable time to do this interview, and that means a lot to us at Once Upon A Longbox.  

Jeff Parker is currently writing Batman 66, Aquaman, and Flash Gordon.  But if you want to read more from him I suggest checking out his run on Thunderbolts (#138-174), Red She-Hulk.  And if you are into the pulp heroes of the past then I highly suggest King’s Watch, which is the lead up to his current Flash Gordon run.


As always.  Thank you for visiting Once Upon A Longbox.  If you have any comments or suggestions please leave them in the comments section.  And don’t forget.  Keep reading comic fans.  

Friday, November 21, 2014

Fatale TPB Vol. 1 & 2

 




I am a huge fan of the creative team of Ed Brubaker and Sean Phillips.  They have a strong working relationship.  So I finally decided to check out one of their latest projects.  

Fatale TPB Vol. 1 & 2
Written By Ed Brubaker
Art By Sean Phillips
Published By Image Comics


Fatale is an interesting series.  It takes the noir drama that Brubaker and Phillips are known for, and add a big helping of supernatural.  The supernatural aspect is a bit jarring at first, but as the story develops the book finds a good balance of the noir and creepy.

Fatale tells a story that spans many decades.  The first trade tells the story of a reporter who gets tied up with a mysterious female that seems to draw men into her orbit and they can’t seem to get her off their mind, named Josephine.  The reporter is looking into a story about two corrupt cops in the 1950’s.  The story leads him to meet Josephine, who is linked to one of the cops.  He immediately is head over heels for her despite being married.  The deeper Josephine takes him into her world the darker it gets.  Eventually leading the duo into a game of cat and mouse with a cult that has ties to Josephine’s past.  

The second arc takes place in the 70’s, where a washed up actor is trying to escape a cult with a female friend they are after and ends up in her backyard.  Josephine has exiled herself because of the effect she has on men, but takes the man and his friend in for a reason she doesn’t understand at first.  When she finds a film reel in his jacket she realizes that the man she saved has run afoul of an off shoot of the cult that has been seeking her for decades.  Josephine makes a deal with the man to help her get a hold of a tome that the cult possesses that may help her find more about her past and what she is.

Both stories are framed by the story of Josephine meeting the heir to the reporters estate at his funeral in present day.  His inheritance leads him to find an unpublished manuscript of a book that was actually the story of how he met Josephine.  Upon seeing an image of her he realizes she hasn’t aged since the 50’s.  His fascination with Josephine leads him into all kinds of dangerous situations.

Both arcs are really strong and I don’t want to spoil the big events of the series to this point.  Brubaker really gets out of his comfort zone with the more supernatural aspects, but proves he can handle the change without much of a problem.  For the most Fatale feels like the rest of the noir books he has written.  But the Cthulu twists really make Fatale stand out.

If you like Phillips’ style of art then this book will make you happy.  He brings the dark and gritty world of Fatale to life with his beautiful yet rough art.  Josephine is easily recognized from all of the other characters and when she shares a panel with other characters she pops off the pane.  It is clear that she has powers over men from the first time they meet her.  And the light and dark play that Phillips does so well is fully on display in this series.  The latter really helps set up the creepy feel of the cult.


Rating: 3.5 out of 5

It’s not the strongest book I have read by Brubaker and Phillips, but it does have me interested to see where Fatale goes after the second trade.  So there is a good chance I will do I follow up to this review after I read the last three trades.  I definitely recommend this series to people who like what the creators have done before, or even fans of HP Lovecraft.  

Thanks for reading my review.  If you have any comments or suggestions please feel free to leave them in the comment section.  So until next time.  Keep reading comics fans!!!

Monday, November 10, 2014

Review: Cyberforce Vol.1: Rebirth





Welcome back comic readers.  I am back with another review.  I chose this next title because it was offered for free on Comixology and it is a project by Marc Silvestri.  Silvestri is probably one of the best artists to come out of the nineties and have his work still stand up.  Big surprise to me that Silvestri was actually only writing this relaunch of his nineties series.

Cyberforce Vol. 1: Rebirth
Written By Marc Silvestri and Matt Hawkins
Art by Khoi Pham, Laura Braga, and Stjepan Sejic
Published by Top Cow
Released in 2001


Cyberforce was originally a series back in the nineties when Top Cow/ Image were just getting started.  The series I read however is a relaunch of the book that Marc Silvestri got funded through Kickstarter.  The entire first arc was released issue by issue for free.  

This new relaunch begins with a young girl named Carin narrating the story as her and her dog Ninja are on the run from a group of Shoc Troopers.  It isn’t made clear as to why they are chasing her, but it is obvious what they plan to do to her if they catch her.  And they do eventually corner Carin, But her dog sacrifices himself to give her the chance to get away.  It is at this point that the characters from the original series of Cyberforce start to appear.  

All of the members of the original series are in hiding because they have been branded as terrorsists by the current government.  There is Heatwave, Cyblade, Boomer, Ares Prime, and Ripclaw.  And they are wanted for the attempted murder of Carin’s mother, who is the wife of the head of a major company.  So it is safe to assume that the group don’t trust Carin very much.  However Carin knows that they are her only hope of finding the man that can help stop a coming disaster, Morgan Stryker.  Stryker is their former leader, but has not been heard from for a long time.  Some say Stryker is just a myth.  The group doesn’t trust Carin so they inprison her while they decide what to do about the fact that she has seen them and knows where they are.  

While the group decides what they are going to do Carin escapes with some help.  But by the time the group discovers her escape the shoc troopers hit their hideout leaving only a few alive.  The attack on the hideout is pretty explicit.  Not overly so, but it gets the point across that the shoc troops are not taking prisoners.  This is when it is revealed that Carin’s narration is actually her being mentally interrogated by the head of the security force of her parents, who is later to be revealed as a former member of the team himself.  Through this interrogation Carin explains how she got the information about the coming destruction, and that it is being planned and helped by her father the chairman of Cyber Data Industries.  Before they get too much about what Carin knows Ripclaw, who went looking for the escaped Carin before the attack hit, helps to get her out of the building.

Once out of trouble the two return to the rest of the group to find them all wiped out.  Ripclaw takes this especially bad because Cyblade was his wife and they had a child within the camp as well.  They also find a single survivor to the attack Ares Prime.  It is at this point that Ripclaw decides to take Carin to see Stryker.  Though it is clear that Stryker is not a popular person to any of his former teammates.  After yet another battle with some troops and Carin’s former bodyguard Aphrodite V, they find Stryker.  Or should I say Stryker finds them.  But after he helps them he goes to leave them, wanting nothing to do with  the trio.  This frustrates Carin to the point that she reveals her true link to Morgan Stryker.  

Marc Silvestri really took a very nineties concept and brought it to fit in the more modern setting.  The members of Cyberforce are all way more explained with a cyberpunk feel.  It is that aspect that made the series work.  I went into reading this without having read anything that came before.  I had heard of Cyblade and Ripclaw, but knew nothing about them.  Even with my lack of knowledge I understood who the characters were and where they stood in the grand scheme of the world within moments of being on panel.  All of the characters are given clear voices and personalities.

Khoi Pham has a beautiful style I didn’t expect.  And Pham’s art compliments Silvestri’s writing perfectly.  The layouts are really easy for the eye to follow and all of the characters and have unique looks making them easy to tell apart.   And when the action hits the high points Pham’s art keeps the beauty while taking on a fast paced rough feel.

Rating: 3.5 out of 5

I found this volume to be a really good read.  It had an interesting story that wrapped itself up by the end.   I don’t know whether I have any interest in reading on from this point, but I am happy I gave this book a look.

As always thanks for reading my review.  If you have any questions or comments please leave them in the comments section.  So till next time.  Keep reading fellow comic fans.

Friday, November 7, 2014

Review: Incorruptible 1-30



Incorruptible
Writer: Mark Waid
Artists: Jean Diaz, Horacio Domingues, Marcio Takara, and Damian Couceiro
Publisher: Boom Studios

After I told Ted that I think he should read and review Irredeemable (read his review here), I figured I should read it’s companion series.  Incorruptible ran concurrently with Irredeemable.  Where that book was an exploration of what would happen if a superhero went bad, this explores the opposite--a villain going good.

This story opens with Max Damage, a career supervillain, appearing out of seemingly nowhere and single handedly defeating his old crew.  Why would he turn on his colleagues?  Well, he was at ground zero when his arch nemesis, The Plutonian, went insane and destroyed a city and everyone in it.  This even traumatized Max so completely that he decides to turn over a new leaf and become a hero, seeing as he’s the only being on the planet that’s capable of going toe-to-toe with The Plutonian.  But it isn’t all smooth sailing from the get-go, as a career villain, he knows nothing about how to be a hero.  So how does he go about playing the good guy?  Just do the exact opposite of what he used to do!  This series follows his transition from his stumbling first steps at playing the hero to his eventual ascension to that goal.

There is so much to like about this series, first and foremost, the writing of Mark Waid.  He’s always been a favorite of mine, with my first exposure to him being his sublime Operation: Rebirth arc in Captain America.  In this series, he really explores just how fragile a person’s sanity can really be.  Max isn’t the only character in this series that gets so rocked to their very core that it produces a sea change in them.  Both of his sidekicks are most definitely certifiable and his one ally in his city’s police force takes a tragic turn.  In typical Waid fashion, the dialog is sharp and all the characters have a real sense of life to them.

In Irredeemable, Waid explains how Plutonian’s powers work in a truly genius fashion.  In this story, he has a rather interesting take on Max’s powerset.  He’s, for the most part, from the Luke Cage mold--invulnerable and super strong, but with a twist.  When he sleeps, he reverts to a completely normal human being, but after an hour of being awake, his metabolism kicks in and he starts to gain his invulnerability and strength.  The longer he’s awake, the stronger and more impervious to damage he becomes.  He’s able to go days, even weeks, without sleep with no upper limit to his powers.  But it comes at a price:  he is still susceptible to the effects of sleep deprivation, just like any person.  Another downside is that once his metabolism kicks in after some sleep, he loses all his senses except sight and hearing.  He can’t taste, feel, or smell after that first hour of being awake.

In the intro for this review, I listed four different artists on this series.  They all did a fantastic job in bringing this series to life, but the real stand out among them is Marcio Takara.  With sixteen issues under his belt, he’s the longest tenured artist on the book and his style is fantastic.  His linework really made me think of a style like Bruce Timm or Darwyn Cooke.  More recently, his work can be seen in the more recent issues of Captain Marvel.

The verdict:  Another in a long line of very solid work from Mark Waid.  I actually think I enjoyed this one more than Irredeemable.  In Irredeemable, I felt there was a lull in around the middle of the series before it got back on track and finished really strong.  This one comes out of the gate with an engaging, intense opening issue and pretty much maintains it all through the series.

The score: 4 out of 5 stars.

Wednesday, November 5, 2014

Review of Irredeemable #1-37





Hello fellow comic readers.  Today I will be reviewing a series that I have been aware of since I got back into comics, but for some reason never had the interest in reading it.  Then Tony and I came up with the idea to do a two part review of sorts.  So I agreed to read one side of the series and he read the other.

Irredeemable
Written By Mark Waid
Art By Peter Krause, Diego Barreto and Eduardo Barreto
Published By Boom Studios
Series ran April 2009-May 2012

On the surface the story of Irredeemable is what if the worlds most powerful superhero, snapped and turned on the people he swore to protect.  But by the end of the series Mark Waid has tackled a lot of interesting subject matter as well as played with the format of comics.

As the series begins The Plutonian has already gone insane and is hunting down the members of The Paradigm.  The first victim the book shows is The Hornet, a Batman-esque character.  The Hornet is trying to get his family out because The Plutonian had found them.  Sadly no one gets out of the house alive.  And that sets the pace for the rest of the series.  

The Paradigm is made up of Qubit, Bette Noir, Kaiden, Gilgamos, Volt, and twins Charybdis (Cary) and Scylla.  The members of the Paradigm really gives the book a strong basis for the reader.  And the power sets of the members are really interesting.   Far more interesting than The Plutonians power set which is basically Superman’s with less limits.  The other interesting fact part to the Paradigm is that each member is keeping secrets from the rest.  Whether it’s Qubit trying with all of his might to try to save Plutonian from himself, or Bette Noir trying to hide her one night stand with Plutonian in which she found the only weakness he has.  

As the story evolves The Plutonian shows less and less discrimination on who he kills or in some situations maims.  There is a point where Plutonian manages to kill a large group of supervillains by tricking them into activating the self destruct on the hideout they are occupying.  But as the story of The Plutonians fall gets revealed you learn more about his personal struggles with who he is, and his ability to fit in with a world that both fears and respects him.  

When the hideout is destroyed it kills Scylla, leaving Charybdis powerless.  So when The Paradigm realizes shortly after that Plutonian is on his way to them because of a tracking device.  Charybdis stays behind to buy the rest time to get away.  However when Plutonian arrives it is revealed that the death of his brother didn’t leave Cary powerless it left him holding all of the power.  After a brutal fight Plutonian barely escapes and Cary renames himself Survivor and elects himself the new leader of the Paradigm.  The character arc of Cary is the spot in Irredeemable where the genius of Mark Waid’s  writing really comes out.  Within only a short time of having this massive amount of power Cary is fully corrupted by it to the point that the rest of the Paradigm can’t trust him.  But Waid’s genius doesn’t end there.  before long the powers of the Plutonian are given an explanation to just exactly how they work.  And it isn’t a cop out of how the solar rays of Earth’s son interacts with his alien physiology.  His powers are based on the fact that physics just purely don’t apply to him.  Though even the Plutonian hasn’t figured out this fact yet.  

When Kaiden goes to visit Plutonians ex-girlfriend Waid gives the reader another interesting look at the cracks in the Plutonians foundation from the beginning.  And you also get to see how spiteful he can be.  She is left as the only person left alive in the city he used to protect.  Essentially making her a scared slave in a destroyed city who knows he could kill her at anytime.  Her story really serves to prove how even the people who were closest to him aren’t safe from his wrath.   And it actually makes more sense after you learn the Plutonians true origin, and you see what makes him so unbalanced from the start.  The only issue with the series to me was the way Waid wrapped it up.  I understand what he was going for with the ending he put together, but it just seemed a little heavy handed to me.

The Art of Peter Krause was a little lackluster towards the beginning of the series, but it quickly gets better as the issues go on.  His layouts and storytelling improve as you read each issue.  Then Diego Barreto starts to share the art duties and the art really starts to meet up with the writing.  Both Barreto and Krause really handle the emotional and physical darkness.  Eventually Barreto takes over completely and the book hits the strongest stride in my opinion.  That may because of what is going on in the story at that point, or it could be Barreto’s art, or maybe it was a combination of both.  



Rating:  
4 out 5-  I highly suggest this series to anyone who hasn’t read Irredeemable.  It takes the idea of the Superman style character and turns it on it’s head.

As always, thank you for reading my review.  If you have any comments or suggestion feel free to leave them in the comments section.  Thanks again, and keep reading fellow comic readers.