Comic of the Day 28/4: "Deadpool & The Mercs For Money" #3

Frankly, there is not much to say about Deadpool & The Mercs For Money #3, except that it's just a piece of hyped-up, over-the-top, colorful fun. From the hilarious back and forth of Evil Deadpool's and Taskmaster's skirmish to the auction of the Fortune-Telling Future-Bot, the comic is never too clever or enthralling and, in all honesty, does not even try to be.

Cullen Bunn and Salva Espin are merely running riot with the possibilities they are given here, offering an excessive cast of hilarious villains (Deathstrike!!!), gory violence, and a Deadpool in top form. What more can you ask for!?

Comic of the Day 27/4: "Star Wars: Obi-Wan & Anakin" #4

One of the issues with Obi-Wan & Anakin #3 was that it posed more questions than it actually answered. Consequently, one of Charles Soule's greatest achievements as a writer here is that he answers many of these questions without making the comic feel jam-packed with facts or information. Step by step he delivers small pieces of the bigger puzzle while maintaining a high level of suspense throughout. Marco Checchetto's art is impressively detailed and polished, even though some of the environment and creatures of Carnelion IV might feel alien to what audiences are accustomed to in the Star Wars universe. 

Obi-Wan & Anakin's second big story line is that of Anakin's training in the Jedi Temple and the gradual seduction by Palpatine. The dialogue is as excellent as always here, perfectly illustrating the nuanced cunning and plotting by the Chancellor. It's also intriguing to see the comic take a more critical stance on the recruitment of young Padawans in general. Anakin in particular is written with an exceptional depth and complexity that is missing from the main Darth Vader comic.

In just one issue, Charles Soule has managed to set the comic up for what will be its final instalment next month, filling in enough holes to focus entirely on the story's conclusion.

Comic of the Day 26/4: "All-New Hawkeye" #6

Jeff Lemire's and Ramon Perez' remarkable run at Hawkeye has come to an end. All too soon, as it was one of the best and most consistent comic series of 2016 so far. But, fortunately, they are not leaving without giving us one final issue that sums up what has made All-New Hawkeye so outstanding over the last couple of months.

Perez art gives the two ongoing story arcs (Kate's struggle as a young girl to find her calling in life and cope with her family/her and Clint's rescue for the Project Communion children) a very unique and individual tone. The blurry, washed out lines and colors in the former enhance the feeling that Kate's memories are in fact not accurate, and that her heroics when freeing herself from Matador are strongly exaggerated; and the latter captivates with its established but nevertheless sleek retro style.

The Avengers play a sizeable role here, as Lemire reveals how Kate was inspired to carry the "Hawkeye" moniker. However, the comic is at its best when depicting Kate's and Clint's relationship by presenting us with extraordinarily nuanced and carefully woven dialogues, that make it perfectly plausible why the comic had to end the way it does.

All-New Hawkeye was funny, honest and human, with great art and a captivating story. Hopefully Marvel's next volume will be able to come close.

Comic of the Day 25/4: "Action Comics" #51

There's not much going on in Action Comics #51. It's still enjoyable, but as a part of the larger "The Search for Supergirl" story arc, it falls into the old trap of not sufficiently existing in its own right. While it starts out with a spectacularly paced action scene that sees Superman take his daughter away from the D.E.O., the comic doesn't have much too offer afterwards, with an apparent lack of pace or tension.

Peter J. Tomasi's dialogue between Supergirl and her father is stale and clichéd, while Paul Pelletier's pencils and Tomeu Morey's colours are often too playful to add a real dramatic tone to the story. Taking some risks would have benefited Action Comics #51, as its safe approach does not allow for too much creativity or fun.

Comic of the Day 24/4: "Star Wars: C-3PO"

Apart from the rather good Obi-Wan & Anakin, the force has not been too strong with recent Star Wars comics. From the complete disaster that Darth Vader has become in recent issues to the mediocre stagnation that prevails in the main series, not too much effort has gone into the stories from a galaxy far far away once the The Force Awakens hype had died down a little. So naturally the C-3PO one-shot has not been hugely anticipated among fans, especially since the droid is not one of the fan favorites. 

But to quote Yoda's "judge me by my size, do you?", one should definitely not underestimate this comic, as it is, in fact, the best Star Wars comic released so far after last year's reboot. Tony Harris' art is either gritty and dark when depicting the hostile planet the group of droids are stranded on, or warm and detailed when showing the buckets of bolts up and close. Paired with James Robinson's clever writing, each one of them is given a distinct personality that creates some joyously awkward conversations and an overall great dynamic for the comic. For Star Wars fans it's also quite revealing and fun to actually see a broader selection of droids with their unique strengths and purposes.

However, the highlight of the comic is its clever and deep treatment of such philosophical matters as agency, loyalty, history and memory. Prompted by Omri, a droid serving the empire who is held captive by the others, C-3PO comes to question the rightfulness and randomness with which they are merely assigned a role in the wars of humanoids. Omri, who is almost complex too a fault considering his assumed mechanical binarity, urges the other droids to rise above the resentments forced upon them by their masters and decide for themselves what matters. 

The second big issue raised is history and memory, where the constant deletion of a droid's memories is metaphorized as a phantom limb, leaving them with fragmented memories that are felt to be there, but can hardly be accessed. The ensuing memories C-3PO's forces out of his subconsciousness are fantastically drawn and illustrate the fragmented nature of a droid's memories  .

But most of all, Star Wars: C-3PO is a moving story about friendship, a great sacrifice and the possibilities and powers one can have if they act with agency and true conviction. By the way, they reveal how C-3PO got his red arm; and Poe and BB-8 are in it, who'll star in their own comic series next month. But that all doesn't matter. The rest here is what matters.

10/10

Comic of the Day 23/4: "Silver Surfer" #3

It's the Silver Surfer 50th anniversary issue, and consequently, more of a celebration of the series itself. It has a more than usual retro-feeling about it, and Dan Slott and Michael Allred do a great job of writing Silver Surfer's dialogue, which is thoroughly spot-on and topped with some great dry humor throughout.

While The Thing is great fun in this one, and helps to balance the comic out in terms of its tone, other characters, however, did not receive quite the same love. Especially Dawn Greenwood and Alicia Masters are written slightly subpar. Their dialogue is, even when considering the underlying irony, way too stale at times.

Laura Allred, however, does an outstanding job of playfully coloring the comic, and it's notably the arrival of the Avengers and the final scene that offer amazing art and scope and make a somewhat odd Silver Surfer #3 a satisfying affair after all.

Comic of the Day 22/4: "Batman/Teenage Mutant Ninja Turtles" #5

The Batman/Teenage Mutant Ninja Turtles crossover was taking somewhat of a risk when teaming up characters that are held so dear by so many people. But the series has been real success so far, maintaining the individual strengths of both Batman and the Turtles, while finding common ground for them to share.

And even though #5 might not be as spectacular or funny as earlier issues, it still does a lot of things right. From an unexpected ally in Penguin to a (temporarily) unexpected foe in Robin, when Freddie E. Williams delivers one of the greatest fight scenes in the series so far, Batman/TMNT understands how to mix things up and keep them interesting. 

But it's first and foremost James Tynion's ability to illustrate the amazement and pure joy the Turtles and Casey have when living out their teenage fantasies in the Batcave that gives Batman/TMNT its flair. And it is also their disbelief when Robin confesses to never even having thought of trying out something similar that strikes a more serious note. It questions the way Batman raises and educates Robin and the experiences he denies him.

And yeah, that Intimidator suit Alfred mentioned. I want that one in #6. A lot of it.

Comic of the Day 21/4: "Deadpool" #10

"Deadpool" #10 is a bit of a mixed bag. The Merc with a Mouth and Sabretooth still make for an entertaining lead duo, and the underlying issue of who killed Deadpool's parents is balanced out well, never being too light or too serious in tone.

But it's hard to overlook that the comic does hardly more than advance its plot to what is the inevitable finale in the next issue. The dynamic between Deadpool and Sabretooth is strangely off, and the jokes don't click any more like they did in #9. Matteo Lolli still excels at capturing the fun and scale of the action scenes, and the comic has some outstanding comedy elements (the references to Canada are hilarious, and look out for the joke with the bird).

But ultimately, Deadpool #10 is a wasted opportunity and just prepares the ground for the story arc's conclusion in #11. 

Comic of the Day 20/4: "DKIII: The Master Race" #3

If you've read the first two issues in the latest "Dark Knight" sage by Frank Miller, Brian Azzarello and Co, you might not expect or even accept anything less than excellence. And even though it's not as spectacular as #2, as especially the inner monologues have lost some of their edge, it's still a superb artistic achievement, making it easily one of the best comic series of the last year.

DKIII: The Master Race #3 probably shines where you'd expect it to, but that should not diminish its outstanding quality. Miller's trademark satire on the news, media, and communications machine features prominently here again. Is it righteous and clichéd? Yes, of course. But it's also hilarious and unsettling in its biting spot-on commentary.

Andy Kubert and Klaus Janson's art is brilliantly unadorned, creating panels that have room to breathe and are able to tell the story in their very own pace. They are also not afraid of delivering one of the most unpleasant looking portrayals of Bruce Wayne. All handsomeness has vanished from his face, leaving an appearance that is characterized by the pain and struggles in his life.

While Quar and his Kryptonian entourage are still somewhat lacking the threat they are supposed to embody, it's Lara that shines here, particularly in the final scene.

The mini-comic inside is Green Lantern #1, which features a compelling artistic concept of the Green Lantern in its first pages, offers a provocative alternative take on the Kryptonian invasion full of sexual innuendo. Asking if human society should not actually perceive them as emancipators freeing earth from their suppressive shackles and worn-out principles, it touches upon topics of sexism and race.

It's another masterpiece in the DKIII series, and we should all rejoice that there's still five more to come.

Comic of the Day 19/4: "Detective Comics" #51

Detective Comics #51 is a solid, satisfying and entertaining read throughout, mixing things up by setting the story in the desert wastelands of Afghanistan instead of the Gotham's concrete jungle. 

Jim Gordon, hunting down a mystical power he encountered once before and which is now killing all men from his former Marine Corps, works particularly well in this new environment. Peter J. Tomasi's portrayal of Gordon is full of grit and determination here, and Fernando Pasarin particularly excels in giving his facial expression a remarkable range and depth, as the former Commish tries to uncover the circumstances surrounding the death's of his former combatants.

However, there is one glaring issue with Detective Comics #51, and that's Batman himself. Seeing Jim Gordon being the Caped Crusader again after he gave up the "job" in Batman #50 is not necessarily faulty, as the two comics' timelines have never been completely synchronized. But it feels that the inclusion of Batman at all is more of an afterthought here, as the few times Gordon does put on the costume are unnecessary, not forwarding the plot or adding anything of interest. 

Nevertheless, it's still a splendid and varied story that I cannot wait to be concluded.

Comic of the Day 18/4: "The Fix" #1

The Fix #1 is very much like its two anti-heroes: perfectly aware of the time and zeitgeist they are in, but deciding they couldn't give a shit. It's two corrupt policemen disgusted by the state of modern-day crime who want to make it big the old-fashioned way (ski masks and retirement home robberies included). 

Drawing heavily from TV shows and movies from the 80's and 90's, Nick Spencer and Steve Lieber create a story that is always light in tone, but never shy of going all in for bad taste. So, The Fix is first and foremost what you'd probably least expect it to be: a comedy masterpiece with one great punchline after the other. 

And it's not even the two main characters who shine the most here. It's the superb cast of supporting characters (the completely over-the-top Donovan is a guilty pleasure, Josh the kind of villainous crime boss that you won't have seen in any comic before, and Pretzels...well, I won't tell you). 

It's hilarious, violent, witty, and defying expectations on all levels. A definite must-read.

Comic of the Day 17/4: "Star Wars: Darth Vader" #19

When reviewing Darth Vader #18, I said things couldn't get any worse from here on out. And even though the series' latest issue does indeed show small signs of improvement, it's still far away from being a good comic, though. 

While Vader was as flat a comic protagonist as there can be, more consideration has gone into him now, at least showing some signs of reflection and awareness of his own past and situation. That's not a lot to ask, surely, but that is how badly Darth Vader was written in the last couple of issues. Kieron Gillen has not managed at all to capture Vader's aura, and I am worried to see him and Salvador Larroca continue their run in the near future.

However, while some lingering issues with the series are ironed out, a couple of new ones creep up. While action sequences have at least been solid before, Gillen and Larroca completely lose their grip on them here. It's never clear what exactly is happening, where it is happening or who is talking. Half of the time reading the comic was spent just flicking back and forth to at least get some kind of sense of what's going on. 

An honourable mention should go Triple-Zero, who has reached the Jar Jar Binks sphere of annoyance. Can anyone please kill off that poor droid!? It's fine trying to add some fun elements, but the Triple-Zero/Beetee dynamic proves to be a colossal failure issue after issue.

The "Shu-Torun War" is over now, and I can only hope that a new start into a new storyline can invigorate Darth Vader again.

Comic of the Day 16/4: "Thunderbolts" #102

All right, so Thunderbolts has traded incomprehensibility for really bad writing. But hey, I take that any day of the week. 

The story (three groups fighting and plotting for some mystical powers, you know the drill) is even somewhat interesting, even though complicated by the fact that half of the characters are wearing exactly the same cheap costume. Comics have come a long way stylistically since then, and we should all be very, very grateful for it. 

And then there are Fabian Nicieza's monologues and dialogues. Coming straight from the Big Old Comic Phrasebook, you'll find such gems as

A man bends, and you can get what you want...but if a man breaks--that gets you what you need.

and

Because that's when you've beaten your toughest challenger...That's when you've beaten yourself...

What does all that even mean!? Empty, self-important word shells that are nothing more than filler material. Also, the depiction of Joystick's relationship to her father feels hugely distorted throughout the comic. At times full of passion and empathy, and then suddenly she couldn't feel less.

Awkwardly, Thunderbolts #102 is a huge improvement compared to #101, and that says more about the quality of the latter than it does about the former. But keep improving like this and we might have a half-decent comic when I review #105.

Comic of the Day 15/4: "The Flash" #48

The Flash #48 is a good and pleasant read, but offers little to elevate itself into being more than that. 

Barry Allen is hired by the CCPD to assist "The Rogues" in hunting down...yes, you guessed it, The Flash. The most baffling thing here is the perplexity with which writers Robert Venditti and Van Jensen let Barry handle the situation. Aimlessly, he seems to run headlong into chaos and only gains confidence after his father delivers one of the most clichéd "I believe in you. The city needs you" speeches. 

A huge positive, though, is how the writers handle The Rogues. As sceptical as I am about second rate super-hero or villain team-ups, Weather Wizard, Trickster, Mirror Master, Golden Glider and Captain Cold are approached with exactly the right attitude: irony. Knowing they have little to offer individually (Captain Frye's altercation with Captain Cool is simply hilarious) and one alone never could stand a chance against The Flash, their strength comes in numbers as they battle.

Jesus Merino's art is solid, delivers some dynamic action sequences, but never really dares to leave its own comfort zone. However, none of these issues are significant enough to spoil the fact that The Flash #48 is still a fun read that just needs some minor adjustments to really stand out.

Comic of the Day 14/4: "Deadpool" #9

This comic is fun. A lot of fun. And then some.

Even though the last couple of Deadpool comics have all been entertaining in their own way, none of them ever really clicked with me. Deadpool was either trying too hard, or took a back seat to other characters. 

Gladly, the Merc with a Mouth is back to full strength in this one. Particularly, it's the full-blown fight against Sabretooth that has it all: Gerry Duggan's spot-on dialogue and bon mots paired with flawless pacing and execution by Matteo Lolli, who gives the scenes a great sense of scope by using full page panels. It's definitely quality over quantity and one of the most hilarious comic rides of the year so far. 

But credit should also go to the depiction of Sabretooth. He's not just simply a villain, but a compelling antagonist with nuanced character traits and a moving backstory that (despite some common tropes about the freak child) gives this comic more depth than you would probably expect from Deadpool. 

This issue simply has everything you could want from a Deadpool comic, hoping there is more like this to come when #10 hits the shelves.

Comic of the Day 13/4: "Hawkeye" #5

The current Hawkeye series is just so wonderfully consistent and coherent in what it delivers, I admit it's hard to add anything new here that I haven't already pointed out in earlier reviews. But why not just repeat praise where it's due?

You probably won't find a comic that's better looking than this one, where Ramon Perez art is so amazingly in concert with Jeff Lemire's narrative (and if you do, please let me know, OK?). Clint's and Kate' relationship is so extraordinarily humane and honest, without ever being kitsch or stereotypical. And Lemire never makes the mistake of taking sides in the still underlying conflict of responsibility and guilt between the two Hawkeyes, letting the reader decide who's right and who's wrong (if there even is such a thing here).

Some of the comic's twist come a bit too easy, and little Kate is too wisecracking for her age at times, but these are only minor flaws in a series that never takes a step back, maintaining its superb quality throughout. Absolutely essential.

Comic of the Day 12/4: Detective Comics #29

I really hate it when I'm right about something. And oh, how right I was about "Gothtopia" when reviewing Detective Comics #27 (what, you haven't read it!? Stand in a corner for 5 minutes and then click here. 

What started as a clever story about an alternate Gotham where happiness and harmony rule, too soon became a simple succession of old Batman cliches. Batman has a plan...because he just always has. He's one step ahead of the villain...because that's what he does. And you can bet he has an antidote ready for when Scarecrow strikes. Admittedly, all these have been defining characteristics of Batman all along, but the lack of creativity and effort with which they are executed proves to be a crucial weakness.

However, it' not just John Layman's writing that fails to convince. Aaron Lopresti's art never manages to capture the terror of Scarecrow (who is no scarier than this. Cute!) and the dark vision he has for Gotham.

Kudos though for Batman's monologue about exactly how Scarecrow's fear toxin works. Layman does an excellent job of explaining how it affects the mind and body, providing some really interesting facts even for the seasoned Batman reader.

Comic of the Day 11/4: "Daredevil" #5

The Chinatown story line draws to a close here, and shows once more the high quality standard set by the most recent Daredevil volume. And it's not even "The Man Without Fear" that is front and center here. 

Even more than in previous issues, Blindspot and "his" Chinatown act as the story's focal point, as it becomes apparent that it has to be him to save his home and people from The Hand and Tenfingers (who is only a bit too much of your cliche cult leader). A good possible sidekick for future Daredevil, I still feel he needs a bit of polish and development, especially in action scenes.

Is it still necessary to mention how good this comic is looking? Ron Garney does an excellent job of giving every single panel a very distinct Daredevil feeling, as everything is soaked in gritty red and black. The pacing of the action is simply astonishing, giving the comic a smooth and effortless flow. Hopefully Soule, Garney and Milla continue their run at Daredevil, as I cannot wait of more like this to come.

Comic of the Day 10/4: "Detective Comics" #28

There's nothing fundamentally wrong with the "Gothtopia" storyline, that is continued in this issue. But there's also not a lot really right about it either. Fairly light in tone and art, it mostly stays on the surface of its narration and characters, not digging deeper into the many compelling opportunities and ideas "Gothtopia" has to offer.

Its biggest issue is probably just scope. Being a 3-part series, "Gothtopia" feels too limited in what it is able to tell. I would have, for example, loved to see more of the delusional dream world Gotham has become, and the role Batman plays in this new society. Although the story is perfectly coherent within the context of Batman's world (even though the "why" of Scarecrow's terror can hardly convince), there is a feeling that things just move too fast and effortlessly for the comic to be something special. 

Detective Comics #28 is by no means a bad comic, but would have greatly benefited from being stretched into a 5 or 6-part series, thus giving the comic and its promising ideas more room to grow.

Comic of the Day 9/4: "Star Wars: Darth Vader" #18

Darth Vader #18 is a huge disappointment, adding more misery to a series that is dwindling down fast. The story is thin and confusing and Kieron Gillen does nothing whatsoever with Vader's character. Instead, the Sith Lord continues to be simply a collection of grim and "menacing" remarks, while none of the potential in his conflicting character is explored.

The overall impression is that Darth Vader has become indifferent to what it has to offer. Stories hardly progress, the art is mere routine and Darth Vader only a caricature of himself. 

And then there's Beetee and Triple-Zero. Being a fun addition in the beginning, they now seem to repeat the same old joke over and over again ("You know what, I love humans...when they are dead, blah blah blah"). 

Darth Vader is in serious need of a revamp, with a team that actually cares about the characters and the story it wants to tell. At least, it can hardly be any worse than this...

Comic of the Day 8/4: "Detective Comics" #27

An homage to the first ever appearance of the Batman in the original Detective Comics #27, this issue is nothing short of a celebration of itself. Apart from its main feature, "Gothtopia", every story in this super-sized issue is wonderfully "meta", reflecting on the very nature of Bats and what it is exactly that keeps audiences coming back for more than 75 years. All this is accentuated by ever-changing art styles that elegantly chronicle the series' visual development over the decades. 

Here's a short look at all of them:

• "Gothtopia: Part 1 of 3": I like the idea and execution of a somewhat psychedelic Gotham, where utopia and dystopia are almost interchangeable. Unfortunately, it feels as if it is to become a rather more conventional Batman story towards the end.
• "The Case of the Chemical Syndicate": A modern re-telling of the first ever Batman story. It feels charmingly dated, but the inner monologue here is simply outstanding.
• "Old School": It's first part is a hilarious homage to the early days of Batman, with art and language that skilfully and ironically capture the style from the 30's to the 60's, while the second part mirrors the darker images of Miller's interpretation from the 1980's.
• "Better Days": Featuring a very, very, very old Bruce Wayne and lots of well-known Batman faces, but unfortunately never convinces in what it tries to do.
• "Rain": It looks stunning, but can anyone please tell me what's going on? Who's that boy?
• "The Sacrifice": A "What-If" type of story, imagining what would have become of Bruce Wayne had his parents never died. It's well-executed, although with predictable conclusions.
• "Twenty-Seven": Anticipates what will happen in later Batman comics, especially in the "Mr. Bloom" story arc. A great idea in itself, I still don't think the sci-fi elements necessarily fit Batman.

Comic of the Day 7/4: "Black Widow" #2

To say that Black Widow #2 does not match the series' first issues is by no means meant as a criticism. It was just so phenomenal in its simplicity, sturdiness and pacing, that it would have been foolish to expect the same again.

But fortunately, Black Widow #2 does not try to just duplicate what it so skilfully mastered the first time around. It is slightly more traditional in its storytelling, but never conventional about it, heavily drawing from classic spy tales (the funeral, a betrayal, the lion, the torture chair) with an art style that is retro without feeling old. Samnee and Waid pay an aesthetically fascinating tribute to the 60's and 70's and thus create an environment that probably fits Natasha Romanova more than any other could.

Black Widow is on its way to become one of the defining comics of 2016, and I can't wait for #3.

Comic of the Day 6/4: "Star Wars: Kanan" #2

Always regarded as the black swan among Marvel's Star Wars comics, and now coming to a close, Kanan #1 was a welcome surprise. It offered a well-balanced and intelligent angle on the Jedi Order and the relationship between Master and Padawan, trumping even Marvel's more recent Obi-Wan and Anakin series in this regard. 

Kanan #2, however, seems to have lost almost all of its edge already, feeling lazy and unimaginative throughout. Caleb's inner monologue, even more untypical for a child, retreats too much into worn-out phrases, while never fully exploring the intriguing transformation from friend to foe so central to this storyline. Pepe Larraz' art only adds to this overall impression. Apart from the chase scenes, it is never able to create the grit the comic misses so dearly.

Kanan #2 trades in the maturity of its initial issue for a tone and simplicity that far more match the aesthetics of the younger-audience targeted TV show.   

Comic of the Day 5/4: "Thunderbolts" #101

This one is the first Thunderbolts comic I've ever read, without knowing much about the series in general, and having close to no clue what anyone of them is talking about in any given scene. Hence, I have to admit I don't feel in the most comfortable position to review this properly. 

But then, don't they say that every comic you pick could potentially be your first one, offering enough insight and background to make it an enjoyable read? So then, does that hold true for Thunderbolts #101, letting me jump right into the action?

The answer is simple: no. Although the comic offers sufficient exposition at the beginning, I hardly ever had the feeling to know what's going. Too much seems to depend on whether you've read earlier issues and are familiar with the characters. I do not say this is a bad thing in general, as I can see seasoned Thunderbolts readers enjoying this issue.

And, consequently, this also makes it rather difficult to answer another important question positively. Is the comic fun? The Thunderbolts seem oddly dated in 2016, with group dynamics and an art style that simply don't hold up with today's comic standards. 

So, will I read another issue. Strangely, yes. I have four more comics in the Civil War volume, so eventually I'll see if things get more coherent over time, letting me enjoy the comic at least a bit.

Comic of the Day 4/4: "Avengers: Assault on Pleasant Hill Alpha" #1

With recent "Avengers" outings rather being disappointing, this promises to be a strong crossover series, returning the superhero team-up to top-form again. 

Assault on Pleasant Hill manages to convince in almost every area, with high production standards throughout that gives the comic a movie-like feeling. Character relationships and dynamics work very well, with Captain America old and new being convincing leads and Bucky as the perfect choice as the anti-hero.

Hopefully the series will add a bit more action scenes to its repertoire in the issues to follow, and drop some of its comedy elements, which are stale and forced on too many occasions.

Comic of the Day 3/4: "Batman/Teeanage Mutant Ninja Turtles" #4

It's the surprise series of 2016, offering perfect fan service for admirers of the Bat and/or the Turtles. Any chance of making this an ongoing series, DC and IDW? 

Admittedly, the story does hardly progress at all, and another journey back into Crime Alley, even if just to make Batman more relatable for the Turtles, feels like filler material at best.

But all is ironed out and then some by the sheer crossover possibilities James Tynion IV explores here. Just to name a few, we can see 

• Batman eating a slice of pizza (!)
• The Turtles riding a Batmobile
• Raphael walking through Gotham night in a trenchcoat

With only two more issues left, I hope there's more to come in the future.

Comic of the Day 2/4: "Star Wars: Obi-Wan & Anakin" #3

This is the strongest issue in the series so far, particularly shining when showing Palpatine's masterful manipulation of young Anakin. The dialogue in these scenes is meticulously crafted, with the Sith Lord in disguise precisely appealing to Anakin's interpretation of right and wrong, while never revealing his broader agenda.

Marco Checchetto's art presents an interesting angle on the Star Wars universe, creating an ice world that strays away from common conventions, while also feeling considerably distinct from Hoth. Only the Fishers seem unimaginative and too much like your usual Marvel space-alien-villain.

With only two issues to go in this series, Obi-Wan & Anakin still leaves much in the dark when it comes to what exactly is happening on Carnelion IV. The relationship between the Open and the Closed remains unclear, and it's hard to make any sense about what happens to the two Jedi at the end. One can only hope Soule starts to tie up some loose ends in #4 already, not risking a final issue that feels too rushed and confused. 

  

Comic of the Day 1/4: "Hawkeye" #4

Hawkeye continues to be the best-looking major coming series at the moment, and its plot does not disappoint either. Having said that, Jeff Lemire plays it safe as to what he does with his characters and how he develops them.

Kate's childhood story, albeit being well-told, offers nothing new to the "rich/spoilt-but-neglected girl" perspective, retreating far too often into well-known tropes and phrases. Only the final revelation about Kate's father manages to add some depth and diversion.

Meanwhile, Clint's attempt to recover the Project Communion children sees the other Hawkeye at his loud-mouth best (watch out for the hilarious "Mad Max: Fury Road reference), offering a welcome and up-beat change to the thoughtful Kate story arc.

Still going strong in #4, Hawkeye is one of the essential comic series right now, and absolutely recommendable.  

Comic of the Day 31/3: "Star Wars" #17

It's very much black and white in this one, as one cannot shake the feeling that recent "Star Wars" comics favour style over substance. The art still amazes, with great set pieces that are a delight for every Star Wars fan, but the story seems to unnecessarily drag without any essential developments.

While Leia's and Sana Starros' involvement in the prison assault features some awesome moments of suspense and action, the story seems to skip forward all the time, leaving out important information in the meantime. And then there's the comic's conclusion, with an obviously doubtful and unlogic decision and a team-up really no one needs.

And yes, there's also Han's and Luke's story arc, featuring either never seen before scenes as tie-fighters chasing the Millennium Falcon (wow!) or subtle comical masterpieces as poo jokes (poo jokes? poo jokes!!!). Cut the few pages of that, extend the prison break story line and you would have had a really good comic... It wasn't to be this time.