The Invincible Iron Man #523 Review

It can be draining to review Invincible Iron Man on an issue-by-issue basis, both because the series never varies tremendously in quality and because it's the sort of book that requires the reader to take the long view when making an analysis. Some chapters are just slower and less eventful than others, and issue #523 happens to be one of the slower ones.

The same running threads continue in this chapter, with most of the focus directed at Tony's attempts to undermine Mandarin's empire and Pepper's efforts to deduce the identity of the new Iron Man. At the moment the former is proving more interesting than the latter. There's too little indication as to what exactly Rhodey is up to with his antics. Is the whole thing an elaborate ruse to get Pepper looped in on Tony's plans? Surely there has to be a more direct way of accomplishing that.

In Mandarin Land, Fraction delivers some fun interaction between Tony and his rogues as he works to enlist them in his plans. The balance of power is slowly shifting as Tony and Zeke become more proactive and Mandarin shows the strain of his lofty position. There are even hints that Mandarin himself isn't the end-all, be-all villain of this storyline. It's interesting to see how many new seeds are blossoming even this late into Fraction's run.

Little has changed regarding the art, which has been the case for years at this point. Unfortunately, Salvador Larroca doesn't have the opportunity to break out his altered flashback style as he did in issue #522. Still, the issue offers a nice mix of simple character interaction, high-octane, armored action, and sci-fi imagery. Oddly, the one visual element of the book that has changed is the cover design. It's a positive change, but it seems weird to suddenly make the change in the middle of an arc and the tail end of a four-year saga.

Jesse is a writer for IGN Comics and IGN Movies. He can't wait until he's old enough to feel ways about stuff. Follow Jesse on Twitter, or find him on IGN.

Source : feeds[dot]ign[dot]com

Avengers Academy #35 Review

With the first issue of Final Exam,"Christos Gage quickly and successfully transitioned Avengers Academy away from the Avengers vs. X-Men conflict and back towards more internal matters. Jeremy Briggs is back, and he comes bearing tantalizing promises of a world where only the most deserving of heroes are allowed to have powers. Issue #35 focuses on two splintered factions of Academy recruits -- those who have bought into Briggs' vision, and those who are on the receiving end of his wrath.

Both halves of the story offer plenty of juicy material for longtime Academy readers. On one front, Haz-Mat and Mettle are making the most of their newly human states, even as a chronic lack of privacy proves to be their newest foe. These scenes hit all the right emotional notes, particularly late in the issue as Gage throws the inevitable wrench in the works. Equally appealing but more dramatic are the scenes following the renegade teens, most of whom are suffering the debilitating effects that come with sudden power loss. X-23 and White Tiger shine in particular this month. Gage just seems to understand Laura in a way too few X-writers have over the years.

Unfortunately, this issue does take one major step back in terms of its portrayal of Briggs. I noted in my previous review my appreciation that Briggs wasn't cast as an overt villain, but merely a figure with murky intentions. Unfortunately, that sense of uncertainty begins to fade away now, and he becoems less interesting as a result.

Andrea Di Vito steps in for Tom Grummett this month. While it's disappointing this arc won't have one, consistent penciller, Di Vito handles the characters well and delivers a bit more detail and depth in his panels than Grummett's issues had been offering. What the issue lacks in style it makes up for in good, solid storytelling.

Jesse is a writer for IGN Comics and IGN Movies. He can't wait until he's old enough to feel ways about stuff. Follow Jesse on Twitter, or find him on IGN.

Source : feeds[dot]ign[dot]com

Captain Marvel #2 Review

The second issue of Captain Marvel is a pretty dramatic shift from the previous issue. This is a straight up time travel story that throws Carol into a World War II setting. That might seem a bit strange, but Kelly Sue DeConnick and Dexter Soy make it work. This issue doesn't quite have the same heart and heft that the series started out with, but it's still a great comic book with a tight script and some gorgeous artwork. Captain Marvel is quickly becoming the Marvel title to watch. Or read, I guess. You know what I mean.

The use of time travel is an interesting choice, and once you get about half way through the issue you realize why it works for this story. Carol says it herself, when she notes why time travel is taking her out of her comfort zone, "You can't blast it, punch it, outrun it or throw it into space." This is not business as usual for Carol Danvers. This is a story that looks to grow the character and make her a different kind of hero. The dialogue is great, but the inner monologue is even better. The time we get to spend in Carol's head is worth the cover price alone.

The change in setting really suits Dexter Soy's art. Every page in this issue looks good, but it looks even better once we shift back in time. Once a group of female commandos burst on to the scene, you'll be sold. It looks absolutely awesome and it's the kind of thing that is really enhanced by Soy's dark, washy art style. If you didn't think he was a good fit for Captain America fighting Absorbing Man, then you might want to give his work a second chance here. It looks stunning.

This is a dark book, not in tone, but rather in style. Soy's art is heavy on shadows here. Blackness seeps into every page, covering the world and characters. It's a credit to the artist that after only two issues, it's hard to imagine anyone else drawing this series. I'll admit, I had originally been expecting a light and bright comic with Captain Marvel, but what we get is better. It looks better with Soy at the helm and all you naysayers need to suck it up and give this comic a look. I'm calling it; Dexter Soy is going to be a superstar.

If Captain Marvel continues on this path, DeConnick and Soy will have created one awesome new title for Marvel. It's engaging, fun, beautiful and different. This is not your typical superhero book, and that's exactly what makes it so great. It's nice to see a different kind of monthly title from Marvel. I have never been a Carol Danvers fan, but as long as Kelly Sue DeConnick and Dexter Soy are handling her adventures, I'll be picking up every issue. Marvel needs to take more chances like this, because -- in the case of Captain Marvel, at least -- it has totally paid off.

Benjamin is a writer and storyteller. He owns many leather-bound books and his office smells of rich mahogany. Follow Benjamin on Twitter, or find him on IGN.

Source : feeds[dot]ign[dot]com

The Incredible Hulk #12 Review

Every issue of Stay Angry has followed a clear pattern. Hulk wakes up in strange place, smashes some truly bizarre foes, and then is whisked away to repeat the process elsewhere. As much fun as the arc was initially, that formula has seriously worn thin in the last couple chapters. Luckily, issue #12 injects just enough new variety into the mix to spice things up again. And the fact that Aaron finally reveals what Banner has been up to all along doesn't hurt either.

This month, Hulk awakes to find himself trapped in a forgotten prison buried deep in the Antarctic. But rather than focus on the other residents of the prison (who barely receive more than a glimpse or two), Aaron pits Hulk against Wolverine and The Thing. It's an extra dose of star power, to be sure, but the real appeal with this match-up is in the hilarious banter. He mines the tumultuous history between the trio for all its worth, and delivers some brutal action scenes in addition. Remember that time Red Hulk punched Wolverine so hard his face ripped off? Something similar but more gross unfolds here. Aaron's talent for wacky, gory combat continues unabated.

Carlos Pacheco's pencils help lend an extra touch of flavor to this finale chapter. Pacheco's work since returning to Marvel has been disappointingly inconsistent, often because he isn't paired with an effective colorist. But in this case, Frank Martin's colors do complement Pacheco's work well, and the result is an impressively detailed and dynamic series of pages that capture all the power and fury of three monsters at war. Even Hulk, who has often been drawn on the shrimpy side in this arc, exudes power and menace.

This arc was beginning to drag, but luckily Aaron sticks the landing as he paves the way for his final showdown between Hulk and Banner. With only a handful of issues remaining in this run, it's doubtful slow pacing will be a recurring complaint now.

Jesse is a writer for IGN Comics and various other IGN channels. Follow Jesse on Twitter, or find him on IGN.

Source : feeds[dot]ign[dot]com

Report: Thief 4 Will Be On Next Gen Consoles

Thief 4 will allegedly miss out on the current generation of consoles, and will instead launch late next year on Xbox 720 and PS4.

In the latest issue of OXM (via CVG), reports in the gossip section of the mag suggest that the long awaited sequel will be released to coincide with the launch of Microsoft's new console.

We haven't heard much about the title since it was first announced way back in May 2009, when the game's official site also launched. No new info has appeared on the site since then, but in January this year it was revealed that developer Eidos Montreal was recruiting for a next gen action adventure game with a focus on "stealth". While many assumed this referred to the surely-inevitable next entry in the Deus Ex series, it seems possible that it may in fact have referred to Thief 4.

At this stage the report appears to be nothing more than speculation, though CVG has claimed to have heard similar rumblings from unverified sources. We've reached out to Square Enix for comment, and will update the story as we know more.

The last entry in the Thief franchise, Thief:Deadly Shadows released in 2004 to good reviews.

Luke Karmali is IGN's UK Editorial Assistant. You too can revel in mediocrity by following him on IGN and on Twitter.

Source : feeds[dot]ign[dot]com

iZombie #28 Review

After just over two years, it’s time to say goodbye to Gwen, Spot, and the rest of the inhabitants of Eugene, Oregon. This issue marks the conclusion to iZombie, and rather surprisingly, Chris Roberson and Mike Allred manage to wrap up the many plot threads and deliver a satisfying, if bittersweet, end. Though the arc has felt somewhat truncated over the course of the last few issues, this installment takes its time to deliver the necessary send-off to the many characters we’ve come to love over the course of 28 issues.

Right from the beginning, Roberson makes it clear where Gwen’s story is headed. She’s spent the entire series trying to live a normal life despite being a brain-eating zombie. Where Roberson leaves her is a shockingly heartwarming place, and one that makes total sense in the scope of her overall character arc. Of course, there’s insanity dispersed throughout – an interdimensional squid monster trying to kill a population that includes were-terriers, vampire babes, and a secret government organization known as the Dead Presidents, for instance – but by and large Roberson keeps the finale focused squarely on Gwen and her destiny. Though it’s not as bad as the last issue, there is still a great deal of exposition and catch-up dispersed throughout dialog and narration. With the issue being the series finale, it probably could have just coasted on the assumption that anyone reading it had a fair idea of what was going on and allot that space to something else.

Mike Allred delivers work up to his usual standard, if not surpassing it. The level of detail in this issue is exceptionally high, as even when the action is in the foreground he doesn’t neglect adding a few dangling tentacles snatching up innocent bystanders in the background. Add to that his natural ability to render some of the most out-there sequences in the book thus far – like when a giant, naked Gwen takes to the skies to battle the aforementioned squid monster – while managing to keep it suitably emotional, and you’ve got a rock solid conclusion, visually and narratively.

iZombie #28 is a fitting conclusion to the series, wrapping everything up thematically as well as in plot. While I’m certainly sad to see this book go, I can now enjoy the full series in one fell swoop. Farewell, iZombie, you’ve served me well.

Joey is IGN's Comics Editor and a comic book creator himself. Follow Joey on Twitter, or find him on IGN. He will love Star Wars until the end of his days.

Source : feeds[dot]ign[dot]com

Avengers vs. X-Men #9 Review

If there's a trend with Avengers vs. X-Men, it's that every act seems to peak at the very beginning. Issue #9 is a rousing start to the third and final act, easily rivaling Jonathan Hickman's AvX #6 as the strongest chapter of the series to date. Jason Aaron manages that all-too-rare balance of character drama and spectacle that most event comics are sorely lacking.

There isn't a terribly distinct transition between acts as there was with issue #6. As issue #9 opens, the Avengers are still on the run from the Phoenix Five (or Four, now that Namor is out of the picture) and hiding out in K'un Lun. The situation has grown more desperate, however, now that a good portion of Captain America's team have been captured by the X-Men. There's a real sense of desperation to the conflict as the Avengers realize they've completely run out of options beyond placing all their faith in the unknown factor that is Hope. Meanwhile, the dissension among the X-Men is also growing. Aaron explores how characters like Storm and Xavier react to the darkening conflict, and also the losing battle each of the Phoenix Four are facing in maintaining control.

One of the reasons issue #9 works so well is that it addresses many of the recurring complaints about the event. As mentioned, we finally see how characters like Storm are responding to the growing instability of the Phoenix Four. In general, Aaron is able to present more even-handed views of both sides of the conflict. It's difficult not to sympathize with the Avengers at this point, desperate and battle-weary as they are. But he also spends time on each of the Phoenix Four, showcasing just how precarious their mental state is and reiterating the idea that, on a fundamental level, these characters are simply doing what they feel is right. Aaron shows an especially deft hand with Emma Frost, who struggles harder than anyone to keep the Phoenix's influence at bay.

As the cover suggests, Aaron also shifts to Spider-Man as the sort of "man on the ground" figure for this issue. That role has regularly bounced between characters like Wolverine, Black Panther, and Beast throughout the series, but Spider-Man is used more effectively and more heavily in that capacity than anyone. The script highlights the drama of Spider-Man's situation by opening in the midst of a battle and then shifting back several hours. We get to see Spidey settle uncomfortably into his Uncle Ben-style mentor role with Hope and then prove why he's the greatest hero in the Marvel Universe as he confronts two insurmountable foes. Suffice it to say, this issue makes Spidey's infamous brawls with Morlun look like mere sparring matches.

There are a couple weak points to the script. Though the Avengers score a much-needed win for once, their method of victory is a little silly and overly convenient. There's also a scene between a certain X-Man and certain Avenger that reads more like editorial mandate rather than a necessary piece of the AvX equation. This scene would probably have been better saved for a different book. Still, Aaron writes the interaction well despite the odd circumstances.

Adam Kubert delivers some gorgeously detailed and vibrant artwork in his second installment. Having collaborated with Kubert before, Aaron seems to know how to best put the artist to use, and there are plenty of dynamic camera angles and surreal, dark imagery to go around. Visual highlights include Cyclops and Emma's private meeting in a sweltering desert and the clandestine rescue operation in the mountains of Siberia. Unfortunately, the inking holds the issue back a bit, as the line work sometimes becomes unnecessarily flat and heavy.

At its best, AvX manages to deliver on all the hype Marvel has placed on it. As we near the finish line, I can only hope that this renewed momentum means the event will remain at its best through the home stretch.

Jesse is a writer for IGN Comics and various other IGN channels. Follow Jesse on Twitter, or find him on IGN.

Source : feeds[dot]ign[dot]com

Animal Man #12 Review

With any episodic story there inevitably comes the “recap” installment where the characters spend a majority of the issue reflecting on the past and little else. Luckily, Jeff Lemire and Scott Snyder sidestep the painful parts of this necessary evil and add in just enough new content to set up for the long-brewing Rotworld storyline.

With so much build up to Buddy Baker finding Swamp Thing, their first meeting proves to be underwhelming. Both are some of the best written characters in DC’s current stable, but they wind up having a bland interaction that merely serves as a giant information dump. Where’s the friction and personality to these two heroes that have made their books so enthralling to read? The one highlight of their interaction comes when Swamp Thing lifts up a startled Buddy and leaps into the Rot-pond. The look on Buddy’s face is priceless.

Steve Pugh ups his game for this crossover issue and provides more minute details to the setting than ever before. Vines creep up a railing, haunting figures are showcased in front of an apocalyptic backdrop, and the first journey into the Rot has a sickening amount of bones, teeth, and flies. A montage detailing the interactions between the Green, the Red, and the Rot looks stunning with its veiny structure not unlike Yanick Paquette’s plant-paneling in Swamp Thing. With the marrying of both art style and story concepts, the Animal Man and Swamp Thing creative teams have set up a crossover that I can’t wait to read. Given general hate for crossovers, that is a strange feat indeed.

Joshua is a writer for IGN. Follow him on Twitter or IGN, where he is hell-bent on making sure you know his opinion about comic books.

Source : feeds[dot]ign[dot]com