writer: Ron Marz, Marc Silvestri
artist: Jeremy Haun, Ryan Sook, various
First off, these are not new comic, but since I bought them off racks containing new comics, I figured I'd treat them as such. Part of the reason for that is that I want to emphasize that Artifacts is a book currently in print that I very much want to support.
It just so happens that I didn't really know that until Top Cow announced a talent contest that will potentially allow a schmuck like me the chance to write the characters in this series.
The comics I found happen to feature Ji Xi. The one-shot Origins features exactly that, origins for all thirteen bearers of the eponymous totems of power.
I haven't until now come to appreciate Artifacts because I tend to read most of my superhero comics from DC and sometimes Marvel. For about a decade Image competed pretty heavily in the superhero genre, but now mostly sticks to Spawn, Savage Dragon, and Invincible, two out of three from its earliest days. Top Cow was one of the studios that more or less spun off from Image, and thus counts as a solo entity, a small publisher in other words. Most small publishers trying to do superheroes inevitably prove why they're small publishers trying to do superheroes. Their effort are bush league.
I assumed Top Cow was the same. Marc Silvestri launched the imprint with Witchblade (in essence the original Artifact), who originally appeared to be just another member of the '90s bad girls craze, mostly because her costume, which was an extension of her Artifact (worn one hand when not fully activated), covered her body just enough not to show private parts. The short-lived live action TV series that followed was just one indication that she could be more than just another bad girl.
After The Darkness followed and became another successful franchise, Top Cow solidified itself as an imprint. Some time later, Ron Marz came along and started to expand the concept that had become central to the imprint. This eventually resulted in Artifacts.
Artifacts #10 was originally #10 of 13 issues. It became an ongoing series once everyone realized what they had. Therefore Marz has had the luxury to continue a slow build on everything he's done so far. This has meant that a character like Ji Xi can sit back while other characters like Tom Judge take the front seat. Of all the totem bearers, he's still known for possessing the so-called Thirteenth Artifact, because even the artifact doesn't have a name yet, much less a history. His appearance in this issue is indicative of his role so far, trying to figure out how he fits in, if he's a villain or a hero (because these Artifacts can go both ways). It may not be the wisest move to try and understand everything that's going on by reading a random issue like this, but it's still plenty of indication of the quality that's gone into the project, and the strong characters who exist.
Origins, again, presents two-page recaps of the major developments worth knowing about the thirteen characters at the heart of the Artifacts franchise. Aside from Witchblade, the Darkness, and Ji Xi, there's Angelus (the light that counterbalances the dark), Tom Judge (the Rapture), Glorianna Silver (Ember Stone), Michael Finnegan (Glacier Stone), Alina Enstrom (Pandora's Box), Ian Nottingham (Blood Sword), Sabine (Wheel of Shadows), Magdalena (Spear of Destiny)Abby Van Alstine (Heart Stone), and Aphrodite IV (Coin of Solomon). Angelus (also known as Dani Baptiste, who once served as a replacement Witchblade), is considered one of the big three in the franchise, along with Witchblade (Sara Pezzini) and the Darkness (Jackie Estacado). The Magdalena and Aphrodite IV are also known elements of the Top Cow landscape.
What's impressive is that Artifacts has successfully transformed the Top Cow catalog into a working mythology. I'm embarrassed to admit that it's taken me so long to discover it, much less appreciate it, but at least I have. I'm making it a mission to try and spread the word, not because I have the vague hope of one day hoping to shape it, but because it's worth supporting in its own right. If you have no working knowledge of it, Origins is a good way to go. Otherwise pick up a random issue for yourself and see if it catches your fancy, too.
Showing posts with label Artifacts. Show all posts
Showing posts with label Artifacts. Show all posts
Thursday, November 8, 2012
Friday, October 12, 2012
Reading Comics #74 "Making History"
AvX #12 (Marvel)
writer: Jason Aaron
artist: Adam Kubert
Avengers was the big event at the movies, but in the comics, Marvel's 2012 story belonged to Avengers vs. X-Men, which has finally come to a close. A mass collaboration between the company's so-called architects) (Aaron, Brian Michael Bendis, Ed Brubaker, Matt Fraction, Jonathan Hickman), it's also a sequel of sorts to the classic "Dark Phoenix Saga" (featured in X-Men: The Last Stand) as well as House of M, and this basically means that the X-Men finally got to figure out how to level the playing field again. The Scarlet Witch famously declared, "No more mutants" in House of M, and her subsequent absence was one of the defining elements of Avengers lore for the past decade (she finally returned in Avengers: The Children's Crusade). This caused a rapid decline and possible extinction for mutant kind until the appearance of the so-called mutant messiah Hope. AvX spent a lot of its time having the company's two most famous teams duke it out, ostensibly over control of the Phoenix, which eventually took control of Cyclops, who let the power go to his head. In this issue he's defeated and the Phoenix is drawn out from him, and it falls to Hope and Scarlet Witch to decide what to do with the entity. It's awesome that someone finally decided to do something notable with Hope, much less the Phoenix, and maybe killing off Professor X (which happened last issue) will stick this time, and Cyclops can become the new Magneto, if subsequent writers can exercise some restraint (though the fact that Captain America and Iron Man are once again bosom buddies despite the events of Civil War does not bode well for such a long-lasting change). No, I did not read every issue, but it was certainly worth following, and this concluding issue does track well.
Action Comics #13 (DC)
writer: Grant Morrison
artist: Travel Foreman
This issue has a kind of curious crossover appeal. Grant Morrison's own celebrated Vertigo story We3 is certainly relevant to the issue, as is the Futurama episode "Jurassic Bark." Hopefully you know the one. Basically this is Morrison's Krypto story, though a lot of it also involves Phantom Zone villains and the like. A lot of what Morrison has done in his run on Action Comics is provide a clear template on all the most notable elements of Superman lore, with an updated aesthetic that removes all its cobwebs. One of the recurring pieces throughout the run is a gradual introduction of Mxyzptlk, the imp with the impossible name (and it also must be conquered backwards!) who has served as one of the most curious foes in the canon. If anyone can make him work now, it's Morrison. Sholly Fisch, meanwhile, emphasizes Krypto in his typically consummate backup feature, which has been another highlight of these comics.
Artifacts #s 17 & 19 (Top Cow)
writer: Ron Marz
artist: Stjepan Sejic
Preparing a script for a Top Cow talent contest has made me aware of the fact that I don't have a lot of practical experience with actual Top Cow comics. This is a little surprising, because Ron Marz has been writing for them for several years now. I became familiar with him (and a fan of his work) thanks to his Kyle Rayner years on Green Lantern. He's worked hard to shape a working mythology for Top Cow's artifacts, originally represented in Witchblade and The Darkness, the latter of which is featured in the first of these two issues as Jackie Estacado concludes a confrontation with Tom Judge, the signature character of this particular series, which follows other similar mystical devices to the ones that helped define Top Cow in the first place. All told, there are thirteen of them. Judge isn't really defined by his artifact, however, but by how he attempts to navigate them and their bearers. He's an ex-priest who now works for the FBI. Apparently Top Cow has gone into Fringe territory by exploring subtly different versions of its familiar characters via an alternate reality in which old relationships can begin anew, which is what the second issue helps demonstrate with characters familiar to Angelus fans. It's all pretty readable even for someone not terribly familiar with such nuances. It's fair to say Top Cow does have a functioning superhero legacy developing, and Marz continues to be a strong part of making it happen.
Batman #0 (DC)
writer: Scott Snyder
artist: Greg Capullo
The lead story features a harbinger of the "Death of the Family" arc that features the return of the Joker, but its best aspect is Bruce Wayne's early attempts to figure out how to make his Batman function. That's all well and good (and familiar to fans of Christopher Nolan's cinematic vision), but the highlight of the issue is James Tynion IV's backup feature (it's worth noting that Tynion has just launched Talon, a spinoff from the Court of Owls epic that dominated the title and franchise during its first year in the New 52 era), which follows Jim Gordon's decision to switch on the Bat-signal to hopefully make the citizens of Gotham aware of its strange new protector. All of Batman's eventual allies see it, and the genius of it is that could easily inspire a whole series, something totally new to the franchise, exploring Tim Drake, Jason Todd, Dick Grayson, and even Barbara Gordon before they don the costumes of Robin and Batgirl. Drake's part of the story dominates it, and for a long-time fan of the character (who now appears in Teen Titans almost exclusively, but maintained one ongoing series or another from 1993 to 2011) it still manages to be a revelation, a truly fresh take. He's a wunderkind, naturally, well before he wears a cape. Jason is a tragic figure as always. Dick tracks consistently, and is familiar to anyone who's been following Nightwing in the past year. Who wouldn't want to read more of how Barbara first decided to be inspired more by the Dark Knight than her cop father? Such a comic would be like Smallville reclaimed by its native land (a little more directly than Birthright).
Batwing #0 (DC)
writer: Judd Winick
artist: Marcus To
It's funny, because Judd Winick originally prided himself on launching Batwing without a traditional origin story...This is that story. It's actually very familiar to what Lost did for six seasons. David Zavimbi's journey to joining Batman Incorporated (through which he gets his nifty armor) is a uniquely African adventure (something I'm not sure Marvel's Black Panther has ever achieved). Although I haven't read an issue of the series since its debut last fall, I've long considered Batwing to be one of the highlights of the New 52, something new, even if it's connected to something familiar. Yet for all intents and purposes, Zavimbi lives in his own world, something Winick has appreciated. He's exactly the kind of character the writer has always excelled developing. Even if I only read sporadic issues, it's good knowing something like this exists, and this issue is as rewarding as I expected.
DC Universe Presents Kid Flash #12 (DC)
writer: Fabian Nicieza
artist: Jorge Jimenez
Like Tim Drake, Bart Allen has been playing in the New 52 sandbox, but almost exclusively in the pages of Teen Titans. This is a rare opportunity to stretch his legs a little. Nicieza proves an unexpectedly compelling chronicler of his hyperactive escapades. Originally introduced by Mark Waid as a humorously immature speedster who grew up in virtual reality, Bart was shaped by Geoff Johns into Kid Flash nearly a decade ago in another Teen Titans. Here the transformation truly seems complete. No longer callow so much as cocksure, Bart Allen is still a remarkably unique character to read, as this issue proves.
DC Universe Presents #0 (DC)
writer: various
artist: various
The anthology series that has featured a number of different properties over the past year takes Zero Month as an opportunity to explore characters whose New 52 first wave titles were cancelled. That means Dan DiDio and Keith Giffen, for instance, can have one more crack at O.M.A.C., though they take the opportunity to explore Brother Eye, the sentient satellite best known for wrecking havoc in Infinite Crisis. James Robinson does for Mister Terrific more justice than his comic ever did, which is encouraging, since the character is due to play a role in Robinson's Earth 2. The highlight for me, however, is the reunion of Great Ten collaborators Tony Bedard and Scott McDaniel, who present a tale of Deadman, whose adventures launched this title (which to me was disappointing at the time, because I thought the momentum the character built from Brightest Day and Flashpoint would have led to an ongoing series, which I would certainly not mind from Bedard and McDaniel...), teaching him a lesson in humility (well, several).
The Flash #0 (DC)
writer: Francis Manapul, Brian Buccellato
artist: Francis Manapul
I haven't read an issue of The Flash since Geoff Johns left the title prior to the New 52 relaunch. It's not because I no longer care for the character, but that I've been waiting for Manapul (who was artist in the Johns run) to find his legs. The Flash has increasingly become a character defined more by his personal story than his adventures for me, and it seemed that Manapul was content to leave the stories at the adventure level. I knew the minute Zero Month was announced that I would likely read my first Flash in a year. Yes, this is an origin issue, retelling the new narrative of Barry Allen's life, how his mother was murdered and his father was blamed for it, and how Barry has been driven ever since to discover the truth. Becoming the Flash is almost besides the fact. If the quality of this sample is any indication, I may be reading more in the future.
Green Lantern #13 (DC)
writer: Geoff Johns
artist: Doug Mahnke
Very much like Batwing above, this new phase of Green Lantern is reading like Lost, as Simon Baz and the narrative of not just his emerging career as a ring-bearer but his life begins to take shape. Baz seems to have stumbled into circumstances the US government can't help but confuse with terrorist activities, but he's far more troubled by what he's done to his beloved sister's husband. There's also this ring and the two strange people (Sinestro and Hal Jordan) who broadcast rescue requests when it started to fully activate. He adopts the distinctive mask when he realizes it would be expedient given his legal troubles. Other than that, his is a story that's still very much unfolding. So too is the "Rise of the Third Army" arc in which the Guardians of the Universe, founders of the Green Lantern Corps, who have devised something of an organic version of Star Trek's Borg. And on the final page, Simon Baz is introduced to the Justice League...
Jack Kirby (Bluewater)
writer: John Judy
artist: Paul Cox
One of the founding father of the comic book, Jack Kirby co-created almost every major Marvel superhero, and became known as "The King," revered in the industry and by his peers. This is his story. It almost reads like a lost issue of Fred Van Lente's Comic Book Comics, but otherwise is a fairly standard Bluewater biography, skirting a lot of details and emphasizing anecdotes, which is a little disappointing for anyone who wanted a little more depth, but a good overview, even if it begins to heavily focus on the things that went wrong in his career rather than everything he achieved and has inspired.
Superman #0 (DC)
writer: Scott Lobdell
artist: Kenneth Rocafort
The company's reward for a couple of creators fans don't seem to have enjoyed as much, perhaps because they've previously collaborated on the divisive Red Hood and the Outlaws. But the force of their magic is undeniable, and it's remarkable that they've been given a major character and title to work on next. As compared to the Morrison-powered Action Comics, Superman has had a rocky course in the New 52. This is its third major creative change in a year. Tonally, Lobdell immediately marks himself as comparable to Morrison's inclinations, particularly in the opening pages of the issue, in which Superman's dad Jor-El picks up the familiar refrain of the character, the lone scientific genius capable of foreseeing the fate of Krypton. Lobdell makes it seem fresh, and Jor-El vital. It's the second time this column I'll suggest that a Zero Month story could easily support its own series. It's a bright start to a bold new era.
Ultimate Comics The Ultimates #15 (Marvel)
writer: Sam Humphries
artist: Billy Tan
It's something of an irony that the year the Avengers movie inspired by the Ultimates comics coincides at a time when the Ultimates are at their least accessible. The whole point of Marvel's Ultimate line was to make its characters more accessible. In recent comics the United States has apparently splintered apart. Last time I checked that hadn't happened in the real world. Humphries makes up for this with the big bomb in the aftermath of a recall election for the presidency (several years late, but it still brings to mind the memorable California gubernatorial fiasco that gave us the Governator), Captain America taking the highest rank in the government he's served since WWII. It's a pretty huge development that I had to check in on. This is the issue where he wins the election (more hype is given to the following one, in which he takes office). It's a good yarn as Humphries relates it.
writer: Jason Aaron
artist: Adam Kubert
Avengers was the big event at the movies, but in the comics, Marvel's 2012 story belonged to Avengers vs. X-Men, which has finally come to a close. A mass collaboration between the company's so-called architects) (Aaron, Brian Michael Bendis, Ed Brubaker, Matt Fraction, Jonathan Hickman), it's also a sequel of sorts to the classic "Dark Phoenix Saga" (featured in X-Men: The Last Stand) as well as House of M, and this basically means that the X-Men finally got to figure out how to level the playing field again. The Scarlet Witch famously declared, "No more mutants" in House of M, and her subsequent absence was one of the defining elements of Avengers lore for the past decade (she finally returned in Avengers: The Children's Crusade). This caused a rapid decline and possible extinction for mutant kind until the appearance of the so-called mutant messiah Hope. AvX spent a lot of its time having the company's two most famous teams duke it out, ostensibly over control of the Phoenix, which eventually took control of Cyclops, who let the power go to his head. In this issue he's defeated and the Phoenix is drawn out from him, and it falls to Hope and Scarlet Witch to decide what to do with the entity. It's awesome that someone finally decided to do something notable with Hope, much less the Phoenix, and maybe killing off Professor X (which happened last issue) will stick this time, and Cyclops can become the new Magneto, if subsequent writers can exercise some restraint (though the fact that Captain America and Iron Man are once again bosom buddies despite the events of Civil War does not bode well for such a long-lasting change). No, I did not read every issue, but it was certainly worth following, and this concluding issue does track well.
Action Comics #13 (DC)
writer: Grant Morrison
artist: Travel Foreman
This issue has a kind of curious crossover appeal. Grant Morrison's own celebrated Vertigo story We3 is certainly relevant to the issue, as is the Futurama episode "Jurassic Bark." Hopefully you know the one. Basically this is Morrison's Krypto story, though a lot of it also involves Phantom Zone villains and the like. A lot of what Morrison has done in his run on Action Comics is provide a clear template on all the most notable elements of Superman lore, with an updated aesthetic that removes all its cobwebs. One of the recurring pieces throughout the run is a gradual introduction of Mxyzptlk, the imp with the impossible name (and it also must be conquered backwards!) who has served as one of the most curious foes in the canon. If anyone can make him work now, it's Morrison. Sholly Fisch, meanwhile, emphasizes Krypto in his typically consummate backup feature, which has been another highlight of these comics.
Artifacts #s 17 & 19 (Top Cow)
writer: Ron Marz
artist: Stjepan Sejic
Preparing a script for a Top Cow talent contest has made me aware of the fact that I don't have a lot of practical experience with actual Top Cow comics. This is a little surprising, because Ron Marz has been writing for them for several years now. I became familiar with him (and a fan of his work) thanks to his Kyle Rayner years on Green Lantern. He's worked hard to shape a working mythology for Top Cow's artifacts, originally represented in Witchblade and The Darkness, the latter of which is featured in the first of these two issues as Jackie Estacado concludes a confrontation with Tom Judge, the signature character of this particular series, which follows other similar mystical devices to the ones that helped define Top Cow in the first place. All told, there are thirteen of them. Judge isn't really defined by his artifact, however, but by how he attempts to navigate them and their bearers. He's an ex-priest who now works for the FBI. Apparently Top Cow has gone into Fringe territory by exploring subtly different versions of its familiar characters via an alternate reality in which old relationships can begin anew, which is what the second issue helps demonstrate with characters familiar to Angelus fans. It's all pretty readable even for someone not terribly familiar with such nuances. It's fair to say Top Cow does have a functioning superhero legacy developing, and Marz continues to be a strong part of making it happen.
Batman #0 (DC)
writer: Scott Snyder
artist: Greg Capullo
The lead story features a harbinger of the "Death of the Family" arc that features the return of the Joker, but its best aspect is Bruce Wayne's early attempts to figure out how to make his Batman function. That's all well and good (and familiar to fans of Christopher Nolan's cinematic vision), but the highlight of the issue is James Tynion IV's backup feature (it's worth noting that Tynion has just launched Talon, a spinoff from the Court of Owls epic that dominated the title and franchise during its first year in the New 52 era), which follows Jim Gordon's decision to switch on the Bat-signal to hopefully make the citizens of Gotham aware of its strange new protector. All of Batman's eventual allies see it, and the genius of it is that could easily inspire a whole series, something totally new to the franchise, exploring Tim Drake, Jason Todd, Dick Grayson, and even Barbara Gordon before they don the costumes of Robin and Batgirl. Drake's part of the story dominates it, and for a long-time fan of the character (who now appears in Teen Titans almost exclusively, but maintained one ongoing series or another from 1993 to 2011) it still manages to be a revelation, a truly fresh take. He's a wunderkind, naturally, well before he wears a cape. Jason is a tragic figure as always. Dick tracks consistently, and is familiar to anyone who's been following Nightwing in the past year. Who wouldn't want to read more of how Barbara first decided to be inspired more by the Dark Knight than her cop father? Such a comic would be like Smallville reclaimed by its native land (a little more directly than Birthright).
Batwing #0 (DC)
writer: Judd Winick
artist: Marcus To
It's funny, because Judd Winick originally prided himself on launching Batwing without a traditional origin story...This is that story. It's actually very familiar to what Lost did for six seasons. David Zavimbi's journey to joining Batman Incorporated (through which he gets his nifty armor) is a uniquely African adventure (something I'm not sure Marvel's Black Panther has ever achieved). Although I haven't read an issue of the series since its debut last fall, I've long considered Batwing to be one of the highlights of the New 52, something new, even if it's connected to something familiar. Yet for all intents and purposes, Zavimbi lives in his own world, something Winick has appreciated. He's exactly the kind of character the writer has always excelled developing. Even if I only read sporadic issues, it's good knowing something like this exists, and this issue is as rewarding as I expected.
DC Universe Presents Kid Flash #12 (DC)
writer: Fabian Nicieza
artist: Jorge Jimenez
Like Tim Drake, Bart Allen has been playing in the New 52 sandbox, but almost exclusively in the pages of Teen Titans. This is a rare opportunity to stretch his legs a little. Nicieza proves an unexpectedly compelling chronicler of his hyperactive escapades. Originally introduced by Mark Waid as a humorously immature speedster who grew up in virtual reality, Bart was shaped by Geoff Johns into Kid Flash nearly a decade ago in another Teen Titans. Here the transformation truly seems complete. No longer callow so much as cocksure, Bart Allen is still a remarkably unique character to read, as this issue proves.
DC Universe Presents #0 (DC)
writer: various
artist: various
The anthology series that has featured a number of different properties over the past year takes Zero Month as an opportunity to explore characters whose New 52 first wave titles were cancelled. That means Dan DiDio and Keith Giffen, for instance, can have one more crack at O.M.A.C., though they take the opportunity to explore Brother Eye, the sentient satellite best known for wrecking havoc in Infinite Crisis. James Robinson does for Mister Terrific more justice than his comic ever did, which is encouraging, since the character is due to play a role in Robinson's Earth 2. The highlight for me, however, is the reunion of Great Ten collaborators Tony Bedard and Scott McDaniel, who present a tale of Deadman, whose adventures launched this title (which to me was disappointing at the time, because I thought the momentum the character built from Brightest Day and Flashpoint would have led to an ongoing series, which I would certainly not mind from Bedard and McDaniel...), teaching him a lesson in humility (well, several).
The Flash #0 (DC)
writer: Francis Manapul, Brian Buccellato
artist: Francis Manapul
I haven't read an issue of The Flash since Geoff Johns left the title prior to the New 52 relaunch. It's not because I no longer care for the character, but that I've been waiting for Manapul (who was artist in the Johns run) to find his legs. The Flash has increasingly become a character defined more by his personal story than his adventures for me, and it seemed that Manapul was content to leave the stories at the adventure level. I knew the minute Zero Month was announced that I would likely read my first Flash in a year. Yes, this is an origin issue, retelling the new narrative of Barry Allen's life, how his mother was murdered and his father was blamed for it, and how Barry has been driven ever since to discover the truth. Becoming the Flash is almost besides the fact. If the quality of this sample is any indication, I may be reading more in the future.
Green Lantern #13 (DC)
writer: Geoff Johns
artist: Doug Mahnke
Very much like Batwing above, this new phase of Green Lantern is reading like Lost, as Simon Baz and the narrative of not just his emerging career as a ring-bearer but his life begins to take shape. Baz seems to have stumbled into circumstances the US government can't help but confuse with terrorist activities, but he's far more troubled by what he's done to his beloved sister's husband. There's also this ring and the two strange people (Sinestro and Hal Jordan) who broadcast rescue requests when it started to fully activate. He adopts the distinctive mask when he realizes it would be expedient given his legal troubles. Other than that, his is a story that's still very much unfolding. So too is the "Rise of the Third Army" arc in which the Guardians of the Universe, founders of the Green Lantern Corps, who have devised something of an organic version of Star Trek's Borg. And on the final page, Simon Baz is introduced to the Justice League...
Jack Kirby (Bluewater)
writer: John Judy
artist: Paul Cox
One of the founding father of the comic book, Jack Kirby co-created almost every major Marvel superhero, and became known as "The King," revered in the industry and by his peers. This is his story. It almost reads like a lost issue of Fred Van Lente's Comic Book Comics, but otherwise is a fairly standard Bluewater biography, skirting a lot of details and emphasizing anecdotes, which is a little disappointing for anyone who wanted a little more depth, but a good overview, even if it begins to heavily focus on the things that went wrong in his career rather than everything he achieved and has inspired.
Superman #0 (DC)
writer: Scott Lobdell
artist: Kenneth Rocafort
The company's reward for a couple of creators fans don't seem to have enjoyed as much, perhaps because they've previously collaborated on the divisive Red Hood and the Outlaws. But the force of their magic is undeniable, and it's remarkable that they've been given a major character and title to work on next. As compared to the Morrison-powered Action Comics, Superman has had a rocky course in the New 52. This is its third major creative change in a year. Tonally, Lobdell immediately marks himself as comparable to Morrison's inclinations, particularly in the opening pages of the issue, in which Superman's dad Jor-El picks up the familiar refrain of the character, the lone scientific genius capable of foreseeing the fate of Krypton. Lobdell makes it seem fresh, and Jor-El vital. It's the second time this column I'll suggest that a Zero Month story could easily support its own series. It's a bright start to a bold new era.
Ultimate Comics The Ultimates #15 (Marvel)
writer: Sam Humphries
artist: Billy Tan
It's something of an irony that the year the Avengers movie inspired by the Ultimates comics coincides at a time when the Ultimates are at their least accessible. The whole point of Marvel's Ultimate line was to make its characters more accessible. In recent comics the United States has apparently splintered apart. Last time I checked that hadn't happened in the real world. Humphries makes up for this with the big bomb in the aftermath of a recall election for the presidency (several years late, but it still brings to mind the memorable California gubernatorial fiasco that gave us the Governator), Captain America taking the highest rank in the government he's served since WWII. It's a pretty huge development that I had to check in on. This is the issue where he wins the election (more hype is given to the following one, in which he takes office). It's a good yarn as Humphries relates it.
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