11th-Hour Pak Attack: Astonishing X-Men & Red Skull: Incarnate

Greetings, gents. Due to illness--and developments with my "real job"--and yeah, there's that book I've begun writing--I haven't been around to post any reviews! It's about time I got back to it, here, and that means reviewing not one, but two new books by one of Marvel's best & brightest.

As everyone knows, although I'm a "Hulk guy" at heart, that's never stopped me from picking up countless other Marvel books, plus DC books, Image, and some other indie press publications. Send me something (at delusionalhonesty [at] gmail [dot] com) and I'll do my level best to review it in a timely manner. That brings us to a series I haven't picked up in quite some time, since just after the departure of Buffy and Angel writer Joss Whedon.

Yes, kids, it's Astonishing X-Men #44.


Caveat lector: I have been well-read on those mutant folk. At one time, I had an X-collection the envy of most X-fans. Full run of Uncanny X-Men if you include the first four Essential volumes? Check. Full runs of X-Men, New Mutants, X-Force, Cable, Wolverine, and a gajillion other series, regular and limited? Check. About the only series I didn't own that was X-related was Deadpool. But, aside from Peter David's X-Factor, they lost me when the X-folk relocated to San Francisco. And I even drifted away from X-Factor some time ago. For me, X-Men was a light that burned bright, borne from looking at far too many long boxes of quarter books, and then extinguished itself rather quickly.

As part of "Regenesis," the latest rebranding of the X-Men titles, writer Greg Pak and artist Mike McKone have come aboard Astonishing X-Men to tell a three-part tale. The creative shuffle is the latest in a long line for the book, which since Whedon's departure has been a showcase for Marvel's most popular talent--or at the very least, writers itching to tell an X-tale they can't fit anywhere else on the schedule.

And what of "Exalted," the storyline that begins here in this issue? It's...well, an intriguing puzzle, so far.

Scott Summers, the mutant called Cyclops, has been recovering from injuries incurred recently. He remains at Utopia, the San Francisco Bay area base of the X-Men, while the half of the team headed by Wolverine left to reopen the old Westchester school. Physically, he's fit; however, mentally is another story, as he demonstrates by using his optic blasts to decimate the facility's locker room. And then, Storm shows up--looking exactly as she did in the Claremont/Windsor-Smith era of the eighties, white mohawk and all. A glorious battle ensues, unique for its depiction of Cyclops' abilities...and then, as they go together toward parts unknown, that's when the weird gets weirder.

It's interesting that Pak and artist McKone go for the nostalgia value of a mohawked Storm as an entry point into this storyline, and then up the ante with the provocative cover image. Fans who weren't around in the eighties may be intrigued, and I hope they are, because Storm's change in appearance is only the gateway into the storyline set to unfold. The script charges full-steam ahead, never really stopping to let you breathe, a feeling only exacerbated by McKone's clean storytelling and topped off with Rachelle Rosenberg's exciting palette of colors.

I'm increasingly intrigued by the world into which Cyclops & co. are dropped in Astonishing X-Men #44. It's true, some fans may feel a bit flummoxed, especially those who haven't followed the merry mutants' adventures in some time. Still, I've always liked the stoic Scott Summers, and to follow him through an unusual adventure in the spirit of Judd Winick's Exiles is something of a treat. While by no means perfect--the ending is no doubt disorienting--"Exalted" is off to a good start. Read It.

As for the other book on this week's delayed-review list, Red Skull: Incarnate #5, it wraps up the origin of Johann Schmidt, the Rote Schädel (that's "Red Skull" to the non-German-speakers) with the same frightening flourish as writer Greg Pak concluded the origin of the villain who could be seen as the Skull's opposite in Magneto: Testament a few years prior.

Pak, this time joined by artist Mirko Colak, brings the tale of Schmidt full circle with--ironically enough--a plot to kill Hitler when he comes to discipline Ernst Röhm at a Munich hotel. Schmidt, his friend Dieter in tow, constructs a simple plan and goes through the motions, chillingly, to get that which he feels he deserves. The plot is an exercise in cold calculation, a hallmark of the later Red Skull. What's most incredible about this final adventure is how it's all based in stark reality--as has the entire series been--with no masks, no costumes, only human beings carrying out their own cultivated evil designs.

The minimalist script, together with the low-key, yet no less powerful artwork by Colak and colorist Matthew Wilson, really brings a powerful close to the Skull's first adventure. If you haven't picked up this book in the single issues--if this review gets you on board only too late--then do yourself a big favor and pre-order the graphic novel collection of this series. If you've been following all along or you just want a taste of the Skull's evil unfettered by Captain America, then I have two words about Red Skull: Incarnate #5: Buy It.

Next: More Hulkish reviews.

~G.

Movie Review: Captain America - The First Avenger (& Cap, Red Skull Reviews!)

I haven't done one of these movie reviews in a good, long time on this site. In fact, the last time was when I saw 2008's Incredible Hulk from Marvel Studios! In coming weeks I'm going to try and serve up some more reviews, whether of superhero films or other genres (hint: I love Hammer Films!). For now, here's what I thought of...well, you see it in the title of this post, don't you?

 Captain America: The First Avenger

Directed by Joe Johnston

Starring Chris Evans, Tommy Lee Jones, Hugo Weaving, Hayley Atwell, et al.

Screenplay by Christopher Markus & Stephen McFeely

Produced by Marvel Studios, Distributed by Paramount Pictures

Captain America has had a long and rocky road to the silver screen, starting with an early serialized feature produced by Republic Pictures in the forties and continuing through a duet of less-than-stellar made-for-TV features in the seventies (one of which, heaven help him, starred Christopher Lee). A low-budget feature film released in 1991 got the most details right out of all previous adapations, but still was hampered by pedestrian direction and acting, and featured the Red Skull as an Italian fascist and not a Nazi. (Cue jokes about his head looking like a big ol' tomato.)

Hence, when Marvel Studios announced plans in 2008 to produce a new film version, fans hoped they would at last see a fully-realized version of the character. After the successful translations of 2008's Iron Man and The Incredible Hulk by the new studio, it seemed that dream was within reach. Adding weight to the dream was Marvel's announcement the story would almost entirely take place during World War II and feature a Red Skull character largely true to the comics. Bucky would appear. The Howling Commandos, a ragtag group of soldiers with whom Cap sometimes cavorted, would appear.

The story of Captain America: The First Avenger begins in the present, where a team (presumed to be S.H.I.E.L.D., represented by Agent Coulson and Nick Fury in previous films) happens upon the remains of a large ship in the Arctic. When they find the familiar red-white-and-blue shield belonging to the Captain himself, we flash back to New York in 1942 where Steve Rogers (a digitally-scrawny Chris Evans) tries repeatedly to be drafted to war. We see the familiar touches--he's classified "4-F"--before he's recruited by Professor Abraham Erskine (Stanley Tucci) to be one of a group of candidates to train at Camp Lehigh under Colonel Chester Phillips (Tommy Lee Jones). Eventually, of course, he's selected to take the Super-Soldier serum, and next thing you know, he's a living legend.

Or not.

Wisely, the script takes us through a journey whereby Steve Rogers must prove himself worthy of being such a symbol. Interestingly, the concept of Captain America takes a path unseen in the comics world, but which is totally fitting. It was unlikely that the army of the time would take quickly to such a costumed character, so the novel addition to the origin made here makes considerable sense. The moment where we finally see the fully-suited-up Captain America is well-earned and worth the ample screen time shown in getting him there.

The supporting cast built up around Evans as Captain America more than pulls their weight. I'd expect no less of Jones as Col. Phillips, but the rest are just as solid. Sebastian Stan plays a solid companion in Bucky Barnes, and Hayley Atwell is a sensation as Peggy Carter, a throwback to the leading women of the forties. Neal McDonough heads up the remainder of Cap's war crew as Timothy "Dum Dum" Dugan, and does the role justice.

Of course, a hero is only as good as the villain of the piece is evil, and Hugo Weaving is the perfect choice to bring Johann Schmidt, the real, German Red Skull to life. Redefined slightly as the head of HYDRA, the Nazis' science division, Schmidt schemes to use the stolen power of an object known as the Tesseract (which Marvel fans will recognize as something else) to win the war for himself and his followers. At first, I wasn't sold on the Skull being a HYDRA agent, seeing it as another subterfuge for hiding the character's Nazi roots, but I do understand the film must play overseas, and Nazi paraphernalia would certainly hamper that aim. Besides, the swastika does appear briefly, but never completely, to bridge the group's connections. Wisely, Schmidt is assisted by another name fans will recognize: Arnim Zola (Toby Jones), a biochemist with close Nazi ties.

Director Johnston, who previously helmed the period comic book drama The Rocketeer, ably gives us a picture that is as much a war movie as it is about superheroes. Everyone is about as on-point as I could have asked for, and every minor change in the characters is in service to the tale being told, never out of place. The story feels organic in spite of the fact we know where and when it must end. It's a dramatic finish, certainly, involving our main hero and villain just as it should. The ending is heartfelt, bittersweet at turns, and fully establishes what comes next, and one can see all kinds of plot nuggets for next summer's Avengers film as well as the inevitable Captain America sequel.

Overall, Captain America: The First Avenger has a wealth of elements lifted directly from the comics, whipped together to tell a compelling origin story full of rich characters and situations. It's got something for everyone, including a few choice easter eggs that had me smiling. (Watch for the surprising appearance in the Stark Expo at the beginning.) Without question, it's the best of this year's four summer superhero blockbusters, and it may even rival Iron Man for the best film to come from the young Marvel Studios. With action, romance, and an old time sensibility that recalls Raiders of the Lost Ark and more, Captain America is a sure bet for fun this summer.

(And the ending...well, unless you've lived under a rock these last few weeks, you should know to stay after the credits. You won't be sorry. Just...try not to cream your jeans.)

My Rating: A.

---

Bonus Reviews:

CAPTAIN AMERICA #1 - Marvel Comics, $3.99

By Ed Brubaker & Steve McNiven

For the second time in seven years, Ed Brubaker helms the launch of a new Captain America series, and just as he did the last time, he does it in style. Apparently picking up shortly after the finale of Fear Itself, "American Dreamers" begins with the funeral of one of Captain America's closest friends from the forties. It's a terrific entry point into Cap's life, and Brubaker takes full advantage of being able to tell just enough of the hero's "man out of time" origins to bring in any new readers that might pick up this book after seeing the movie.

In past projects, Brubaker has had terrific success in bringing A-name artists to his productions, and this one's no different. Steve McNiven, previously known for the Civil War event series, joins the ranks of distinguished talent like Steve Epting, Sean Phillips, Butch Guice and Mike Deodato Jr., providing a dynamic take on the characters in Brubaker's bailiwick while Justin Ponsor colors every scene brightly. Cap and his friends seem to burst off each page, and one can't help but be drawn in.

The plot involves the beginnings of a conspiracy meant, it seems, to bring Cap down--a classic revenge scheme involving players stretching back through the character's storied history. Brubaker sets the stage well, giving readers all they need to know without filling in recent, unnecessary backstory about Bucky and the fates of all concerned in Fear Itself, forging boldly onward. If you're looking for a Cap fix but don't want to have to deal with a major Marvel crossover, the newly relaunched Captain America is for you. At least, do yourself a favor and Read It.

RED SKULL: INCARNATE #1 - Marvel Comics, $3.99
By Greg Pak, Mirko Colak, June Chung & David Aja

For years, the Red Skull's history has been something of an enigma. The popular story involves the Fuehrer himself, Adolf Hitler, proudly proclaiming he could turn any man into a symbol of ultimate evil. To that end, he selected a mere bellboy and groomed him to become the Red Skull, a foremost symbol of terror for the Third Reich.

The real story is, of course, more complicated than that, and here writer Greg Pak and artist Mirko Colak begin to unfurl their definitive version of the events that led young Johann Schmidt down the path of treachery that made him don a scarlet death-mask. As others have pointed out, Pak's having previously written the origin of Magneto, itself steeped in Holocaust lore, make him the ideal choice to tell the tale of the character who may well be Magneto's true opposite.

Like Magneto's origin, Pak begins the story of the Red Skull as early as he can, with this issue revealing Schmidt's early years in a home for wayward boys, escalating through his first exposure to the Nazi party in 1923, and finally climaxing in his first showing of brutal violence upon another creature. It's vivid, it's disturbing, and I couldn't put the book down.

The allure of this issue had just as much to do with Pak as it did with Serbian artist Mirko Colak, who sets the right tone from page to page. He's an excellent storyteller who doesn't need words to bring his point across. although this project marks his first work at Marvel, I'm betting this isn't the last we'll see from him.

The Red Skull takes his first steps toward the evil of the Third Reich in this story. It's already brilliant work, and it's only going to get better. Buy It or be sorry!

~G.