What a weak. Er, I mean, week. With almost every major Marvel title still utterly dominated by the Hero Vs. Hero storyline, Civil War, it's getting increasingly difficult to find enthusiasm for certain titles. This week, I take a look at the continuity-plugging fanfic that Guggenheim somehow ended up passing off as the end to his run, in Wolverine #48, the return of Dolph Lu...I mean, Frank Castle, The Punisher to the "spandex" Marvel Universe in Punisher War Journal #1, and Amazing Spider-Man #536, in which we learn how not to do a tie-in. Doesn't sound like I'm feeling charitable this week, does it? There're also short reviews of X-Factor #13, Pirates of Coney Island #2, and yet more inside.

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Wolverine #48

Publisher Marvel • Writer Mark Guggenheim • Artist Humberto Ramos

This issue the first to be marked "Casualties of War" and means, thank christ, that Civil War is coming to an end. It's also the end (for now) of Guggenheim's run on the title. For now. In my opinion, it's been a while since Wolverine's been written this well in any capacity, so I'm glad to see that Guggenheim will be making a return to the character, and it's likely that I'll follow him in that respect. This arc has been one of the best-written and best-looking Civil War tie-ins, and has justified itself in a way some have failed to do (X-Men: Civil War, I'm looking at you. AGAIN.) As you can see, I'm pretty pleased with how it's all gone, and with my decision to buy the story.

However.

This story goes to places where, frankly, you should probably avoid. Like many, I'm not entirely enthusiastic about the direction Wolverine's healing factor power has taken recently, going from being able to major damages to his body only at great strain and recuperation time, to regrowing limbs in a matter of seconds. Guggenheim has Nitro burn Wolverine literally down to the bone, in one issue, and later on he came back fighting. That, for me, is too much, but I was willing to let it go just because it's not that big a deal as a minor plot point. But, following established plans (though it's surely, in part, down to fan-outcry) Guggenheim uses this event as the focus of this issue, which answers the question no-one asked - What happens to Wolverine's mind when he's "killed."

The answer is a surprisingly over-thought trip into some kind of afterlife. It's not a horrible story, it is in keeping with the character, but it does have the unfortunate secondary effect of making Logan more or less unkillable. It serves to make an already suspicious process seem even less plausible. An interesting story, yes, but probably not one that needed to be told. The art is great, though, especially the stylistic change during the afterlife sequences.
B+

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Punisher War Journal #1

Publisher Marvel • Writer Matt Fraction • Artist Ariel Olivetti

While I criticised Civil War last week for being Punisher #0, I have to admit, I was wrong. Turns out, it is in fact PWJ #0 that is Civil War #4.5, as it spends the entire issue setting up his appearance at the climax of the aforementioned event. While it's nice to see the Punisher back in the real MU, instead of some crazy MAX alternate dimension which, while an appropriate use of the character, severely restricts his range to the more realistic elements.

If you've ever read a Punisher comic, though, this is familiar fare. It's Frank Castle, running around with a gun, shooting and maiming people until he reaches the guy responsible, so that he can kill him. In this issue alone, he kills off Stilt-Man, the Jester and Jack O'Lantern. That's a pretty impressive bodycount for a starting issue, and probably the first time he's killed any pre-existing character in years. If nothing else, at least it justifies his appearance outside the Max imprint.

Artistically, Olivetti's style seems oddly polished. The digital painting gives the book a sheen that doesn't seem especially suited to the character. His work on Hulk seemed a far better fit. That said, the whole package could've been a lot worse, will probably be better, and like so many other books, suffers mainly from being a Civil War tie-in, really. A new sub-plot with GW Bridge, who it seems has quit SHIELD and gotten fat at some point recently, is the only inclination the title has towards creating its own identity thus far. It's debatable whether that's going to be enough to hold me after the crossover's done.
B-

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Amazing Spider-Man #536

Publisher Marvel • Writer J. Michael Straczynski • Artist Ron Garney

Sweet fucking jesus. Whenever I talk about a comic suffering from a Civil War tie-in, this is exactly the sort of thing I'm thinking about. This issue takes place partially before Civil War #5, and partially after the as-yet-unreleased Civil War #6, and makes a vain attempt to tie in with both CW #5 AND ASM #535 even though they don't entirely agree on events. It's nothing short of a horrible mess, in any case.

As ever, JMS and I don't remotely see eye to eye about how May and MJ should act, and his characterisation is as cringeworthy as it's ever been made. As I often say, I'm not so arrogant as to say my interpretation is correct and his isn't, but, well, let's just say I haven't got this concern with other writers' version of those two fairly important parts of the Spidey mythos.

I have to admit, the issue has its high points. Well, one. And a half. Spidey's recreation of his "unmasking" press conference, this time by interrupting a live news broadcast, removing his mask and then renouncing his support for registration was a moment of utter class, and suddenly makes things the Anti-Reg side seem much more correct. And, finally, the classic threads are back. For a while, anyway.

It's fair to say, if not for the fact that this title is doing one of the most major tie-ins to Civil War yet, I wouldn't consider getting it monthly. As soon as the events are over (could be a while...) I'll drop it like it's hot.
C-

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Flick-Through Reviews

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X-Factor #13 - David/Raimondi
X-Factor contiues is steady climb to the top of my read pile with yet another brilliant issue. It's dangerously close to being an issue of pure exposition, as each character from the team airs their grievances to fourth wall (where the mystery interrogator sits) but it's an amusing, emotional and captivating read nonetheless. Perhaps not so good as a jumping-on point, as it leans heavily on the events of the previous year of the title, but on the other hand, what better way to see what each character is about than this? Raimondi's art is fucking wonderful to have back - he drew the original Madrox miniseries that this title span out of, and you know he's incredibly talented when he can keep an entire issue of characters staring out of the page a visually appealing read for the whole time.
A

Fantastic Four: The End #2 - Davis/Davis
Hmm. We're now 2 issues into 6 and by the end of the issue, the Fantastic Four have barely begun to show the signs of assembling. I find this mildly worrying, not least when characters who are peripheral to the F4 story at the most generous estimation get a lot of page time (Iron Man, She-Hulk...) The story itself is looking very interesting and Davis paints a far more optimistic future than normally seen in comics. Kind of a pity that there's not much focus on, well, the title characters...
B

Ultimate Spider-Man #102 - Bendis/Bagley
The closing issues of the Clone Saga are somewhat redeeming themselves. They're not quite the mess they could've been, and indeed, looked as if they were going to be. Even though I'd long since guessed it (it is, after all, the Clone Saga) seeing the Female version of Peter was disturbing as hell, and, er, "her" story the high point of the issue. The twist at the end, of Dr. Octopus appearing to claim responsibility, is going to need some serious justification to work, though - right now it's just Dr Octopus comes out of fucking nowhere.
B-

Pirates of Coney Island #2 Rob G/Lolos
One of my favourite comics of the week, though it's hard to do anything approaching a review of it because it's working totally on its own terms. If anything, this is even better than the first issue, as the plot gets fully moving and our protagonist joins the Pirates. This title looks like Gorillaz meets Mahfood meets Cloonan and reads like being punched in the street. Great stuff.
A