Deadpool #5 - I like the Romero name tag on the nurse, though I can't tell if Wade is supposed to be smiling under his mask, or if he's doing one of those nervous "gulp" things. Either way, in this issue, Wade escapes from the dire predicament he finds himself in at the start of the issue, and reminds us that he's not to be double-crossed. Sadly, this lesson doesn't pay the bills. Way seems to be going for a Spider-Man style hard luck story here, where Deadpool triumphs over his conflict of the moment, but afterwards finds himself stuck with the same problems he had before that conflict. I'm not a fan of all the bouncing back and forth between the past and the present in the issue, as there are six jumps in the issue. I guess it seres a purpose, to show the situation, but it started to annoy me. There's no "Pool-O-Vision" moments in this issue, perhaps due to Carlos Barberi handling penciling solo this issue. Maybe it's not something that comes as naturally to him as it did to Medina, or Way is trying to be more sparing using it. Barberi does show a decent bit of comedic timing in the panels, a little like Steve Dillon when he teams with Ennis, so that's a plus. We even get to see a zombie throw up, if that's something you've been needing to complete your existence.
Immortal Iron Fist #21 - It's Iron Fist in the year 3099, freeing the oppressed people lving in the Alpha Centauri system! He throws a punch that takes 21 years to connect! He fights Robo-Fat Cobra, who is not nearly as fat as I expected, nor does he have robotic wenches of waiting (that we know of). Still quite large, though.It's a fine issue. Swierczynski gives us hints as to what the future holds for Danny and his legacy, both in a genetic sense, and in what effect he had on K'un-Lun. We see there are still clandestine agreements between the Heavenly Cities and the regular world. We see the importance of hope and faith. Oh, and Timothy Green, whose art I haven't seen since the Starlord mini-series. He certainly knows how to draw some weird stuff, and do so beautifully. I hadn't totally warmed to his way of drawing fight scenes back then, but I like it here. Rather than show the moment of impact, he often shows the moments before and after, and adds a few details to help your imagination put things together. He even conveys are certain human aspect to the security droids, in their body language.
Nova #20 - Rich discusses his concerns about the Worldmind and his brother with Justice and the former Firestar, over beers and pizza. Meanwhile, his brother is busy having fun using those powers to fight the Dragon Man. By the end of the issue, Rich has concluded his problems are just jealousy on his part, but I'd say Rich has reason to be concerned because Worldmind has lost its damn mind.
So Abnett and Lanning appear to be setting up Rich resigning from the Corps, but given what we saw at the end of the issue, I don't see how he can do that. Unless, it's a way to get himself off Worldmind's radar so he can get close to it and rein it in somehow. Or he figures his leaving will help Worldmind come to its senses. I'm concerned about the art. Contrary to what the cover says, Alves didn't handle this alone, sharing duties with Geraldo Burges, which I believe explains why Rich's face and head look so oddly shaped and proportioned during parts of his reminiscing with Vance and Angelica. In addition to the two pencilers, we've got three inkers, which concerns me, because it suggests art team in flux, and I liked the Alves/Hanna team. Don't send them away Marvel!
Patsy Walker: Hellcat #4 - Well it's about goddamn time! Where have you been? You don't write, you don't call, then you just show up, and expect money? I just can't understand you. *pause* Oh, I can't stay mad at you.On topic, Hellcat storms a ship where the heir for the witches is, which brings her up against a Yeti wielding rocket-powered spruce trees. Once there, and having vanquished the Yeti, Patsy learns this situation is somewhat more mundane and domestic than she imagined. But she has a mission, and she will complete it, odd parents and boyfriends or no.
Still confusing me, though. Patsy is quoting Julius Ceasar (thank you SparkNotes, reading Shakespeare so I don't have to), something about how there are moments where you can be great if you seize the moment, and things go your way. As of yet, I can't quite figure what that means, because I think it has relevance to Patsy, more than the savior, who, for the record, is named after a car, Ssangyong Rexton(?) And the Internet says, yes, it is a car! Wow, I'm learning stuff left and right from this comic. Outstanding! *thumbs up* Like I was saying, I think this is related to Patsy and her life, and I can't shake the feeling this is a dream, or some sort of test of her. Certain things just feel like they're connected.
I continue to love David Lafuente and John Rauch's artistic efforts. The smirks, the smiles, the little gestures, the Mr. Potato Head analogue built out of popsicle sticks. So cheerful at times, yet dark and moody and others. Sometimes cute, sometimes absurd, sometimes a bit freaky, always beautiful. The wolf and the bear with antlers play cards! A bridge is built out of bunnies! These are good things people! Love them! *shakes fist, ala Homer Simpson* Love them!
And that, is all I've got. Talk to ya when I talk to ya.
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