Tag Archive: Hawkeye


Instead of what has been done at past panels at San Diego Comic-Con–having a panel for each or just a few major projects–Marvel Studios exec Kevin Feige was on-hand to get several announcements out the door and as many key cast members in and out of his single panel as possible.  For the Marvel Cinematic Universe’s Phase IV, that means tying in Disney’s (pay) streaming service with the movies.  The big takeaway?  New logos are pretty much all there is so far to share, plus key casting and timing announcements.  And although the last Phase had some changes along the way, it looks as if these ten projects will round out the entirety of Marvel over the next few years.  The biggest frustration for fans of the X-Men and Fantastic Four is why nobody at Marvel has been getting a head start on these two massively popular teams of characters–money is definitely going to be left on the table for the duration of Phase IV by pushing out these projects.  Why aren’t these Priority #1 with someone at Disney in light of the long lead-time the corporation had for the Fox acquisition?

The new time table is straightforward: Black Widow movie (May 1, 2020), The Falcon and the Winter Soldier TV series (Fall 2020), Eternals movie (November 6, 2020), Shang-Chi and the Legend of the Ten Rings movie (February 12, 2021), WandaVision TV series (Spring 2021), Loki TV series (Spring 2021), Doctor Strange in the Multiverse of Madness movie (May 7, 2021), What If…? animated series (Summer 2021), Hawkeye TV series (Fall 2021), and Thor: Love and Thunder movie (November 5, 2021).  The most eagerly awaited film after this year’s Avengers: Endgame was the hinted-at Guardians of the Galaxy/Thor or Asgardians of the Galaxy team-up movie, but Marvel still has not confirmed that project, unless it’s tied into the 2021 film.  Also relegated to “in development” status: Black Panther 2, Captain Marvel 2, Fantastic Four, X-Men, and the next Tom Holland Spider-Man movie (Spider-Man is Iron Man’s replacement, right?).  Silence seems to confirm the death of the Marvel Netflix universe of Luke Cage, The Punisher, Daredevil, Jessica Jones, and Iron Fist, and maybe even Disney+ projects Runaways, Ghost Rider, and Helstrom.  FX’s Legion was already announced as canceled, and we lost track of how many times The New Mutants movie has been pushed back.  Even bigger unknowns are the next Ant-Man and The Wasp, which had Hank Pym actor Michael Douglas already discussing it as a prequel, and if anyone is thinking about Prince Namor the Submariner, nobody is talking.  It begs the question:  Does Disney have too much to handle now?

As a beginning Disney’s Marvel side seems to be taking a lead from its Star Wars division, with its offerings targeting a mix of fans old, new, and in-between.  For the fans of the MCU so far you have plenty, a Black Widow (presumably prequel) and Thor movie as bookends for Phase IV, and TV series to keep alive Falcon, Winter Soldier, Scarlet Witch, Vision, Loki, Doctor Strange, and Hawkeye.  For new audiences (and possibly much older comic book readers) there is Shang-Chi and the Eternals to get to know, along with the announcement that Luke Cage’s Mahershala Ali will be playing Blade in a reboot movie at the beginning of Phase V, the vampire hunter who, like Spider-Man, has already seen an entire series of movies outside of the MCU.

The details are an eclectic mix of things you might want, things you didn’t know you want, and things you won’t know what to make of:

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SCARLET-WITCH-#1

Last week saw the release of the first issue of Marvel Comics’ latest monthly Scarlet Witch.  The series is written by James Robinson with artwork by Vanesa Del Rey with colors by Jordie Bellaire.  Award winning Hawkeye cover artist David Aja provides the cover to the first issue, plus variant covers are available from Kevin Wada, Bill Sienkiewicz, Erica Henderson, Tom Raney, and Chris Sotomayor.  It’s not only David Aja’s cover, but Robinson’s well-paced introduction and Del Rey and Bellaire’s visuals that remind us of Matt Fraction and Aja’s successful Hawkeye series, another series about a secondary character and a life outside the scope of saving the world with the Avengers.

The new Scarlet Witch has a ghostly quality, and a style similar to DC Comics’s initial New 52 stories of Batwoman from J.H. Williams III and W. Haden Blackman.  It’s introspective look at a superheroine with a past also echoes Nathan Edmondson and Phil Noto’s brilliant Black Widow series.

Scarlet Witch interior page

But this is a distinctly different story about a much different character.  She is not a young heroine.  She is a witch who speaks aloud with the ghost of Agatha, a dead woman she may or may not have killed in her past.  Scarlet Witch–Wanda Maximoff–is a detective of sorts in the same way as Liv Moore uses her supernatural skills to solve crimes in iZombie.

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Hawkeye issue 11   Afterlife with Archie main cover

The annual Harvey Award nominations close tomorrow.  The nominees for best works in the comic book industry are being voted on by comic book creators, with the final award ceremony to be held at Baltimore Comic-Con on September 6, 2014.  The recently combined publisher BOOM! Studios and imprint Archaia lead this year out of the gates with 30 nominations.  Independent publisher IDW Publishing received no nominations and the biggest, DC Comics, received only one.  Probably not surprisingly one of our favorite books, Marvel Comics’ Hawkeye, is a top contender, along with David Petersen’s latest Mouse Guard work.

More of our favorites are recognized again this year: Francesco Francavilla’s Afterlife With Archie is up for Best New Series and Mike Norton’s Battlepug for best online comic.  Here are the 2014 nominations for 2013 works, followed by this year’s Eisner Award winners for those that may have missed their announcement during the busy weekend of SDCC 2014.

2014 Harvey Award Nominees

Best Writer

James Asmus, Quantum and Woody, Valiant Entertainment
Matt Fraction, Hawkeye, Marvel Comics
Matt Kindt, Mind Mgmt, Dark Horse Comics
Brian K. Vaughn, Saga, Image Comics
Mark Waid, Daredevil, Marvel Comics

Best Artist

David Aja, Hawkeye, Marvel Comics
Dan Parent, Kevin Keller, Archie Comics
Nate Powell, March: Book One, Top Shelf Production
Chris Samnee, Daredevil, Marvel Comics
Fiona Staples, Saga, Image Comics
Jeff Stokely, Six Gun Gorilla, BOOM! Studios

Best Cartoonist

Matt Kindt, Mind Mgmt, Dark Horse Comics
Comfort Love and Adam Withers, Rainbow in the Dark, uniquescomic.com
Terry Moore, Rachel Rising, Abstract Studios
Dan Parent, Kevin Keller, Archie Comics
David Petersen, Mouse Guard: The Black Axe, BOOM! Studios/Archaia
Paul Pope, Battling Boy, First Second

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Miss Fury Dynamite Comics

We tried on for size almost every new book that was released from comic book publishers like Dynamite Comics, Dark Horse Comics, IDW Publishing, Archaia/BOOM!, and Image.  We tried to sample the best of all that Marvel and DC Comics had to offer, too, and although we didn’t have enough time to review everything we did try to put out there for your consideration those titles we thought our readers might like to check out, especially those with a sci-fi, fantasy, or retro bent.  Our pull list included issues from Afterlife with Archie to Django Unchained, from Liberator to Larfleezeand from Velvet to The X-Files.  This past month we have reviewed the year-long run of the best of these titles, as we narrowed our selections to 21 of the very best entries in genre entertainment outside of TV and movies, which we revealed here yesterday.  So here are the rest of our picks for the Best of 2013.

Kane Starkiller borg by Mike Mayhew

Best Borg Appearance — Kane Starkiller, The Star Wars.  Borgs showed up everywhere this year, from the lead characters on Almost Human, to Doctor Who, to countless comic book series including Justice League and RoboCop.  Our favorite appearance came from the young mind of George Lucas as he created the original script that would later be edited into the original Star Wars trilogy.  And through Dark Horse Comics’ The Star Wars monthly comic book event we learned one of his best ideas was merged into other roles and one of his best characters entirely cut.   That character was Jedi Kane Starkiller, who would reveal his cyborg chest implants that kept him alive, later to heroically give up this life-saving technology to save his friends.

MissFury001-Cov-Renaud

Best Comic Book Series — Miss Fury, Dynamite Comics.  A uniquely crafted tale, a compelling and seductive superhero, great action panel after panel, sourced in a long-shelved classic character of the Golden Age of comics.  Rob Williams and Jack Herbert’s Miss Fury is a carefully rendered update that rings true to the edgy spirit of the world’s first female superhero.  Beautiful panels set up an ever-changing time and place and pull readers along for the ride.  And stuck-out-of-time Marla Drake and her alter ego Miss Fury could not have looked better, whether carving out her place in the 1940s or as she was teleported into the future.  It’s a series no one should miss.

Clint Barton Hawkeye by Fraction

Best Comic Book Writing – Matt Fraction, Hawkeye.  Last year revealed one of the best comic book series we ever read, focusing on that “other” superhero archer, the second tier Marvel Comics superhero Hawkeye.  Matt Fraction gave us the most interesting set-up and look into the daily life of a superhero who isn’t Captain America or Iron Man.  This year he kept up the momentum in his Hawkeye monthly series, providing stories that challenged readers, each issue taking a different peek into Clint Barton, another costumed superhero called Hawkeye, and their trusty dog.

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Hawkeye cover art

From its “bad romance”-themed Issue #8 in February through an issue featuring the other Hawkeye Kate Bishop in Los Angeles in its most recent Issue #14, Marvel Comics’ monthly Hawkeye series has kept up its unique brand of high-quality storytelling all year.  With its visuals led by David Aja for most of the year, other artists have stepped in to backstop Aja, including none other than another Eisner winner artist, Francisco Francavilla.  But the continuity and consistency of Avenger Clint Barton and his friends is thanks to the writing of Matt Fraction, who, like J.H. Williams III and W. Haden Blackman and their Batwoman series, took a lower tier superhero and produced the best monthly series in its publisher’s line-up.

Each issue managed to maintain a slow, downward spiral of its hero as a self-deprecating lost soul who is only understood by a dog who is then taken across the country by his friend Kate.  In one issue (Issue #12) his brother Barney “Trickshot” Barton takes over the entire story and we barely see Waverly, Iowa born Clint Barton.  Rarely do we see typical superhero action, like Hawkeye donning his supersuit or showing his skill with bow and arrow.  When we do see it, its via West Coast Avenger Kate Bishop.  Clint is virtually absent from Issue #14, as Kate, with Lucky in tow, matches wits with a strange but beautiful masked villain.

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One issue (Issue #13) focused on the somber events surrounding the funeral of neighbor “Grills,” the guy who grilled on the roof for tenants of his building and referred to Clint as Hawkguy.  In that issue girlfriend Jessica Drew, the Spider-woman, tries to mend fences with Clint in the car procession, only to see afterward that he had fallen asleep during her entire compelling monologue.  It’s a scene that defined this year for Hawkeye–everything that could go wrong, did, and every time he was close to getting a break he missed it.  Yet readers are sucked in, and stick around to cheer on this everyman and his daily efforts to get back on track in a world where he isn’t the main superhero around.

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hawkeye-fraction-aja-hollingsworth-2

The winners of the 2013 Will Eisner Comic Industry Awards were announced at a gala ceremony held during Comic-Con International: San Diego, at the Hilton San Diego Bayfront, on Friday, July 19.  We’re particularly happy with the choice of David Aja’s Hawkeye, one of borg.com’s favorite series of 2012 and Dark Horse Presents, the source of some of the best stories last year, as best anthology series.  We also liked the judge’s selection of Dave Stewart for colorist, who had such incredible work last year on several books including the Batwoman series.

Here are this year’s winners:

Best Graphic Album—Reprint

“King City,” by Brandon Graham (TokyoPop/Image)

Best Archival Collection/Project—Strips

“Pogo, Vol. 2: Bona Fide Balderdash,” by Walt Kelly, edited by Carolyn Kelly and Kim Thompson (Fantagraphics)

Best Archival Collection/Project—Comic Books

“David Mazzucchelli’s Daredevil Born Again: Artist’s Edition,” edited by Scott Dunbier (IDW)

Best U.S. Edition of International Material

“Blacksad: Silent Hell,” by Juan Diaz Canales and Juanjo Guarnido (Dark Horse)

Best U.S. Edition of International Material—Asia

“Naoki Urasawa’s 20th Century Boys,” by Naoki Urasawa (VIZ Media)

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Review by C.J. Bunce

Matt Fraction and David Aja’s new Hawkeye series is one of the best Green Arrow stories I’ve read in a good while.  It’s a strange thing, as I had no idea these guys could be interchangeable.  Sure, they both use bow and arrow as their chief weapon.  Green Arrow has been around since the 1930s and Hawkeye the 1960s so I must admit I looked at Hawkeye as a Green Arrow knockoff, nothing more.  After his supporting role as a good guy converted to bad in this year’s Avengers movie I figured I’d relegate him to the hundreds of other characters that don’t make it to my reading pile.  I was pretty underwhelmed despite some nice trick arrow moves in that film.  So I had no intention of checking out the Marvel Comics new Hawkeye solo series.  But a very Cliff Chiang-inspired set of covers to Issues #1 and #2 this week at the local comic hangout caused me to look closer, and Matt Fraction’s name caused me to flip through Issue #1.

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Review by Art Schmidt

Overall this is probably one of the best Marvel Studios has produced thus far.  Despite the multitude of heroes and personalities on the screen, which could have easily lent itself to a convoluted, overly-busy and confusing plot, the movie sails right along with only a few minor bumps in dialogue or story.  The tight script by director Joss Whedon manages to bring out the individual personality of each character, as well as showcasing each ones strengths and, in most cases, their weaknesses, without anything feeling like it was shoe-horned in the middle of a scene or duct-taped onto the end of a conversation.  It all flows exceedingly well, to both Whedon and Zek Penn‘s credit.

Early on, many questioned Whedon’s ability to transform from a televised series format where he’s had his greatest critical and commercial successes with Buffy the Vampire Slayer, Firefly, and Dollhouse, to the big screen, despite having written stories and/or screenplays for several films including Toy Story, Alien: Resurrection, and Serenity.  Well, The Avengers have assembled for what is currently Earth’s Mightiest Movie, and Whedon has answered all of those critics with a guttural roar heard all across America yesterday:

“Joss SMASH!”

Smash, indeed.  It appears some records are about to be smashed, judging by the movie’s world-wide tallies and first-day numbers in the United States.

In fact, it may very well be Whedon’s experience with television’s shorter episodic format that enabled the director to write such crisp, fast-paced exchanges between the characters, expressing multiple points of view in relatively short conversations without feeling pithy or trite.  Of particular note is a scene mid-way through the movie, as the Team wrestles with each other’s hidden objectives and priorities, trying to make sense of how they can possibly agree on even one thing, much less begin to work together.  S.H.I.E.L.D. Director Nick Fury’s agenda is questioned, as is Thor’s long-term plans for his captive brother Loki, played again with devilish delight by Tom Hiddleston.  Steve Rogers (a.k.a Captain America) questions Tony Stark’s patriotism, and Bruce Banner tries to remain out of the fray altogether, because in reality he doesn’t trust any of them.  And it is Banner who aptly frames the team’s troubles with the quip showcased in the previews: “We’re not a team…  we’re a time bomb.”

Of particular note is newcomer Mark Ruffalo, taking up the role of Bruce Banner formerly portrayed by not one but three other actors, the fairly straight-forward scientist on the run character (“David” Banner) that Bill Bixby gave us in the seventies TV series, the brooding scientist with the weight of the world on his shoulders as portrayed by Eric Bana in Ang Lee’s The Hulk, and the mousy, sensitive fugitive we were shown by Edward Norton.

Ruffalo gives us a character more true to the Banner of the comics, nerdy and analyzing, shy around people and reluctant to get involved, with much hand wringing and avoiding eye contact, even when the camera isn’t squarely on him.

The Hulk himself, finally, comes into his own in an odd way, with hints that Banner now has at least a tiny bit of control over the beast.  The CGI Hulk is a rare cinematic treat, fun to watch, exhilarating with his combat acrobatics and both vicious and funny to behold in all his rage.  He definitely grabs both some of the movies best action sequences and its funniest sight gags.  Whereas many studios anymore give away the best parts of their movies in the previews in an attempt to trick an audience into the seats, The Avengers saves the best stuff for the theater, and I won’t be so callous as to spoil one single juicy bit of it here.  I will say that when Banner tells his “big secret” to Black Widow and the rest of the team during the finale, it drew some the biggest cheers of the night.

Although now in an apparently steady relationship with Pepper Potts, played in a few brief scenes by Gwyneth Paltrow with the warmth and grace she brings to every role, Robert Downey Jr.’s Tony Stark is at his most self-centered and narcissistic throughout the entire film.  Which of course is to say at his most fun, especially for the audience.  His cooler-than-thou attitude grates against almost every other member of the “team,” and much of the early in-fighting amongst the team is either attributed to, or enflamed by, Stark’s ingratiating self-importance.  Again, to the audience’s delight.

Despite the excess of charisma, Iron Man does not end up leading the team, of course.  That honor goes to Captain America, although next to the high-flying and alien-smashing abilities of the other “big three,” the star-spangled man in blue tights seems, as times, a bit under-powered.  But the Captain’s confidence and, ultimately, loyalty to his teammates is what brings out his leadership skills, and the others end up swallowing their pride and prejudices and looking to him as their quarterback, their general, their Captain.

Chris Evans does a skillful job of maintaining Cap’s Boy Scout innocence amidst the highly experienced and jaded folks around him, even when faced with deadly threats and other-worldly beings.  Steve just pitches in and helps, whether it’s assisting Iron Man in getting a rotor repaired, sneaking around S.H.I.E.L.D.’s vaults to uncover their secrets, or directing New York’s finest to execute their duty to protect and serve.

“Why should I take orders from you?” one veteran police sergeant asks dubiously.  The response is pure popcorn delight.

Chris Helmsworth recites Thor’s Olde English dialogue with clarity and ease, and though at times you can almost see the words in your head in the fancy font used in the comics, it rolls off of his tongue naturally.  The God of Thunder actually feels more real in this movie than in his own, partially because the other heroes bring him down to Earth a bit (no pun intended), but also because of the balancing effect of the Hulk.

As Black Widow, Scarlett Johansson has enough to do and gets plenty of screen time, even discounting the shots of her character walking away from the camera, but compared to those who have super-natural (or super high-tech) abilities, her martial arts and weapons skills seem flashy but inadequate.  As one of S.H.I.E.L.D.’s top operatives, however, she in right in the mix and given some tough assignments, like dealing with Banner / Hulk and figuring out how to ultimately stop the bad guys at the end.

Hawkeye suffers from a similar fate (played by Jeremy Renner), although his trick arrows do bring some surprises and satisfying butt-kicking moments.  His arsenal isn’t as tricked-out as in the comics, but his skill comes across (especially when he’s eyeing his targets a full forty or fifty degrees from where he’s aiming his bow) and his automated quiver is a fairly neat addition to the Avenger’s arsenal.

Samuel L. Jackson has been playing Nick Fury with his own unique brand of quiet cool through almost all of the Marvel movies leading up the this, and I was looking forward to seeing him in some action sequences in The Avengers.  Though Fury does unleash some on a few bad guys, his role is mostly as the S.H.I.E.L.D. administrator and liaison to those in power calling the real shots.  Too bad, maybe next time.

All in all, the movie aims to please and hits the mark dead-on, with tons of thrills, laughs, great action sequences, characters who sound intelligent and a story that makes sense.  Usually with superhero movies, you’re lucky to get any three of those things and call your money fairly spent.  Well, Joss Whedon and company have assembled the entire team and anyone who enjoys action / adventure movies should walk away with a huge grin on their face.

Be sure to wait until after the credits for a great nugget!  I won’t give it away, but it is unlike any of the others Marvel has planted at the end of the movies leading up to this one.  And joyously so!

Review by C.J. Bunce

Everything nearly ended.  Countless heroes were killed.  The Fantastic Four have disbanded.  The X-Men are gone.  Mutants are hunted as criminals.  The world still needs saving.  This is what happens next.

Released last year in a nice hardcover edition and now widely available everywhere, the oddly titled Ultimate Comics New Ultimates: Thor Reborn is not always easy to find via electronic searches because of its clunky title.  And if you try to just ask for “that great Jeph Loeb/Frank Cho” book from last year, they may or may not know what you mean.  But take it from me, it is well worth remembering this one.

After reading last week’s prologue to the coming Avengers vs. X-Men series (Issue #0 came out last Wednesday and Issue #1 will be released early at a special pre-release party this Tuesday night), what it made me want was more Frank Cho.  In a never-dwindling stack of books to read, this New Ultimates is the one in the stack you kick yourself for not reading earlier.

By way of background, Marvel’s Ultimate Universe is a parallel universe created in 2000 to try to bring in new fans without being bogged down in 40 years of Marvel Comics Universe continuity.  Sound a little like DC’s New 52?  The Ultimate Universe is a sort of all-bets-are-off line that Marvel fans either love or hate.  As a fan of alternate history books, and as we wait for DC Comics to reveal its own new Earth 2 and Worlds Finest parallel universe series, this trade book, re-printing the Ultimate Comics New Ultimates: Thor Reborn Issues #1-5 from 2010, is exactly the kind of story I love.

I’ll put aside Frank Cho’s brilliant art for a second and get into the story.

Jeph Loeb is one of comic book writing’s greats for a reason.  His storytelling is superb in that it is succinct enough for the comic medium yet comprehensive in its bringing in several major players and turning points in only five chapters.  Each issue/chapter is told both from a third person narrative and an internal monologue from a different key player–each of Tony Stark, Steve Rogers, Valkyrie, Loki and Thor.  Sometimes the stories run parallel with each other, and in other parts they require the reader to follow the two stories separately.  I rarely like switching narrators in any type of book as it usually feels like a gimmick.  In comic books, if done right, it can allow you to dig into a few characters more deeply than a third person voice by itself.

Jeph Loeb clearly poured a lot of himself into this story.  Loeb follows the thoughts of Tony Stark as he beats up himself for surviving a battle with cancer, while a kid he met named Sam did not survive.  Sam, of course, is a reference to Loeb’s own son who had died earlier of cancer, and was the subject of a popular memorial book by several DC Comics creators.  The fact that Loeb would pour such a personal story into the opening page of this book grabs the reader’s attention instantly.  Suddenly we see Loeb as Stark, and it somehow allows us to understand the darkness behind Stark’s personality.  As Stark is chatting with Hawkeye, a group of the New Defenders appear for a brawl.  Captain America shows up with two great characters, Zarda, who Hawkeye believes to be crazy yet is a goddess in her own right, and Valkyrie, who we later learn is a typical girl next door that ends up coerced into a life of a would-be superhero.

This humorous assemblage of repeating/mirror panels is reminiscent of Frank Cho's Liberty Meadows work.

Valkyrie is central to this story, as Thor’s lover, she cannot get over losing him.   He resides in Asgard, his exiled destination for sacrificing everything–including his life–in a prior battle.  We meet yp with Thor in Asgard, trying to persuade Hela to let him return.  She agrees, but for a great price that he pays–without much coercion–and with a result that will likely be played out in later series.

For Frank Cho fans, this world includes Shanna of the jungle and Ka-Zar, their twin tigers, and Black Panther.  They are first to confront the series’ villain, Loki, and another enchantress named Amora, with a flying dragon/dinosaur beastie invading Manhattan.  As much as readers will be blown away by Cho’s pantheon of women heroes like only he draws them, including Ms. Marvel’s Carol Danvers, Valkyrie, Zarda, Amora, the enchantress, and Shanna, his male superheroes are superb, too, and Iron Man and Captain America in particular have rarely been rendered artistically any better.  Also look for cameos by the Black Knight and Power Man.

Beautiful original art page by Frank Cho.

We encounter a brooding Captain America, who inadvertently pushes Valkyrie and Zarda into the manipulative trance of Amora (Zarda is a ringer for Cho’s Brandy and Amora for Cho’s Jen, both from his Liberty Meadows series).  Rounding out a triumvirate of super-powered women under the control of Loki and Amora, Carol Danvers, now director of S.H.I.E.L.D.  is pulled in to devastate the few heroes that remain: Iron Man, Captain America, and Hawkeye.  Readers are treated to several poster-worthy splash pages from Cho.  And hints abound in the series as well as in-jokes.  Cho’s use of eyes and expressions tell stories themselves that, in retrospect, were giveaways easily passed over on a first read.  Cho’s in-jokes are peppered throughout the book, in wall paintings and coffee house menus, in backgrounds other artists would have left as filler space.

Throughout this tale we follow the tragic story of the rise of Valkyrie, actually the human Barbara Norriss, whose entire life–as she sees it–is a lie.  The theme “be careful what you wish for” is repeated throughout Loeb’s story.  Valkyrie’s story is emotion-filled and poignant.  If you are looking for a great story along the lines of Wagner’s Ring fantasy, this story would fit right in.

Loeb sums up the ruthless Loki very well as Loki compares his and brother Thor’s story to Cain and Abel, and Esau and Jacob, “Unlike those brothers, however, I don’t want to actually KILL Thor.  I just want to @#$% with him.”  Consistent with the Norse god stories, and Loki in the Marvel Universe, this reveals a lot about his motivations and the pages that follow.  The final chapter, shown in part through Thor’s voice, wraps the story arc up nicely.

For some reason to me this image seems very similar to portraits of Batgirl done by Adam Hughes.

Back to Cho’s art–although we almost take for granted Cho’s pin-up worthy splash pages, his action scenes stand up to anyone else’s in their own right.  His women in battle have some similarities to Adam Hughes 1940s style women-focused cover work (like his current Batgirl covers) that I have not recognized before.  The numerous characters go through several emotions, sometimes subtle, sometimes overt, and his eyes and mouths, wrinkles, frown lines, etc. convey much–he really makes it all look so easy.  One final note:  A few of these covers were mentioned earlier here in our review of the best covers of Frank Cho.

The appendix includes a great color and black and white gatefold of alternate covers and a sketchbook of Frank Cho pencil work from this series.  Overall you’ll be hard pressed to find a more interesting adventure story coupled with stellar artwork than Ultimate Comics New Ultimates: Thor Reborn.

No sign of any new Iron Man suit yet for Robert Downey, Jr., but Marvel Comics revealed some new photos in the past several hours for The Avengers–the megahit where all the key Marvel Comics superheroes finally come together in 2012.  And cooler yet, the Internet Movie Database revealed that Lou Ferrigno will return again as the voice of The Incredible Hulk.  If you have been lucky enough to meet Ferrigno in person, you’ll know this kind of an opportunity couldn’t happen to a nicer guy.

Here are some of the photos released for the new film, to be directed by Buffy the Vampire Slayer creator Joss Whedon:

Raise your hand if you are looking forward to seeing anyone in this film more than Samuel L. Jackson as Nick Fury.  No hands?  I didn’t think so.

Chris Evans as Captain America and Chris Hemsworth as Thor, reprising their roles from two 2011 blockbuster movies:

Scarlett Johansson reprises her role from Iron Man 2 as Black Widow.  Hey, why didn’t we get a Black Widow movie?

Tom Hiddleston stars as villain Loki:

And here is a look at Johansson and new character Hawkeye, played by Jeremy Renner:

More photos can be found at the Internet Movie Database.