Flashpoint No. 5
While Geoff Johns and the rest of the DC crew are working fervently on the highly anticipated "No. 1" reboots, the 2011 comic event of the summer comes to a stunning conclusion in "Flashpoint No. 5."
For all intents and purposes, the comic does well to cover a lot of ground. Wrapping up the Flashpoint series, explaining how and why the reboot will happen and (kind of) concluding the Amazon-Atlantean super-brawl, this issue is packed with defining moments. Emotional and heartfelt, Johns puts considerate thought into the last few pages of the issue, and while he manages to pull a few heart strings, the comic still feels a bit lacking and is by far the least enjoyable of the series.
While Johns manages to incorporate most of Flashpoint's spin-offs into its final issue, they aren't in any capacity of substance, as they feel both rushed and haphazard. Andy Kubert displays his phenomenal artwork in his portrayal of some of the most impassioned moments of DC history, at the ending of which even Batman himself sheds a tear.
Offering insight into the reboot and historical significance as the end of another summer's classic offerings, "Flashpoint No. 5" sports a hefty price tag at $3.99 but is worth its cover-price, albeit just barely.
The Amazing Spider-Man No. 668
There is no worse feeling for comic book enthusiasts than to see their favorite heroes written entirely out of character, illustrated in a way that shames their creators and defames their iconic canon. Thankfully, Dan Slott is not one of those kinds of writers.
At times it seems as though New York's neighborhood Spider-Man and Slott are riding the same wavelength, as this issue is true proof that Slott really understands the subtle nuances of the web-slinging hero.
The Spider Island plot has given artist Humberto Ramos a chance to spread his wings with the team at Marvel and thus far has not disappointed. Of note, a particular splash page featuring Parker in his civilian attire rallying his fellow New Yorkers into battle with a clone army of Spider-Men.
On the surface, Slott's writing is simplistic and easy to follow, but under the bright lights of a critical eye, it's astoundingly deep, painting a vivid image of what a cataclysmic Big Apple would be like if the world had Spidey's gifts.
With the raging arachnid virus transforming the city's population into what can only be described as a cacophony of Spideys, Reed Richards gets called into action. Hopefully, he can teach New York that with great power, comes great...well, you know the line.
Stan Lee's The Traveler No. 10
Even in his twilight years the enigmatic man of Marvel, Stan Lee, is still collaborating and formulating well beyond what a man of his age should. But now, more than ever, comic book fans the world over are grateful for the man who continuously gives to the community.
What separates The Traveler from its comic cohorts is how stunning its storytelling is. Not overly grandiose, but simplistic and refined, the principal writer Mark Waid — known for his writing on DC's masterwork Kingdom Come — takes a page from the master's book and produces extremely intelligent content.
Waid writes a character both cynical of the world he has to save, yet still altruistic in the sense that he thanklessly works without recognition. This believable character development seeks to elevate the series above the noise of its competitors, and mostly it does a phenomenal job doing so.
The palette of vibrant blues, fiery reds and lush greens help to give the comic an almost unbelievable look, as every panel serves as a story in itself.
The conclusion of the issue leaves off in a traditional cliffhanger moment, and while fans of Lee's earlier work and Waid's interwoven plots know that delayed gratification will provide them solace, for the rest of the world the lack of the comic's definitive ending will be a real kick to the clock.
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