Best Shots Advance Reviews: WOLVERINE & X-MEN, SHADOWMAN

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'Rama Rating: 9 out of 10

It's never a quiet day at the Jean Grey School for Higher Learning, so it's no surprise that even for a "breather" issue, there's plenty going on in Wolverine and the X-Men #19. Finally free of all the continuity baggage of Avengers vs. X-Men, Jason Aaron takes a moment to check in with his weird, wonderful school, and in so doing reminds readers why they loved this series in the first place.

From the very first page with an attack from the villainous Swarm — and his horde of Nazi bees — it's clear that Aaron's tongue-in-cheek sense of humor is back in full force. And that's to this book's benefit: too often are the X-Men seen as impenetrable, insular or just plain depressing, but with Aaron's approach, it actually humanizes the hectic lifestyle of the School-children of the Atom. From vampire hunter replacement teachers to refugee missions in space to a manhunt across Westchester County, Aaron shows us in 20 pages just how many different places this book's high concept can take us. But perhaps even more important is that this chapter is an easy jumping-on point to understanding these characters, and — as one surprisingly grisly scene reveals — just because this story has a lot of laughs doesn't mean it can't turn into some surprisingly somber territory on the turn of a dime.

Yet I think this book could have taken a very different, darker turn if it wasn't for artist Nick Bradshaw. The interplay between Bradshaw and his inker, Walden Wong, is getting better and better every issue, with the subtle nuances, like the lines across Wolverine's scowly face, really ringing true. I wouldn't be the first one to compare Bradshaw's cartoony lines to those of Art Adams, but what he brings to the table is a real likability — even a vulnerability — to his characters' clean lines. There's a lot of unspoken acting with Bradshaw's work, whether it's Iceman trying (and failing) to cheer up one of his students, or the cocky swagger in one guest star's posture when he scores a victory against some corrupt One Percenters. Laura Martin's colorwork also ends a ton of brightness and energy to this issue without being garish or overwhelming — Jason Aaron might be setting the tone for the story, but it's Bradshaw, Wong and Martin that give it its charm and heart.

There are a few minor hiccups to this story, but admittedly they aren't enough to dent any of the goodwill Aaron and company have built with their lovable band of X-scholars. The framing sequence of this story — Kitty Pryde searching for a new schoolteacher, a gag similar to Grant Morrison's recruitment issue of JLA — has some good laughs, and does highlight the Jean Grey School's place in the grand scheme of the Marvel Universe, but I'll admit that the punchline did feel a little flat. Additionally — and this is actually to Aaron's credit as a storyteller — the last two pages, while serving as a cliffhanger to the next threat against Wolverine and his pupils, are such a departure from the previous 18 that you could almost skip those two pages and not feel like you've missed out on anything else in the book.

Maybe instead of damning with faint praise, I've lionized with small criticisms. Maybe it's because I'm happy: Wolverine and the X-Men are back where they belong, away from the crossovers and the events, and back to the classrooms, the suburbs and the stars. In short, Jason Aaron, Nick Bradshaw, Walden Wong and Laura Martin are back to doing what they do best. And like Wolverine himself, they truly are the best there is at what they do.

 

Shadowman #1

Written by Justin Jordan and Patrick Zircher

Art by Patrick Zircher and Brian Reber

Lettering by Rob Steen and Dave Lanphear

Published by Valiant Entertainment

Review by David Pepose

'Rama Rating: 7 out of 10

Who is Shadowman? The answer is still unclear, but I will say this: He looks damn good. Justin Jordan and Patrick Zircher set up a fairly standard origin story for Jack Boniface, but Zircher's artwork makes the standard seem anything but.

Zircher starts us off with a strong first impression, with a stoic looking father standing next to his grieving — and very pregnant — wife. Like Bryan Hitch before him, it's a very realistic, blockbuster style of visual storytelling, and it works. It's this opening sequence, as we meet Josiah Boniface, the original Shadowman, that's the most effective part of the book. From the rapid transformation from human skin to pale white mask to the widescreen invasion of poltergeists from another universe, Zircher's artwork gives us a reason to sit up and take notice. But Jordan and Zircher's story also has an unintended benefit, showing that the love of two parents — particularly one that's a doomed superhero — gives us more reason to root for Jack than his actual personality.

From that strong introduction, however, the story does falter a bit. Jack Boniface, the new Shadowman, still comes off as a bit of a blank slate, from his "jack-of-all-trades" non-job to his "mysterious" lack of background. With a character with a comparatively short track record than, say, Spider-Man or Batman, having a set point of view and theme is imperative towards making a character like Shadowman stand out from the pack. Right now, a lot of things happen to Jack Boniface (as well as the various magic-affiliated allies and enemies that Jordan and Zircher have to introduce, as well), but he's not a particularly active player in his own book.

Right now, there isn't too much that's different about Shadowman, in terms of actual plot. What does make this book different, however, is that Valiant is bringing A-list artistic talent to a character that otherwise wouldn't be viable in this already supersaturated superhero market. Zircher's artwork is epic enough to pique my interest, but Jack Boniface needs to stand on his own two feet if Shadowman is going to be able to withstand the light of day.