CABLE #20: My biggest questions about this book right now, as it finishes up the (excellent) brood storyline, and enters its biggest arc yet (Hope & Cable return home) are: 1) What’s the mission after Hope and Cable get back to the present? and 2) Is there any hope at all for redemption for Bishop? To the first one, it’s clearly wait and see. I wouldn’t be surprised if the title gets canceled/rebooted in the wake of the upcoming “Second Coming” event, which ties up the loose X-Men storyline started in Messiah Complex several years ago. To the second… I don’t know. Duane Swierczynski has done such an effective job of completely breaking down Bishop, to the point he’s no longer a villain, he’s a tragic figure, more Shylock than Iago. So I’m not sure he can ever crawl out of that. Maybe this title could change from “Cable” to “Bishop” and be about his redemption arc? Anyway, all the heady talk aside: Cable blasts his way out a space-whale. Sweet. If you’re not picking up Cable, you’re missing one of the most unique journeys in mainstream comics today.

DAREDEVIL #502: Here’s my ridiculous comment – this series is still moving a little slowly for my taste. Silly, because its been literally three issues under Andy Diggle’s steady hand (#501, #502, and The List one-shot), so its not like we’ve moved an inch in a year or anything; it just feels like Diggle is still taking his time and feeling out the area, when I really want him to just f- some s- up. Essentially, despite the massive change in status quo, he’s still playing in Ed Brubaker’s sandbox. I’d like to see him start his own, play with his own characters and plotlines. That aside, Diggle does provide, as usual, solid plotting, good characterization, and some nice, albeit small, twists and turns. And the end of this issue seems to promise what I’m asking for, so no way I’m putting this title down yet.

DARK X-MEN #1: Paul Cornell never works better than when he’s paired with Leonard Kirk, like on Captain Britain and the MI13, one of the best series you guys got canceled and I hate you for. Kidding! Maybe. Anyway, Dark X-Men is a pretty much perfect first issue, following up on the events of the Dark Avengers/X-Men crossover, without ever having had to read any of those issues. Its a riff on the original X-Men line-up, and I won’t spoil anything by revealing who is who, but lets just say the gang’s all there… And evil. Great art, great writing, fun twists and turns. The only downside to this issue is that its kicking off a limited series, and not an ongoing.

DEADPOOL #17: This issue of Deadpool, as well as this week’s Amazing Spider-Man (see above) confirm something I’ve long thought: Deadpool works ever so much better as a villain. Or at least, an anti-hero more on the side of anti- than hero; and Daniel Way walks that line perfectly in this issue. As usual, the balance of action, jokes and character is great, and Way keeps the various balls in the air with deftness and speed. If there’s a reason Deadpool is so popular right now, its because of this title, and because of Daniel Way. Also? Best butt joke this week.

PUNISHERMAX #1: It’s missing the depth of Garth Ennis’ run, but we’re one issue in, so relax. Or rather, reLAX. Jason Aaron turns in a solid, fun, over the top Punisher tale in the best MAX tradition. And the story of the Kingpin’s rise to power is one that I shockingly haven’t heard before, so I’m really fascinated to see how this all turns out. Plus, Steve Dillon art. Sweet. This issue earns the right to call itself Punisher MAX, though I would like to see Aaron bring the emotion, as well as his usual razor sharp writing, to the next few issues.

S.W.O.R.D. #1: Well, that was… Not what I expected. Far more Phonogram than Beta Ray Bill, Kieron Gillen brings the funny to space with this first issue, creating a workplace comedy set in the Marvel Universe. There’s hints it might become something more, particularly in the stupendous back-up story (no joke, it’s worth picking up the issue just for this fantastic follow-up to Astonishing X-Men), but for right now, if you like ‘em fast and light, you might enjoy this.

STRANGE #1: I really love this book. Really, really love it. Emma Rios’ art is a clean fusion of manga and Western styles. The colors are bright and engaging. And Mark Waid, as always, turns in a pitch perfect comic book script. It even brings you up to speed with Dr. Strange’s current status quo, and sets up the series as effectively as a television pilot. Except… There’s something slightly off about it, and it isn’t just having a baseball storyline a few weeks after the season’s ended. It’s that it doesn’t quite strike the balance between the current status quo, and being a brand new series. It’s honestly a little hard to put your finger on, because I really did like this a whole lot, and even recommend it, but… Something was off. It’s a good start to what looks like a cool take on Dr. Strange, but I need another issue to sell me 100%.

VENGEANCE OF THE MOON KNIGHT #3: Jerome Opena’s art still knocks it out of the park… The action sequences are pitch perfectly staged, and match the “Shock & Awe” title of this arc to a T. But three issues in, and I still don’t know why we should care about Moon Knight, other than everybody telling us how amazing he is. I want to see some struggle, some heroism, some loss… Some reason I should be sold on this title, and I’m not quite getting it yet. A well put together comic, well written and drawn, but its got no heart. Yet.

X-FORCE #21: The second chapter of Necrosha continues at a far more break-neck pace than Blackest Night, so we’re quickly leaving comparisons behind. I hope. Anyway, we do get at least one “Holy S&%T!” moment in here with a returning… Character. And the whole cross-over is well conceived and executed. I’m just hoping, though, that X-Force can get more than two months off between crossovers next time; this is basically an X-Men book, guest-starring X-Force. Though with Second Coming on the horizon, I don’t see that happening. Ah well.

X-MEN FOREVER #11: Why is this so enjoyable. Why? ANSWER ME, DAMMIT!

For some, these books are an affront to their sensibilities. Seeing Jesus battle zombies (Jesus Hates Zombies Lincoln Hates Werewolves) or reading a story that chronicles Earth’s apocalypse at the hands of a man-made godlike superhero (Warren Ellis’ new Supergod series) might not agree with some people.

For others, a mutant messiah makes sense in the wake of “House of M” (Cable) and the story of God sending angels to cleanse the world after losing faith in humanity (Legion, which is a precursor to the upcoming film) or a story about a post apocalyptic world where every last superhero suddenly disappears (Rapture) are not only intriguing, they’re downright impossible to pass up!

Cable

Legion: Prophets 4 Issue Miniseries

Rapture

It’s okay if these titles offend you. Everyone’s entitled to their own opinion. I for one, am very much intrigued by these upcoming offerings and have been enjoying Cable recently and have dug Rapture thus far.

So are you excited about these titles or do you abhor them? Have another religion inspired title I didn’t talk about in the article? Feel free to voice your opinion or comment below!

So, Cable.

It was probably the most-hyped of the post-Messiah CompleX launches, got outsold by the Kyle/Yost/Crain X-Force, featured Ariel Olivetti’s puzzling new artistic style of attractive figures over Battlefield 1942 screenshots, and was intended to be the vector along which the most glaring hanging plot thread from the previously mentioned major crossover would travel.

Eisner award-winning writer Ed Brubaker, whose workload’s only dark spot was his at-best mediocre work on Uncanny X-Men, vetted his buddy in crime lit Duane Swierczynski, who was previously known in the comics field for, well, a Moon Knight annual. He hit us up with a five-issue fairly cliched futuristic Western, with a Good Cop and a Bad Cop and the baby as the prize and even a badass local chick who Nathan inspired to channel her inner, uh, badass. It wasn’t a stunning debut.

Two weeks ago, Swierczynski knocked me on the head with Immortal Iron Fist #17, a shockingly worthy follow-up to one of superhero comics’ greatest highlights recently, the Ed Brubaker/Matt Fraction run on the aforementioned book. This week, we get Cable #6, a much-needed investigation into the mind of Scott Summers regarding the justifications behind his recent actions regarding the Mutant Messiah Baby and his son, as well as the precautions he makes regarding the danger of Emma discovering his more morally ambiguous recent actions regarding Logan and the X-Force.

It’s a huge step up for the series, advancing the book from a stereotypical action story symptomatic of the worst excesses of Internet trolls’ dark mirror of “Bendis decompression” to, for one issue, a logical and insightful look into Scott’s mind regarding what is a pretty damn big ongoing story. Michel Lacombe, recently of the Punisher: Force of Nature oneshot with Swierczynski and the Tales of the Sinestro Corps: Ion oneshit with Ron Marz for DC, does an effective job channeling the now-pervasive Lark/Maleev/Azaceta/Phillips gritty style to illustrate a fairly morally complex and personal story. Meanwhile, Swierczynski’s script is far more relevant and taut than previous, providing a formerly unknown amount of both forward plot and character movement for a single issue of this traditionally glacial title.

In short, what I’m getting at here is that this is a good issue, solidly fitting into both the current Manifest Destiny landscape of the X-Men franchise and Swierczynski’s solid work on the adventures of Danny Rand. However, I’m skeptical as to his ability to maintain this pace in the future, especially as he’ll be further (in my mind) saddled with the stiffness and artifice of Ariel Olivetti’s current art style. I’m newly optimistic for future issues of this series, but the burden falls solely on Swierczynski’s shoulders to advance the plot and develop the characters at a rapid enough pace to maintain my interest to continue purchasing the book (despite the standard reviewer copy package, I’m also spending my cash on paper copies of this comic).