MacKay shows considerable talent for finding a stylish way to bring out the clever corners of the Marvel Universe.
All in Crossover
MacKay shows considerable talent for finding a stylish way to bring out the clever corners of the Marvel Universe.
Pacheco keeps Jessica Drew firmly grounded in a dash of emotional realism.
Artist Keng follows Liefen’s modulations with visuals that capture a variety of different moods.
The drama that asserts itself through page and panel makes an impact.
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What could have been a messy collision with a huge supporting cast is actually fairly well-balanced.
A very charming personality develops from this in very subtle and intricate ways.
The story as a whole misses some of the charm of the debut issue.
Hellmouth #4 just slouches along with weak writing.
Once again, Buffy the Vampire Slayer continues to be an MVP title for Boom! Studios.
Houser and company find something appealing in another hero-vs-hero story.
Houser would have needed a series twice the length she had to work with here to bring across the full depth of what she was attempting.
Wells finds some clever bits of comedy in the funny animal analog of the Marvel Universe.
Despite starting as an “event,” the 2099 storyline ends as a small origin story.
Year of the Villain: Hell Arisen #1 is completely superfluous.
The laughs themselves are a bit weak, but Russell and Norton host a fun, little 30-page party for anyone interested in attending.
A young hero leads a group of mid-list superheroes on a mission to save Death.
Hellmouth #3 feels like filler.
Absolute Carnage has been a good event, but it feels unfinished, and the final issue ends extremely abruptly.
A brilliant approach to an Indiana Jones/Tomb Raider-style adventure…with a bit of Ocean’s Eleven thrown-in.