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Bash Street Kids. Basil Wolverton's Gateway to Horror. Basil Wolverton's Planet of Terror. Bastard Samurai. Bat Lash Batgirl Batgirl Adventures. Though he was impressed with the story's ability to stand on its own without requiring reading a different title, he did not care for its reliance on coincidence. McElhatton also enjoyed Scot Eaton's pencils, in particular his rendition of Beast and of the fight scenes, but noted that Adi Granov 's cover to the book included a number of characters not in it.
Evans also called Scot Eaton's art "incredibly polished, detailed, and high budget", as seen in both the attack on Washington, DC and the character's reactions to it. Evans said the book fulfilled all the criteria for a good tie-in book, including a message that avoided being overly sentimental or silly. Ray Tate gave 5 out of 5 bullets to Avengers Academy 15, but only three bullets to issue Conceding he was disinterested in the crossover's core miniseries, he nonetheless liked Christos Gage 's exploration of Tigra in Academy 15, but thought issue 16 to be a "mixed bag", saying that while the creative team succeeded in making the Veil story resonant, the drama of the Absorbing Man and Titania did not engage him, despite being technically good.
He also thought the art was effective, but was not enamored of what he thought was an overly-highlighted coloring style. Schedeen felt the series overall suffered from lack of focus on the entire team. Ray Tate of Comics Bulletin gave 2 out of 5 bullets to Fear Itself: Youth in Revolt 1, attributing this to confusing plotting, implausible behavior on the part of bit characters and lack of independence from the core miniseries.
Schedeen likened the depiction of the low point of the Initiative's crisis to the classic Marvel Team-Up 41 in which Spider-Man was trapped under tons of rubble. Schedeen consistently had kind words for Norton's "clean, expressive pencils". Though he advised readers that it was not essential to the crossover, he enjoyed it more than the first two issues of the core miniseries.
He felt the riots, however, marred the story, as he did not think them a believable reaction to "fear". He also said that Norton's art was a "recipe for success". Also singled out was his tying up of the Detroit Steel rivalry from the "Stark Resilient" storyline, and the development of Potts and Cabe. Evans questioned, however, the pacing in issue , and the use of runes for dwarven profanity in Stell also took notice of Bettie Breitweiser's colors and lighting, which she felt were the only ones that depicted the Worthy in a way that they did not appear to be " Tron -rejects".
Joshua Yehl of IGN gave Fear Itself: Hulk vs Dracula 1 an "Okay" rating of 6 out of 10, citing the dull, formulaic nature of the conflict, which was already seen in numerous other tie-in books. While Yehl thought Ryan David Stegman 's settings were solid and featured intricately detailed backgrounds, the character work failed to inspire awe or fear. Reviewing Fear Itself: The Black Widow , Kelly Thompson of Comic Book Resources criticized the in media res structure, saying that instead of the payoff demanded by such an approach, the result is an "eye-rolling deus ex machina-like cheat that in any movie-theater would illicit [ sic ] vocal groans.
Tate attributed the narrative's fluidity to Peter Nguyen's character designs, which he compared to Peter Chung 's Aeon Flux , and also applauded Veronica Gandini's colors. Despite thinking that the citizens depicted were a bit too archetypal, he felt issue 1 properly covered the effects of the Serpent on the populace that were ignored by Fear Itself 2 that week, including those inflicted on Spider-Man that formed a classic set of insurmountable circumstances for him that rivaled his fight with Morlun in the " The Other " storyline.
Schedeen felt Mike McKone's art was clean and cinematic, but varied between his familiar style and a flat, minimalist one in issue 1. Though issue 2 improved on this, he felt aspects of it were flat and rushed in issue 3. Jonah Jameson. He nonetheless perceived problems in continuity and in the behavior of the mob attacking the Iranian cabbie.
He also thought McKone's art was solid and effective, despite occasional problems in body proportions. Though Hunt questioned the book's choice of villain, he was interested enough to see how the story's use of that villain would develop. He criticized the destruction of New Atlantis, without any mention of Utopia , which was supported by New Atlantis.
He also thought that the development of Namor, while potentially interesting, did not entirely work. Though he suggested that Defenders fans would enjoy the book's improvised incarnation of that team, and Lee Garbett's art clear and enjoyable, there was little to either complain about or distinguish it. Tate also liked the creative team's design of the demons, and their rendition of the cast and their heroics.
While Schedeen thought Garbett's art was "functional, if a little cramped" in the underwater scenes, he perceived a sharp divide in quality between his cover and interior work, and the colors to be too dim. Zawisza criticized the Speedball story for a too-weighty collection of elements that threatened to stall it, and for artist Mike Mayhew 's over-reliance on photo reference. Zawisza criticized Peter Milligan 's Agents of Atlas story for lacking "pizzazz", a clear direction and consistent characterization, but found Elia Bonetti 's art a nice transition between Mayhew's and Howard Chaykin 's.
Zawisza found the J. Jonah Jameson story "little more than a one-page filler", though useful in reminder the reader of Jameson's presence in the Marvel Universe. Zawisza found Pepe Larraz 's art in the Broxton, Oklahoma story to be energetic and clean, and his characters believable. Overall, Zawisza felt the book did not add to "Fear Itself", but was a "nice" read, even if not a "must-read".
Schedeen also enjoyed the story and art of Agents of Atlas, thought the inclusion of the J. Jonah Jameson tale was "bizarre", and felt Jim McCann's Broxton story explored the human element, if not memorably, and that overall, the book was not essential reading. Stell consistently denounced Greg Land 's art, which, despite exhibiting good linework and a cinematic style, suffered, according to Stell, from over-reliance on photo reference, and constant reuse of a limited number of poses and facial expressions, in particular the same face used for all the female characters.
Stell also was unimpressed with Land's storytelling, his questionable choice in depicting Cyclops with beard stubble and putting Emma Frost in a cowgirl outfit for no discernible reason, and with Justin Ponsor's color palette and overabundance of highlights. Regarding the writing, he thought the first issue had an average story, and the next two were "pretty good", but disliked the final issue. Although he loved the thrashing that Colossus gave Juggernaut after decades of stories in which the latter dispatched the former, he disliked the Namor - Emma Frost romance, the Kitty -Peter drama, and Cyclops' haughty demeanor toward the Mayor of San Francisco.
Hunt felt that Fear Itself: Uncanny X-Force 1, however, was one of the stronger tie-in books, opining that writer Williams, Rob lived up to the standard set by regular X-Force writer Rick Remender , exhibiting a similar density of ideas, well-pitched character work, and the same "fun" of that book, without aping Remender's writing style. However, Hunt felt the story suffered from being almost unrelated to the core "Fear Itself" storyline, and criticized the lack of clarity over the identity of the "unknown superhero" in danger, stating that it failed to invest the reader in his fate.
Hunt also felt that Simone Bianchi 's art was looser than on his Astonishing X-Men run, and criticized his lack of backgrounds, but enjoyed his intricate visuals and his restrained rendering. Hunt was pleased with Fear Itself: Wolverine 1, in particular its depiction of Wolverine and Melita's relationship, and their contrasting views on informational freedom. Though he saw potential in the otherwise generic S. While Hunt felt artist Roland Boschi made writer Seth Peck's heavy exposition effective, and found Dan Brown's colors serviceable, he found little inspiring about the book artistically.
Nonetheless, while he felt that Peck's focus on the power of fear over rationality, and the buildup of Melita's panic were well-done, he felt her journey through Manhattan to be somewhat aimless, a major plot point dispensed with via a poor plot device, and the final page a letdown. Stell also opined that all of the stories by different creators in the anthology issue were good Parker's Underbolts story in particular. However, he criticized the rehashing of material in issue that was covered in the main miniseries, and Marvel editorial, however for inconsistency in Man-Thing's appearances in different books of the crossover.
Stell enjoyed Kev Walker and Declan Shalvey's illustration of individual issues, an improvement over pre-crossover attempts on their part to share the duties, citing Walker's inking in particular, but was slightly disappointed by Valentine de Landro and Matthew Southworth's art, whose storytelling clarity was not substandard in areas, and whose overly buxom depiction of Moonstone clashed with Walker and Shalvey's. Nguyen appreciated that the minor connection to the crossover did not hijack the book's in-progress storyline, which was filled with action and humor, though he felt the writing in the latter two issues was hurried and underdeveloped.
Nguyen praised penciler Neil Edwards' clean, detailed art, and how his design of the mythic characters, combined both classical and modern elements. He also complimented Scott Hanna's inks and Jesus Aburtov's colors. Regarding issue 2, he thought Montclare's exposition of Frankenstein's whereabouts since the s was intelligent, and Ryan Bodenheim's art strong, but thought Montclare's characterization of Nighthawk gratuitous and implausible, and found Bisley's art "scratchy, unattractive and often confusing".
Danny Djeljosevic and Nick Hanover of Comics Bulletin gave 3 out of 5 bullets to Alpha Flight 1, seeing its tie-in to "Fear Itself" as a forced way to use the crossover to gain attention for that team, while only paying lip service to the crossover's storyline. They also complained about the heavy handed opening scenes, the lack of exposition that would make "Fear Itself" aspects of the story confusing to readers of the trade paperback and problematic characterizations of Shaman and Snowbird. The reviewers were both disappointed with the art, with Hanover criticizing Dale Eaglesham for "the worst artistic interpretation of Vancouver I've ever seen".
Norris also praised Fraction's handling of Spider-Man. He was disappointed with Adam Kubert 's art, however, in spite of the fact that he is a fan of Kubert, finding the artist's choice of panel layout and composition perplexing. Joey Esposito of IGN gave a 7 out of 10 "Good" rating to Fear Itself: The Fearless 1, saying that while it is not essential reading, nor an enticement to read the crossover, it provided a fun, enjoyable setup for ongoing stories featuring Sin and Valkyrie, despite some instances of flat dialogue. Esposito also noted the strengths and weaknesses of artists Paul Pelletier , Danny Miki , Matthew Wilson and Mark Bagley , saying, "Neither artist completely nails it out of the park to the best of their ability, but the book gets well enough to entice the reader's eyeballs.
Men, Women and the Renegotiation of British Citizenship During the Great War
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