Incredible Hulk by Jason Aaron vol. 2 (comics)

Writer: Jason Aaron
Artists: Jefte Palo, Steve Dillon, Pasquel Ferry, Tom Raney, Dalibor Talajic, Carlos Pacheco
Collects: Incredible Hulk #7.1, #8-15

I liked volume one, but it left me concerned. While the high concept flipped the script on the Hulk in an interesting way, the things it said about Banner were not exactly kind. Turns out Jason Aaron knew what he was doing all along.

Too bad it stops here.

At the conclusion of the first volume, Banner had perished in the battle with Hulk. Or so we thought. After Hulk enjoys some time without Banner, he realizes his other half isn't quite as gone as he thought. What follows is a romp through the Marvel Universe, as Hulk tries his hardest to stay angry and somehow figure out what nefarious plan Banner has up his sleeve. But everything is not quite as it seems.

Jason Aaron broke away from the pack to become one of my favorite writers in a short amount of time and at least a part of that comes down to his sense of humor. Even a fairly serious story will be littered with a well time piece of dialogue or sight gag. Wolverine and the X-Men has a ton of it. His Ghost Rider run had a bunch of outlandish, ridiculous crap that you couldn't help smiling at. His Wolverine run had cancer bullets. A Jason Aaron comic stands out because it gives you things you never even thought of. The second and final volume of his Hulk has more of this type of levity than the first did and is better for it. I won't spoil some of the better moments, but suffice to say it made a decent comic even better.

Better than that is the fact that the story answers the question of what exactly was up with Banner in a satisfying way that doesn't really throw the character under the bus. Many Hulk writers have explored the MPD angle of the Hulk, but no one ever touches the implications. Hulk is a part of Banner, right? He's an undeniable part of Bruce Banner, the past he repressed most of his life, given physical form whenever he loses his temper. Yet Banner always wanted to get rid of Hulk. What happens when you do manage to eradicate a part of yourself? Nothing good could possibly come of that, right?

Turns out that question drove this story all along. I'm still not sure it speaks well of Banner - without Hulk, the manifestation of Banners rage, the history of insanity in his family comes to the fore - but it explains a lot and it's a novel take on the formula. Also a plus is the fact that, when whole, Aarons version of Banner is not a total douchebag, which was a problem in Indestructible Hulk.

Everything wraps up in a satisfying manner, clearing the deck for the next era, which would be the aforementioned Indestructible. The only real question I had pertained to Dr. Doom, more specifically what was going on with him. I assume it relates to events elsewhere in the Marvel universe, but there isn't even a "check ____ for the full story" footnote to help you find out. It isn't super important to the story, so it doesn't matter much in the long run, but it's an odd omission.

Unfortunately, there are a couple strikes against this. The least important of the two is the issue of length. At sixteen issues - including the point one in the number - it's the shortest run Jason Aaron has had on a Marvel property that I'm aware of. The first volume is good, but not quite great. The second is far better - as well as the point where it feels like Aaron has really settled in - but before you know it, the ride is over. Too long to be a punchy statement on the character, but too short to leave any sort of impact. The next Hulk series doesn't even reference it.

Worse is the art situation. Volume ones art was, well, not great. Volume two has the opposite problem. I'm sure you've noticed the artist list up top; no less than six people worked on this volume, most at one issue a piece. Most of it is good - Steve Dillon does the issue where Punisher guest stars and it's good to see him draw the character again, even if the issue seems to exist entirely for the "shoot me in the face" gag - but the result is a volume that lacks any sort of visual identity. It's offset by the fact that each issue is its own story within the arc, but even so, that's about eight artists for sixteen issues.

All told, between its length and the art, Jason Aarons Hulk is probably not going to go down as a definitive run. That's a shame. Maybe we'll see him take another crack at it in the future. Regardless, the story he did tell turned out to be worth it in the end and at two volumes it isn't exactly a big money sink, so I recommend it regardless.

My Opinion: Read It

The Incredible Hulk by Jason Aaron vol. 1 (comics)

Writer: Jason Aaron
Artists: Marc Silvestri, Whilce Portacio
Collects: Incredible Hulk (vol. 4) #1-7

Jason Aaron is a writer who has yet to let me down. That said, I didn't have high hopes for this book. It was announced that Jason Aarons run on the book was, for whatever reason, wrapping up long before the first volume even hit paperback to make way for a new primary Hulk title under the Marvel NOW! banner. That's just not enough time to put together a classic, memorable run and I adjusted my expectations accordingly.

Still, I think the potential was there as the book has an intriguing high concept; what if Bruce Banner was the real monster of the two personalities? Somehow, Hulk has found a way to physically separate the two, allowing them to go their own way. Only problem is that something is clearly wrong with Banner, who has gone off the deep end now that he's been separated from the Hulk; he creates an island full of transformed abominations in his continued effort to recreate the accident that led to the Hulk and is now a danger to the world.

This time, it's the Hulk who has to stop Bruce Banner.

I like the role reversal. It's such a simple idea, but one that we - that I'm aware of - have not seen before. The trouble is, I'm not sure it does the character any favors. The story seems to say that it's possible, had the Hulk never existed, Banner may have ended up as crazed and dangerous to the world as we see him here. I'm not sure that's something I completely buy; in any origin, Banner was at least a good enough person to have been willing to risk his life saving a reckless teenager.

Actually, this seems to be a little bit of a trend of late. I notice some writers have been interested in sort of "redeeming" the Hulk in a way, or making him seem less like a danger and more like a misunderstood teddy bear. It feels like there have been attempts to tone down the destructive qualities of the Hulk, or curb anything that might make him look bad; one glaring example being the time they tried to sell us on the idea that no one had ever died during a Hulk rampage, which even in the realm of fiction is ridiculous. The Hulk is admittedly cool and he represents something we all can relate to - that angry side of us we repress - but I guess I'm trying to say that occasionally it feels as though writers prefer to give him excuses within the narrative.

It's troubling, because I think it dilutes the appeal somewhat. The story does have an out, however; obviously, Hulk couldn't pull off the separation on his own and the person he recieved help from is not known for being the most moral individual. Still, we're clearly meant to at least question if this was who Bruce Banner would have become all along - a mad scientist unleashed - and I feel like something about that question wrecks the dynamic.

Had this been it's own thing - divorced from modern continuity and allowed to simply be, or at least separate enough that you can decide if it's canon or not - it would be a wonderful thing to explore. As it is, it's still an interesting idea and I do want to read the second half of the run. I just have my misgivings.

The art takes a similar approach to Wolverine and the X-Mens first volume - the first three issues with the star artist while another handles some after that - but the switch is far worse than that books. We start off with Marc Silvestri - who has a style I can enjoy well enough - and go right to Whilce Portacio. I hate being down on someones art, I really do, but this is not the first time I've encountered this guys work. I'm sad to say he has not managed to improve a lot since then. There's a higher ratio of decent pages, but the faces, poses and bodies are still borked. The last thing I want to do is begrudge a guy for getting work, but I can't get past how ugly his art can be at times.

The Score: 7 out of 10

An interesting high concept and some good writing manage to elevate this book, but the issues with said concept and the lackluster art in the second half of the book hurt it. I also have to look at the fact that there is only one more volume to this run, which leads me to believe there's little chance it had enough time to reach its full potential. Worth a look if you're a Hulk fan and would like a new take on him.

Wolverine and the X-Men Vol. 1 (comic)

Writer: Jason Aaron
Artists: Chris Bachalo, Nick Bradshaw
Collects: Wolverine and the X-Men #1-4

You'll recall in my review of Schism that I named this the book I was looking forward to the most out of anything. Funnily enough, I ended up reading the Uncanny X-Men relaunch first. I didn't review it - I've yet to decide if I want to - and in case I don't bother the short version is Cyclops and his not-so-merry band of X-Men continue to be stuck too far up their own asses. This comic is the exact opposite; it's funny, visually interesting, packed with great characters and never dull.

It's the X-Men book I've been waiting a long time for.

The setup will be familiar to almost anyone; we're back on the school grounds again, arguably where the X-Men belong. Schism surprisingly plays more of a role here than it did in Uncanny. The Kid Helfire Club - who you'll recall orchestrated everything that happened in Schism - decide it would be pretty funny if Logans new school blew up on the first day. So they blow it up on the day the board of education is visiting the school to evaluate. Hilarity ensues. Also Krakoa is involved. This all takes place in the first three issues, I remind you. The fourth issue is a standalone bridging our introductory arc and what comes next.

At first I felt Jason Aaron got the raw deal out of the split, with most of the power players sticking with boring Scott and his sinking island, but as it turns out he got the better end of the bargain. His eclectic group of mutants immediately proves themselves an engaging group, even as it becomes clear they're way out of their depth. The new kids are endearing and the old favorites are just as great. Everything simply works right from the first issue.

You can probably imagine my delight when I found out Chris Bachalo was on art duties. Turns out, he manages three issues before we need a fill in. But they are three stylish, visually striking issues. His exagerrated, animated style works perfect for a book like this; there are a couple of panels that aren't entirely clear in their storytelling, but they end up being minor issues in an otherwise beautiful book. Nick Bradshaw is also a strong artist in his own right and if he's the guy they have in mind for trading off art duties with Bachalo I'll have no complaints.

But there's just one other problem that has nothing to do with the contents themselves. The issue count. They want fifteen dollars SRP for four issues. This is quickly becoming standard at Marvel and it's starting to work on my last nerve. Once in a while is fine, but deliberately splitting stories or putting in a low issue count just to get more money out of the consumer is just low. I'm even more annoyed this time, because this is a series I'm buying rather than borrowing from the library.

The Score: 9 out of 10

If you are an X-Men fan and you don't like this book, I can only conclude that you either hate fun or are one of those odd souls that prefer King Cyclops and his team of villains.

X-Men: Schism (comic)

Writers: Jason Aaron, Kieron Gillen
Artists: Carlos Pacheco, Frank Cho, Daniel Acuna, Alan Davis, Adam Kubert, Billy Tan
Collects: X-Men: Schism #1-5, X-Men: Regenesis

I guess you could say this is a story that's been in the making since Wolverine first joined the X-Men. Perhaps what's important to you is the fact that the group is splitting up into two sides with two entirely different mission statements. For me, the most important part is the fact that I've finally got an X-Men comic I completely enjoyed with the promise of more in one of the series launched in Schisms wake.

I guess it had to happen at some point.

It starts out simple enough. Cyclops and Wolverine represent Utopia at an arms conference - because in the Marvel universe, all you have to do to become a country is herd two hundred people on a rock and call yourselves one - to ask nations of the world to disarm their Sentinels. Who knows if he would've managed to get anywhere, because Quentin Quire shows up and decides it would be a good time to make a complete mess of things by forcing the worlds leaders to embarrass themselves on live television. Guess how they react. Worse still, this is all part of the plan of the new Hellfire Club. On top of that, Wolverine is growing increasingly agitated over the use of kids in their little mutant wars. Cyclops doesn't help matters by insisting on it.

A lot of the book is a conflict of ideology, with the fisticuffs only coming into play in the last third. Cyclops sees himself as a General in a war, willing to use whatever is necessary to survive and win. On the flipside, Wolverine is a man who has found himself tired of seeing kids grow up without childhoods, knowing only how to fight. The tensions only increase over the five issues until Wolverine is ready to blow up Utopia to force everyone to evacuate - as opposed to Cyclops, who wants to risk the kids by leading them into battle with a huge Sentinel - and, out of options, Cyke goes for the verbal equivalent of a low blow. What Wolverine says next hits a little too close to home and the fight is on.

To a certain extent, you can look at Schism as a story of men who, over time, have changed. Cyclops barely even resembles the character he was before and I've detailed my disdain for that several times in the past. Wolverine, on the other hand, has become less a loner and more like a gruff parent who only wants what's best for the kids. It's a change that's happened over time and tracks well; he always took young wayward teens under his wing and tried to show them the way. The direction he's gone in only makes sense for his character and with the X-Men now resembling an army - one with child soldiers whose main education is in fighting - you get the feeling this is the only way it could have ended.

Ultimately, who is right is left up to your own individual opinion. As you can guess, I'm with Wolverine and think Cyclops is a complete ass, but Jason Aaron has gone out of his way to make it so that feeling the opposite is a legitimate view as well. This can be seen pretty clearly in the ending conflict of the book. Schism couldn't resist making Cyclops ultimately "right"* - he, Wolverine and the kids DO manage to push back the Sentinel, as he believed - but it doesn't forget to balance the scale; as Wolverine points out, it doesn't really matter that they COULD do it, the point being that the kids should not be forced into positions like the one Idie found herself in, as has been necessary in the Cyclops Army. You could take either side and Schism will not go out of its way to make you feel like you are wrong, unlike the inexplicably beloved "Civil War" event.

On the whole, Schism is a well written book that opens up different avenues for the franchise. If you actually like the way the X-Men books have been since House of M, well, I have no clue how to understand your point of view, but you could keep up with Uncanny X-Men and the other books following his side. If you're with Wolverine and want to read a book with a more traditional approach, you can follow him back to Westchester in Wolverine and the X-Men. Works for me. Guess which book I'll be reading.

The art situation is... complicated. There are five different pencillers, each assigned to an issue. Normally, this would be the sort of thing I would slam a book for. Trouble is, each and every one of the artists used is a great. They all do fine work, to boot. If I had to lodge a complaint, it would be that Acuna's art does not really fit with the other four, but that's about it.

The X-Men: Regenesis one-shot - scripted by the talented Kieron Gillen with art by Billy Tan - is also included here. It's not really necessary - the book is basically a "who will go with which side" deal juxtaposed against some weird tribal standoff representing the split of the "tribe" - but it's a nice inclusion that gives you an idea of which side you might find your favorite X-Men on. The art by Billy Tan is decent. I've never had a problem with his artwork, though I suppose he suffers a bit by comparison, given the number of great artists collected in the rest of the volume.

The Score: 8.5 out of 10

Against all odds, we get an X-Men event that manages to complete it's mission statement and be legitimately good. Who'd have guessed? X-Men: Schism is definitely worth a read, even if you just want to see the Wolverine/Cyclops brawl they finally decided to get around to years after the imitator**. Schism has me interested in Wolverine and the X-Men as well; we'll see if that's the X-Men book I've been waiting for.

Cyclops Douchebaggery Alert: The book takes great pains to keep Cyke from being too much of a dick and ruining his side of the argument, but he still has a few moments of his now patented brand of douchebaggery. Giving a troubled girl with questionable control over her powers the go ahead to "do what she has to" when the adults "won't make it in time"? Gee, I wonder how THAT plan will end? Also, see the complete dick move Cyke pulls when he brings up Jean Grey and tells Wolverine she not only never loved him, but was frightened of him. She had absolutely no bearing on anything; Cyclops was just pissed Wolverine left him with no options and decided to take the cheapest shot he could. He doesn't particularly care for the reply.

* Cyclops has been sort of a writers pet since as far back as Ed Brubakers run onwards. For some reason, writers have had a hard-on for the character, going out of their way to make him either right or "cool". They even gave him a jetpack. For me, it never worked. I just ended up hating Cyclops.

** I'm talking about the Teenage Mutant Ninja Turtles here. The relationship between Leonardo and Raphael has always been a carbon copy of the antagonism between Cyclops and Wolverine. They took almost as long as the X-Men to stop dancing around it and just have the two duke it out. That happened in the fourth TMNT film, which was done in CGI instead of live action. Decent film, if not particularly memorable. The Leo/Raph fight is worth watching online if you don't feel like seeing the whole thing.