Mike's Profile

Stellar Rogue issue.

Nice opening!

Not bad, but it's weird that Danny is more interesting in the few panels he is in than the current Iron Fist.

This arc was boring.

Way of X's first miss. This book definitely did not need a tie-in.

Good lord, enough with the plants

Hickman is so inconstant. Some times he writes GREAT. Other times he writes DULL. Unfortunately, X-Men #16 was dull.

Can they please finish this plant-men plot already?

Just people talking. Meh.

After 16 issues, the "payoff" was underwhelming. Shaw's still in the game, and they'll keep going after each other like Tom and Jerry.

What a filler. This book reads like a generic Saturday morning cartoon.

Does anyone else feel that Hickman isn't even trying anymore? It seems like he was only invested in HoX/PoX. This title is a low point in his career at MARVEL.

All set-up, no answers. Meh.

This is terrible. Boring plot and generic characterization.

So f. boring. Jesus Christ.

Worst event opener ever. So damn boring.

Tini Howard hyped up this book as a thrilling new adventure for Betsy, promising to take her "on her greatest ride yet" and "introduce her to the wider Marvel Universe". Sadly, the book falls far short of these promises. Instead, we get a predictable continuation of the cancelled previous series, with the tired plot of "Britain hates the new mutant Captain Britain" dragging on for the fourth year. Even making it a solo book doesn't change much, as Excalibur and Knights of X were always the Betsy show, with the supporting cast serving only as plot enablers for her. The interactions between Betsy and Rachel are flat and awkward, with cringey dialogue. We've jumped from their first kiss to their happily ever after as a married couple in just one issue without any interesting development in between. The Marvel UK-related callbacks and cameos feel like shallow fan-service, lacking any real significance. The Reflector datapage is particularly telling, as it shows that Howard isn't as familiar with Braddock lore as she claims. Brian was always the one keeping a low profile, while Jamie, a popular car racer, and Betsy, the fashion model, were the family celebrities. A British tabloid would have more juicy stories about Betsy's modelling days than simply labeling her a "shady" character who happens to be Brian's sister. Overall, this book seems more like an attempt to tie up loose ends from previous runs rather than a new chapter in Betsy's journey. It feels like the end rather than the next step forward.

Betsy Braddock: Captain Britain #2 follows a predictable structure that has been used for almost every issue since Excalibur: a villain scheming, Betsy (and now Rachel) foiling her plan, the villain retreating, and a cliffhanger with the villain scheming again. While this structure may work for some readers, it can feel repetitive and formulaic. Furthermore, Betsy comes across as an incompetent hero, as Rachel has to coach and mentor her every step of the way. This not only undermines Betsy's character but also cements Rachel's position as the annoying "know-it-all" sidekick. The metacommentary, which is meant to be a self-aware critique of the comic book fandom, falls flat and feels repetitive. Given the low sales, antagonizing Betsy's fans any further doesn't feel like a smart decision. Morgan's motivation for hating on Betsy as Captain Britain because she's a mutant seems flimsy and inconsistent, given that she wastes all her time trying to recruit Betsy's doppelgangers who happen to be mutants as well. This lack of coherence makes it hard to invest in Morgan as a villain. Finally, the guest appearance of Captain Carter and Lizzie Braddock serves no purpose other than cheap fan service. It doesn't move the story along and their characters are only brought in to be fridged, which is a far cry from their competent portrayal under Jamie McKelvie's pen. Overall, Betsy Braddock: Captain Britain #2 has some notable flaws that detract from the story's potential. The fact that the standout moment in the issue involves Betsy, a character known for her psychic knife, using said psychic knife, highlights how low the bar is set for Tini Howard's Betsy. While some readers may find it enjoyable, it falls short of its promise and fails to live up to the standards set by previous Betsy Braddock writers.

After reading Betsy Braddock: Captain Britain #3, it's clear that the author Tini Howard has fallen into a predictable pattern of "Monster of the Week" storytelling, with Morgan Le Fay continuously coming up with foolish plans that inevitably fail in the end. This leaves the reader feeling disconnected from the overall storyline as there appears to be no apparent connection between the previous and upcoming issues. Unfortunately, this leads to a reliance on filler moments until reaching the grand finale. The character of Rachel is also poorly written, considering her 40-year history in comics. In this issue, she is relegated to a one-dimensional role as Betsy's girlfriend/sidekick. Her character lacks any personal agency and is completely dependent on Betsy. Howard tries to convince the reader of their relationship by repeatedly having Rachel mention their romantic involvement, but it comes across as forced and not genuine. Additionally, the plot is incredibly convenient, with Morgan constantly changing her plans and motivations, while Betsy seems unable to solve problems on her own and relies heavily on her supporting cast. In conclusion, Betsy Braddock: Captain Britain #3 fails to deliver a compelling storyline and leaves the reader feeling disconnected from the overarching plot. The characterization of Rachel falls flat and comes across as one-dimensional, while the plot feels contrived and too convenient. It's a shame, given the rich history of the characters, that the potential for a more engaging story was not fully realized.

Another disappointing endeavor and the weakest so far. One recurring weakness is its "monster-of-the-week" structure, which proves to be a detriment to the overall narrative. Too much is packed into a limited number of pages, rendering many plot elements ultimately inconsequential. Furthermore, Howard's metacommentary is becoming excessive and burdensome. In each issue, she relentlessly hammers home the same tiresome rhetoric about Betsy being Captain Britain and her romantic relationship with Rachel, employing dialogue that feels forced and cringe-inducing. The author's self-insertion becomes glaringly obvious in the date page interview. Rachel continues to be the weakest aspect of the comic. She bears little resemblance to the Rachel Summers readers know and fails to capture her essence. Regrettably, Rachel's sole purpose seems to be that of a nagging and jealous girlfriend, constantly reiterating her relationship with Betsy. She becomes nothing more than a personality-lacking prop. According to Howard, the book's mission statement was to introduce Betsy to the Marvel Universe. However, what unfolds is an uninspiring and tedious team-up with the Avengers, lasting a mere two pages and contributing nothing substantial to the overall plot. The artificial characterizations in this issue further undermine its quality. Jamie Braddock inexplicably aids Morgan Le Fay in the most contrived manner possible, lacking any discernible motive. Dr. Doom's shallow justification for supporting Morgan is similarly nonsensical. Additionally, after a four-year feud with Morgan, Betsy inexplicably decides to cooperate with her, defying any logical reasoning. In summary, Betsy Braddock: Captain Britain #4 disappoints on multiple fronts and fails to deliver a coherent and engaging narrative experience.

"X-Men: Blood Hunt: Psylocke #1" delivers a disappointingly generic storyline that fails to offer any fresh insights into the character of Psylocke. The plot is clichéd and could easily be about any other character, lacking any unique elements that set Psylocke apart. Despite her striking aesthetic, this issue highlights Psylocke's lack of depth and substance needed to carry a solo series. It's been five years, and yet we learn nothing new or compelling about her. This issue ultimately proves that while Psylocke may have the visual appeal, she still lacks the necessary character development to be a standalone protagonist.