Mighty Avengers 36

Its not a surprise when I say I am in the tank for Dan Slott. His run on Mighty Avengers has been more enjoyable than Pak and Van Lente's Hercules. Additionally, he more understadably communicates more information between panels than Grant Morrison does. A lot of that second point comes from the incredible artwork of Khoi Pham, but Dan's writing, or absence of certain scenes in this case, shows how you can create good comics that rest on high points and avoiding writing about trivial details that don't advance the story in a meaningful way, or provide understanding of the story as a whole.

Between pages 7-8 Ultron reveals what he has done to corrupt Jan in the underspace, and rather than have 2-3 pages devoted to him enacting this plan, we get a suspenseful scene as he reveals what he has done and Slott/Pham place this revelation beautifully on the last panel of a page you have to turn in order to continue the story.

This is one of about 3 examples I can cite in this book of how Dan cuts out needless information and moves us along to the next high point in the story, and does it in a way the reader can follow.

I could continue to go on and on about this man, but, I dont think I have to. If you want fun comics that move at a breakneck pace and bring the most action/plot to you as can be fit in a 22 page comic, Dan Slott is that writer.

So now lets briefly mention Khoi Pham and this setting. Given that half the book takes place on Jan in Underspace, Pham has to utilize white space to its fullest. It is a background that, I believe, is meant for defining shots and heightens their meaningfulness. White space around a character means that your attention has to go on that object. Your eyes cannot wander and if the artwork/posing/fighting is not up to snuff, white space can be a detriment to the enjoyment of the comic. Pham uses white space so effectively in this book with the most awesome scene being the one on the 12th story page with Hank Pym launching off the tower of Jocastas at Ultron, who is floating in white space above Janet Van Dyne's body/universe. The Panel placement was superb, and the whitespace really forces you to focus on Pym due to the character's size and the contrast of Red and Yellow against white.

Just a great book all around and my favorite of the week.