It’s that time again! And lucky for you this time the reviews are on time. I hope you appreciate how much effort goes into that because I really don’t feel like being analytical at 8:00 am on a Thursday morning. I’m doing this all for you. Really. Because I sure as hell am not getting paid to do this.
I’m apologetically pro-Damien. I think he’s one of the best things to come out of Grant Morrison’s Batman run. There’s something about him that sets him apart from all the other Robins and I would say that it’s mostly the fact that he’s what Jason Todd could have been. The whole “Sidekick with an attitude” thing works for some and doesn’t for others and Damien works. Now, I will admit that too much of his schtick can be tiresome. But the same can be said for any character. I love me some Deadpool but I got some serious DP burnout following the 87 series he had going on at once last year. Luckily, DC seems to realize that Damien provokes strong reactions and therefore uses him with a deal of finesse. What I mean by this is that usually his personality is either downplayed or dialed up depending on the context of the story. In this debut issue, he’s far more antagonistic than usual because we’re being reintroduced to his dynamic with Bruce. That level of mutual respect that we had seen in previous stories seems to have been scaled back because of this new timeline and as such we get some interesting character beats from both Bruce and Damien in regards to their views on the sentiment of death and the ethos of fighting crime.
Like some other books this week, it’s clear that some holdover elements from the old continuity will be front and center for certain characters. In this case, it’s the worldwide enterprise of Batman, Inc. The fact that Batman has only been around for five years in this continuity doesn’t seem to hinder that storyline at all. We’ve yet to see exactly what parts of Batman’s history are still relevant. I don’t know if Knightfall, No Man’s Land, Murderer/Fugitive, etc. have happened in this timeline but we do know that Damien is still around and Batman Inc is still happening around the globe. Again I have to point out how troublesome this is to new readers if that’s truly what DC is trying to draw in with this relaunch. Someone picking up Batman and Robin # 1 without a prior knowledge of Morrison’s work on the character might be a little perplexed as to when exactly Batman had a son and what the hell Batman, Inc. is. Fans of those particular storylines will not be let down however, as this is a pretty direct continuation of those themes in a similar sort of style.
Overall Rating: 3/5
I’ll just go ahead and say upfront that this is my favorite title of the bunch so far and if you haven’t already you need to go buy a copy and read it right now. The rest of this review is just going to be me gushing over how amazing the book is and how lucky we as readers are to have someone like Paul Cornell writing a book like this. Seriously, if there is one thing that I have to applaud DC for in this whole stunt it’s giving good writers chances to work on books that otherwise would have never seen the light of day. There are a lot of people who are going to pick this up just because of its connection to the “new 52″ and they’re going to find one of the most fun, well-written fantasy adventure comics to come along in a long damned time.
I’ve always been a fan of Etrigan. I think he’s one hell of a character and he really hasn’t been given his due in the last few years. That changes here and I think it’s mostly due to the fact that Cornell knows how to write him and that he is a character that works best when he has appropriate characters to bounce off of and he gets that here with Madame Xanadu, Vandal Savage, and a whole host of medieval side-characters. The fact that this is set entirely in the middle-ages allows Cornell to go wild and do whatever he pleases without worrying about bumping up against someone else’s plans. The recent dust-up with Gail Simone being displeased about Batgirl’s appearance in Birds of Prey without her prior knowledge comes to mind. I don’t think anyone is going to try to appropriate anybody in Demon Knights anytime soon. There is an artistic freedom that comes with a book like this that I really can get behind.
Seriously, go buy the book. It’s the shining pinnacle of what this relaunch has to offer.
Overall Rating: 5/5
This one is hard to review. It’s not a bad book. It’s actually quite an interesting read. It’s just so hard for me to disconnect this version of the character from the previous incarnation. Even more so than last week’s Green Arrow, not a whole lot of this book felt like what I would associate with Superboy. That having been said, what we’re presented with is a fresh take on the character. The scientific procedural element of the story is interesting and provides an excellent framework for progressing the issue. My only problem with the book has been that Superboy’s personality is defined by NOT having a personality. That can only last for so long before it becomes a chore to read through. I think that Scott Lobdell knows this, but he’s trying to match the character’s personality to the expected tropes of the genre he’s presenting the character in. He’s a clone, so he needs to be a blank slate at the beginning. That’s how these stories work. I think he’s trying to play with expectations a little bit and it’ll be interesting to see where he goes with it.
Superboy is a title that I’m cautiously optimistic about. The final page seems to indicate that this storyline somehow informs the new Teen Titans, which doesn’t look very interesting at all to me. I can’t really say for sure how much I’ll enjoy this past the first issue. I’ll just have to keep reading to find out.
Overall Rating: 3/5
I am very tempted just to write *facepalm* and leave it at that. There really are no words to express how much I disliked this book. Anything not involving King Shark (he’s a shaaaaarrrk!) was pretty much terrible. Deadshot has lost his mustache and Amanda Waller is a young, thin slice of bland. This was just…well, a mess. I don’t imagine any other DC book has missed the mark as hard as this one has. Or let us hope, at least. I’d hate to see what could be worse than this slap in the face to what was once an amazing title.
I don’t want to sound like a cranky fanboy, but seriously…I just can’t imagine how anyone would find this interpretation of the title appealing. It’s generic, bland, and brings nothing new to the table while disregarding the elements of the characters involved that made them interesting in the first place. It’s just one big ball of missed opportunity, because these characters in their pre-reboot forms on the same team would have been interesting to see. Now? not so much.
Overall rating: 1/5
So, controversy, huh? We’ve got an African-American/Hispanic Ultimate Spider-Man and that has some people angry and other people bored and other people happy as hell. Emotions! Does any of that have any bearing on how good the book is or isn’t? Not really. The initial PR stunt nature of the book is a bit disheartening because I think it might have been a little bit better received if it had come out of the box as a surprise. It’s actually a pretty decent book. It doesn’t feel like a continuation of the old series as much as it feels like an entirely new story where someone who isn’t Peter Parker somehow winds up getting spider-based powers. It’s got Bendis’ usual sense of story-flow, that is to say that it begins a bit slowly, but the slice-of-life soap-opera elements of Bendis’ writing were what made that book work so well in the early days.
I’m not going to call this one better or worse than the Parker years because it’s only been one issue and it’ll be another twenty-three or so until I’m able to see what sort of book this is really going to be. All we know right now is that Miles is going to have a little bit of a different power-set from Parker judging from that final page cliffhanger, and that he probably won’t have a costume until around issue six if Bendis keeps to his usual pace. But if everything between then and now is well written as it was back when he first launched USM, then I doubt we’ll really care.
Overall Rating: 3.5/5
And that’s our show everybody. Join us next week for another round of my telling you what you should do with your money. See you then.
It’s been a while since I’ve done any weekly comic reviews, but with day-and-date digital becoming more common it’s easier for me to do timely reviews for you folks. I hope to keep a regular schedule when I can, with new reviews available every Thursday. I would have kept to that schedule this week but I was involved in an auto accident and have been dealing with the fallout from that little debacle.
Anyhow, here’s some reviews!
Here’s one I was looking forward to. Gail Simone has hardly ever steered me wrong. Just about every book she’s written I’ve given golden reviews to because she knows how to balance character, plot, and wit with equal measure to the betterment of any book she’s placed on. She’s one of the biggest talents that DC has and it’s nice that she’s getting one of the most high-profile books of the relaunch to play with as her own.
The book begins with a mystery villain called “The Mirror” assaulting a man who he believes cheated death when he escaped a sinking boat where the rest of the souls aboard perished. He then proceeds to rectify this problem by drowning the man with a water hose. I don’t want to make any Final Destination jokes because I only vaguely remember watching the third one one night on Showtime when I couldn’t sleep and therefore don’t have a whole lot of reference but it does seem like a strikingly similar concept and I would be a bit disappointed in its inclusion if it didn’t tie in well with the idea of the overall plot, being that Barbara Gordon is on the list of people who should have died; an obvious first reference to The Killing Joke that will probably drive a lot of the drama as the series unfolds.
We then are treated to Batgirl doing her thing and taking down a particularly vicious group of serial murderers all the while getting glimpses of Barbara’s mindset in the process. The internal monologue here gives us a good idea of who this Batgirl is in the scheme of the new DCU. I have to admit that a lot of Barbara’s dialogue and internal thought process felt…off. Not particularly wrong but just a bit off base. I’m not going to lie, she has some lines that seemed more in tune with Frank Miller’s DKR Batman than what you would expect with Batgirl, but I’m thinking it may be more of Barbara trying to effect a different persona while on patrol than a struggle to find her voice on the part of Simone.
Compared to last week’s JLA # 1, this is a stellar intro issue. We don’t get many answers as to why Barbara is able to walk again or much in the way of true world building but we get the foundation laid for those things to emerge organically which I find to be far more important. The only problem I found with the book really was that a lot of the dialog felt a bit over-the-top in what seemed like an attempt to feel more like the silver-age comic book writing of the seventies. It felt jarring at some points, especially on the last page where a Gotham cop shouts some dialog that feels like it belongs on the cover of a sixties-era Detective Comics issue. But it’s not enough to dissuade me from finishing out the rest of the arc and perhaps staying on for the long haul.
Overall Rating: 3.5/5
Listen, I’m a fairly big Green Arrow fan. I’ve got a complete run of the title going back to Grell’s run in the eighties. I think he’s one of the best B-list under-the-radar characters that DC had for a while and I appreciated his push to the forefront of the DCU in recent years but lamented the fact that it diluted his character and made him somewhat less interesting as a consequence. I was happy to see him married to Black Canary but saddened by how mediocre that book was aside from some amazing art on the first arc by Cliff Chiang.
This book gives us a reinvention of Green Arrow that I don’t find particularly interesting. They’re touting him as sort of a vigilante Steve Jobs and they’ve given him a personality that falls more closely in line with the Smallville interpretation of the character. I can’t fault them for doing this as that is the version that most of the mainstream identifies with but at the same time for those of us who have been reading Green Arrow for over ten years it’s hard to swallow. It doesn’t feel like Oliver Queen. It may have worked with a new character, but for Green Arrow fans its a disappointment.
The story is nothing to write home about, Ollie is overseas in Paris stalking some low-grade super-villains and it seems mostly written as a way to introduce his methodology and support team which includes his own personal Oracle-who’s-not-Oracle and a pacifist weapons developer. Oliver’s belief system is still intact from previous versions of the character but his attitude has changed. I know that this is an all new continuity but there seems to be almost too much overhaul here. It would have been nice if there were more balance between the old and new on display but as it stands there’s not much to interest already established fans of the character and therein lies one of the problems of the relaunch. They’re hoping to bring in new readers but they’re only going to be replacing the old readers they’re alienating with the changes. I’m not going to be sticking around for this title, for example, despite the fact that I have been on-board for about as long as I’ve been collecting. That should say something.
Overall Rating: 2/5
I fully expected to hate this. I really did. But I’ll be damned if I didn’t enjoy this one quite a bit. Is it the “bwaha-ha-ha” style of the original? No, it’s something different. The dynamic here works, though. Also, unlike JLA#1 we get the whole team assembled within the first issue AND thrown into their first mission. It’s not very decompressed the way that some other books have been. It’s got a brisk pace and a lot is established in the very first issue.
Booster Gold leads the team, chosen because he’s a glory hound who can be easily controlled by the UN so that his PR image doesn’t get tarnished, and this immediately sets up some conflict with resident Green Lantern Guy Gardner. In a few panels we get to know everyone’s feelings on each other. It’s a nice quick buildup and helps establish characters that most people might not be familiar with in a short little exchange of dialog. It works. I will admit that there’s not much in the way of explaining the backstories of a lot of these characters. I am willing to bet new readers will be confused as to exactly who Godiva is and what the hell she’s doing on the team, but this is a serialized medium and I’m sure things will be fleshed out as the series progresses.
This one could easily be one of my favorites of the relaunch because it isn’t written in a way that makes it feel decompressed or empty. There is a lot to like in this book. If you want bang for your buck, this is one of the titles I suggest you pick up. Really. Plus it has Batman and you know you need more Batman.
Overall Rating: 4/5
I was hesitant to read this one. Tony Daniel is not high on my list of most-admired Bat-writers. His recent run on Batman was pretty much horrible. I almost dropped it entirely until I realized I’m pathetic and need a complete unbroken run in my boxes because I’m a nerd like that. So it was with reluctance that I picked this one up. Though I did it entirely for review purposes. Because I love you guys.
It’s not a bad book.
There, I said it.
Of course it’s a Joker story, because you have to come out of the box hot and capitalize on what people are expecting and the new DCU needs to establish the Joker as much as it does Batman early on or people will think things are amiss. It’s the sort of well-established formula Joker story we’ve seen before but at the same time it feels well put together and cohesive in a way we haven’t seen in a while. It’s sort of like a forced in-continuity version of Brubaker’s Man Who Laughs with more focus on Batman’s drive to be a good enough detective to anticipate what the Joker can and will do.
We also establish Batman’s relationship with the police. That is to say, he and Gordon are buddies and everyone else wants to shoot him repeatedly. It’s a classic dynamic that I think most Bat-fans will appreciate because it’s what they’re used to and at the same time it feels like an organic part of the idea of Batman. That he works in the shadows and people are immediately distrustful of him. It adds something to the character when he’s working alone and under the radar. How this jibes with there being so many other members of the Batfamily operating at the same time is yet to be seen but at the moment it seems to work just fine.
It’s not the best Batman story ever, but it’s a strong enough effort coming out of the gate that I have to tip my hat to Tony Daniel for upping his game. He really did a good job with this one, which is not something that’s easy to do when so much is riding on a single issue. So, kudos.
Overall Rating: 3.5/5
This is the big one. The one that I was anticipating above all others. Grant Morrison back on a Superman book. I was anticipating All Star levels of amazing. I was hoping that finally Superman would be getting the sort of widespread attention he deserved and not for shitty PR stunts like rejecting American citizenship or walking across America like a hobo. I was hoping for a total reinvention of the Superman mythos in a single issue and a literary orgasm.
Was it all that? Not really, but it was still one of the best books to come out of this relaunch. This new young Superman, fresh into the world and looking to make a difference, isn’t what you would expect out of Superman. There’s more edge and attitude to him than you would expect. The way he intimidates criminals, which is something he’s always done but albeit more playfully, makes him seem as if he’s working from Batman’s playbook and so when he transitions back into Clark Kent the shift is so much more immediate and dynamic. It’s a change that I agree with, although seeing as this is sort of a “year one” story for the character I don’t think it will stay forever, it’s too much of a change to be entirely permanent.
We also learn that he’s still friends with Jimmy Olsen but in a shocking turn of events he’s working for a rival newspaper and Lois Lane doesn’t like the idea of Mr. Kent beating her on a scoop. Lois only appears for a few panels here but she’s still the same spunky independent woman that she’s always been and I hope that in coming issues we’ll get more of her because Morrison truly does write her well, even in short snippets.
My favorite element of the issue however was Morrison’s Lex Luthor, seen here working in conjecture with the government to bring down Superman. He’s relaxed and sure of himself with no sign of bluster or bombast. This is the same Lex Luthor that we saw in All Star. The sort of man who would be bemused at the idea of finding himself on death row. A man with a plan. He executes a Goldberg machine style plan to bring down Superman that ends in an amazing final page cliffhanger and I simply cannot wait for the next issue.
Seriously. Buy this book. Or I will hurt you.
Overall Rating: 4.5/5
And there you have it. Next week should see more reviews for your reading pleasure. See you then.
I know that this year has been a bit different when it comes to the content I’ve posted on the blog. After leaving my job at the comic shop back in December I had to make the painful decision to alter my comic buying habits to accommodate my new lifestyle. As such, I’ve been getting my comics from an online retailer, mailed out once a month and as such I haven’t had much luck posting real reviews on a timely basis. It’s just a sad byproduct of my current situation. Another byproduct has been the steady decline of my interest in the mainstream comics scene. I have, sadly, been dropping titles I once considered vital with each passing month and have instead been focusing on creator-owned work that manages to resonate with me more than anything that DC or Marvel sends down the chute every month.
I never thought I’d see the day that I’d say this but I may just be done with DC comics. Lately the only books that I can say I’ve enjoyed fully are Morrison’s Batman Inc., Palmiotti & Gray’s Jonah Hex, Cornell’s Action Comics and Gail Simone’s Secret Six. Roberson’s handling of the Superman book has also been admireable. But that’s five books out of a line that will see 52 titles jump started with a new # 1 issue.
Dan Didio was quotes in the USA Today article as saying:
In September, more than 50 more first issues will debut, introducing readers to stories that are grounded in each character’s specific legend but also reflect today’s real-world themes and events. Lee spearheaded the redesign of more than 50 costumes to make characters more identifiable and accessible to comic fans new and old.
“We looked at what was going on in the marketplace and felt we really want to inject new life in our characters and line,” says Dan DiDio, who co-publishes DC with Lee. “This was a chance to start, not at the beginning, but at a point where our characters are younger and the stories are being told for today’s audience.”
Fans around the internet have been in an uproar over this and I have to say that I understand where some of them are coming from, in light of this news coupled with the rumors that have been coming out that have not yet been substantiated such as Lois & Clark’s marriage being lost in the new continuity as well as several creative team changes that are less than exciting including a possible loss of Gail Simone from Birds of Prey. The last time that happened it sucked just about all the energy from the book and it was left to die a slow death. On the other hand Grant Morrison is rumored to be taking over the central Superman title and it is confirmed we will be getting a Justice League book written by Geoff Johns and illustrated by Jim Lee, in a move that clearly parallels Marvel’s decision to put Bendis on New Avengers several years ago.
The problem I have with the Justice League book being handled by Johns & Lee, aside from the fact that the creative team is almost begging for publishing delays, is that it seems like they’re aping Marvel’s formula several years after it has already gotten stale. Granted, DC could never make such a move any time after Marvel does anything similar because it’s either too soon or too late after the fact for it not to seem like a stunt or playing catch up. My philosophy when it comes to the DC v. Marvel debate comes down to the way Marvel treats its writers. They sell the writers in a way that makes them out to be superstars. Marvel presents their writers as the A-list. The cream of the crop. Brian Bendis, Ed Brubaker, Matt Fraction, Dan Slott, Jason Aaron, Nick Spencer, et. al are sold as being equal commodities to the characters they write. DC does not seem to do the same for their writers outside of Morrison or Johns. They have a SMATTERING of amazing talent in people like Chris Roberson, Matt Sturges, Gail Simone, Paul Cornell, Jimmy Palmiotti & Justin Gray, and so many others. But you don’t see DC publicizing them like walking gods of creativity the way Marvel does with their stable.
The whole line-wide reboot thing reads like a desperate stunt. DC loves to pull stunts. The repeated weekly series plan alone shows that. This stunt in particular will alienate a great deal of the fanbase and probably lose them for a good long time. They say that the point of all this is to garner new readers by eliminating the confusion surrounding certain characters and their continuity but they are failing to understand the simple reason why the comics market isn’t viable to younger readers and that’s that comic books are not cost effective to the consumer.
The article in USA today also mentions that beginning in September, DC comics will be going same-day release with digital and print copies. This is a major leap forward in the digital market but raises even more questions. Are the digital comics going to be significantly cheaper than the print counterparts? If DC wants to make me pay full price for a copy of the new Superman # 1 at $2.99 when I can get it from an online retailer for anywhere from a 10-40% discount, then what is the impetus for me to switch to digital? The price debate is probably the most important hurdle that the comics industry will have to face in the coming years. I bought a blu-ray movie yesterday for $8.99. That’s two plus hours of entertainment plus special features for roughly ten dollars with tax applied. A comic book is 20 pages of content for about $3.25 after taxes are applied and the best case scenario is usually a ten minute read-time if there’s actually any dense content to the book. If you’re trying to attract new readers, you have to give them more bang for their buck. I respect DC for trying to lower the cost of buying comics, but the content provided for the price is a huge turnoff to people who aren’t already hooked. Add to that the fact that comics aren’t readily available anywhere outside of specialized shops and you’ve got a major dilemma. All the continuity stunts in the world will not save you from that pitfall. Comics are being displayed at Barnes and Noble now, but I’ve seen that selection and it’s not very impressive and not too well organized.
I don’t want to sound like a doomsayer, foretelling the end of comics or anything like that. The industry will adapt and survive in some manner, because too much money stands to be lost if they don’t. But the logic that has gone into DC’s latest stunt boggles the mind of anyone who takes the time to look at it carefully. Perhaps this whole article will be rendered worthless when more information becomes available. I hope everything does work out for the best. I still have friends who work in the retail level of the industry, and all the writers and artists who I’ve developed a rapport with since developing this blog don’t deserve to see their chosen profession crumble because the companies don’t know how to adapt. All I can do is sit and wait and see if what DC has to offer is worth paying for.
Guys, this week was a killer. Probably the most major comic release date in a while. You have no idea how many people have been coming in asking about Batman Incorporated over the last few weeks. That final panel in Batman & Robin sold people in a way that I can’t really describe and I for one am thrilled that so many people are realizing how awesome Grant Morrison’s take on the Dark Knight truly is. The man knows what he’s doing. In Morrison we trust.
AVENGERS #7 3.99
BATMAN #704 2.99
BATMAN INCORPORATED #1 3.99
BATMAN THE RETURN #1 4.99
DEADPOOLMAX #2 (MR) 3.99
GREEN LANTERN #59 (BRIGHTEST DAY) 2.99
OSBORN #1 BIG (OF 4) 3.99
POWER GIRL #18 2.99
SIXTH GUN #6 3.99
SPIDER-GIRL #1 BIG 3.99
SUPERGIRL #58 2.99
SUPERIOR #2 (OF 6) (MR) 2.99
SUPERMAN #705 2.99
THUNDERBOLTS #150 4.99
X-23 #3 2.99
X-MEN #5 3.99
Now after a good long day of writing about prostitution in the middle ages for a history paper, I can tell you about how awesome a few of these books are.
The weakest of the new Batman releases is the core title, which sadly seems like a middle of the road affair by Tony Daniel when compared to the amazing work done by Morrison and Finch in the other books released this week. Not to say that the book is horrible, it’s better than it has been recently, especially Daniel’s art which looks less rushed than I’m used to, but unfortunately the entirety of the book seems rather pedestrian when placed alongside the nearly pitch-perfect Batman Incorporated title. I think my main gripe with this title comes from the fact that it reads like a throwaway title from the late nineties or early two-thousands in it’s pacing, its art, and its choice of villainry.
The book suffers from feeling all too familiar to stories we already read but with minor tweaks. Unfortunately, the books that this seems derivitive of aren’t the best parts of Batman lore. I think that the book could stand to take a few more risks rather than settle into a comfort zone that’s so blatantly par for the course.
Then again, when Tony Daniel takes risks we get Catgirl, a character that I almost want to like out of the sheer absurdity of her existence. But then again, my tastes differ in certain areas from the general public so I won’t take a stand on that character until she’s had the chance to mature under another team of writers.
This book is everything you should want in a Batman title. Morrison manages to find the right balance of tone between the ridiculous, the macabre, the adventurous, and the outright fun. The book essentially turns into a globetrotting Bruce and Selina super-happy-fun action hour where Batman and Catwoman fly to Japan to begin preparations for that branch of the Batman Inc. plan to be put into motion but are sidetracked by a murder mystery and a cult of ninja assassins. There’s even some tentacle rape hentai jokes that seem all too appropriate coming from the mind of Grant Morrison.
The artwork on display here is robust and amazing. They really could not have found a better fit. Paquette’s Selina is as sexy as she’s ever been and the subtle touches he uses to portray Batman are astounding. It’s one of the best looking Batman books in a long time, rivaled only by Finch’s work in The Return which I’ll be discussing shortly.
If you pass on this one you will regret it later. This one is a home run in every sense of the damn word. Buy this book now!
I was wary of this particular title. That apprehension faded after the first few pages where Grant Morrison gives us what equates to graphic poetry, telling the story from the perspective of the bat that crashed into Bruce’s life when he needed to find his avatar. David Finch’s artwork guided the narrative with masterful flow and tone, showing off some of his most brilliantly stylized work to date.
That the art is this good is not surprising, given the subject matter and how much Finch loves to work with shadows and the darkness, but the complexities of the narrative were surprising considering that this is essentially the jumping-on point for new readers and Morrison made no attempt to censor his sensibilities and gave us intricate mysterious plot threads as well as hyper-neo-noir technological action adventure with jetpacks and robotics intertwined with some nitty gritty fight scenes.
If you’re planning on reading any of this week’s bat titles I highly recommend that you start off with this one as it outlines the new status quo for Batman quite handily and works to assure us that the people working on every title are going to be working as a cohesive unit to tell what seems like a hell of a story and if this one-shot is any indication, they’ll be bringing their a-game every step of the way.
From Marvel we get the newly minted 616 version of Spider-Girl, formerly Arana, in her first solo title. The whole Young Allies thing didn’t seem to work out so well so I’m pensive about this title, but hopefully they’ll let it go long enough to deter fans from yelling at them for cancelling what amounts to their only major female-driven solo title. (Scarlet doesn’t count, guys.)
It’s off to a good start. Establishing the cast of characters and letting the new readers get to know Arana in case they haven’t followed her from her humble beginnings in the revamped Amazing Fantasy from a few years back. The storytelling style is sound and concise, but from someone like Tobin who has a pretty firm grasp on narrative technique this isn’t really a surprise. The plotline seems familiar, as most superhero books are bound to borrow from each other a bit, but the expression, through a “twitter”-esque thought balloon parade seems fresh enough to distinguish it from other similar go-arounds.
I’m hoping it will stick around long enough to take off, because the character really is an interesting one. I especially liked her when she was in Ms. Marvel, another title that I sorely miss.
And now I go back to writing about whores. I guess this is what Frank Miller feels like all the time. A-ZING!!!!
And as the cold weather breezes into Houston about a month later than it should have, we get the first new books of November. It’s an interesting haul of titles filled with debuts and final touches. This is all very poetic and whatnot, but the truth is I’m hopped up on leftover Halloween candy and could make a bowel movement seem melodic.
AMAZING SPIDER-MAN #647 4.99
AVENGERS ACADEMY #6 2.99
BATMAN AND ROBIN #16 3.99
BOYS #48 (MR) 3.99
BUFFY VAMPIRE SLAYER #38 2.99
BULLSEYE PERFECT GAME #1 (OF 2) 3.99
CAPTAIN AMERICA MAN OUT OF TIME #1 (OF 5) 3.99
GENERATION HOPE #1 3.99
JONAH HEX #61 2.99
PUNISHER IN BLOOD #1 (OF 5) 3.99
SCARLET #3 (MR) 3.95
SECRET SIX #27 2.99
SUPERBOY #1 2.99
WOLVERINE #3 3.99
WOMEN OF MARVEL #1 3.99
YOUNG ALLIES #6 2.99
I’ve bolded the issues I will review. Which is redundant, as the reviews will now begin and you will be able to see what I have reviewed.
Here it is. The conclusion of Grant Morrison’s run on Batman & Robin before he jumps onto the new “Batman Inc.” title which should be one hell of a ride given the setup he provides for us in this issue. Morrison has been the architect of the Batman universe now for about as long as I’ve been working in comic book retail. Close to five years or so. He’s not showing any signs of slowing down anytime soon. It seems like he’s moving into the third act of his overall story with Batman Inc. The fact that his overarching story has an act-structure ties into the melodrama he’s crafted. His Batman reads like a sci-fi/action opera and it’s evident that he’s put a great deal of effort in making sure the parts all come together.
The biggest achievement that he can lay claim to in regards to his Batman ouvre is his ability to shake things up in ways that other writers have teased for the short term but never committed to in any real way. Plot twists that Morrison uses as the long-term theme of his story seem like ideas that other writers would love to pursue but only for six issues or less. Morrison seems to think that shaking things up and doing so in a way that shifts the paradigm of how Batman operates on a level that is not easily reversible is the key to telling a good story. I won’t argue that it’s made for some of the most compelling reading for quite some time.
What I really appreciate about Morrison on the Bat books is that in a few years time we’ll be able to view him as one of the better Batman showrunners in the history of the character. There aren’t many creators who leave such a lasting mark on the character that fans can easily identify. Most of the time you get the requisite Denny O’Neil or Frank Miller. Morrison is going to be the next name on the immediate go-to list when all is said and done.
Bullseye is a character who can be used to absolute perfection or to an end that simply does not work. There’s not a whole lot of middle ground when it comes to the character. He’s been front and center for so many great and memorable moments and then again he’s been wasted or misused by writers who simply want to use him in a way that doesn’t really make sense.
Here we get a story where there’s very little actual Bullseye. The story is all second-hand, but it gives us an insight into how the character operates that we don’t really see. That part that deals with how and why he picks his targets. The montage showing some of his more unique and violent kills is a perfect example of why Bullseye sometimes doesn’t work out in the hands of an unskilled writer. He’s the perfect killer. He knows he’s the perfect killer. He’s got the same problem Superman does in the sense that he’s so above and beyond the range of his peers that he can come off as boring in his superiority.
The biggest downfall of this book is that lack of Bullseye. The second hand narrative structure is interesting but ultimately unless they give us something a little more substantial it’s basically not even like reading a comic at all but reading a comic about someone who read a comic about what Bullseye did for a year. That sounds stupid, but it gives off a little of that vibe.
It’s a Captain America miniseries written by Mark Waid. I’m not going to pass that up. Seriously, I don’t care that it’s essentially a retread and that no matter how they take the story it’s essentially inconsequential because it’s one of a hundred takes on the same story because it’s such a great part of the Captain America mythos that’s being retold.
The stuff set in World War Two is pretty good. We get some fun banter between Bucky and Cap amongst some soldiers who don’t know who they are and we get some fun, if cliched, introspective moments where the two discuss what they would like to do when the war is over and the fighting is done. Of course all of this happens mere moments before Bucky gets caught in the explosion that “kills” him and Cap winds up frozen in the ice.
What really works in this issue is the dichotomy between that old world and the new one that Cap wakes up to. You really can feel how directionless and confused Steve is when confronted with a world that has grown leaps in bounds in technology and regressed equally in its brutality. The dangers of being a hero in such a world become readily apparent and the ending of the book packs quite a punch.
I think this one could be one that people regret not picking up if they let it slip under their radar because it is an excellent read. However, Marvel needs to learn that these arbitrary books aren’t going to get the same readership they would at a lower price point. $3.99 is a warning siren to a lot of consumers nowadays, even if the book is worth the cash, as this one seems to be.
They’ve been building to this one for a while. I need to begin by saying that I would have been just as happy had this been the central running plot of Uncanny X-Men or Legacy. Or hell, run it through both titles as a crossover. It would have worked just as well. This has the smell of a cash grab by throwing it out as an independant mini-series. It’s like if Marvel had done the Inferno followup they’re doing in New Mutants as a mini-series and let the ongoing title move along as if nothing happened. I think the logistics of this miniseries are flawed, and I needed to get that out of the way up front.
As to the book itself, it’s hard to tell what direction it will take. Whether the fifth “light” will be the villain for the whole of the series or if there is something more is not readily apparent. The book seems to indicate as much, but to what end they are going with the character in question is unknown.
If you haven’t been reading X-Men, this book is not very new-user friendly. All the characters have been introduced over in Uncanny, which backs up my assertion that it should have been continued there. So if you need the background, pick up the last few months of Uncanny after the end of Second Coming. That should fill in some gaps for you.
I’m hoping there’s a bigger endgame here than I’m seeing at the moment. To justify its existence, the miniseries better have one hell of a closer.
All you whiney fanboys can quit your bitching, Frank Castle is back in non-monster form to do what he’s done for the last thirty or so years. It’s still got the same gritty flair that Remender brought to the title under the Franken-Castle banner but in an easily digestible, familiar package so that frightened fans don’t feel offended by change.
The first issue feels like a classic Punisher riff, it builds upon years and years of 616 Punisher lore, with Microchip and the long feud with Jigsaw coming back into play. It feels a bit more natural than the early parts of the last volume did, as Punisher shouldn’t be anywhere near storylines that have anything to do with alien invasions. He’s at his best when the capes don’t make an appearance.
This could be the beginning of a great new chapter for the character, if Remender’s past work is any indication of what he can do with Frank now. He certainly kicked the show off with an impressive debut, so it’s his ballgame to lose. Let’s just hope he doesn’t get too inventive, or people will get frightened and claim that he’s “ruined the character again” and run to the hills like stampeding fear-cattle.
Jeff Lemire is in a position to be a hot item. Sweet Tooth is an amazing book and he’s got that good buzz to his credit as well as being hailed by just about everyone as the next big thing. With Superboy he has the chance to really let loose and show the world what he can do with the mainstream DCU characters. Superboy isn’t a sacred cow. He has a following but he has room to be molded into something more concrete. The building blocks are there, Lemire just needs to move them around.
He certainly doesn’t waste any time with this issue, utilizing a familiar old Superman villain to write some great action scenes that are drawn out spectacularly by artist Pier Gallo whose work has a very classic feel to it, which fits the Smallville setting wonderfully.
Where Lemire also garners some good will is the manner in which he sets up the supporting cast. This is the first issue, and for many new readers this is their first exposure to the character, but the interactions with the Smallville community are written in the same manner that they would be had the title been running for five years. The familiarity works. Lemire doesn’t get overly expository with everyone in the first issue. He knows that the time will come to fill people in when the moment is appropriate. He gives just enough to let the story work itself out organically and the book is better for it.
I think this one could end up being a long-running fan favorite. Let’s just hope Lemire stays on the title for a long enough time to truly leave his mark on the character, because judging from the first issue it could be quite an interesting and fun take on a character who until this point has basically been defined by his association with the Titans, his relationship to Wonder Girl or his overly violent death.
And them’s the reviews. Hope you enjoyed my ramblings. Now I’m going to finish this bowl of leftover candy and watch old episodes of the Simpsons while I work on a poetry paper for my creative writing class.
Here’s the deal. I’ve been busy with a TON of stuff today. Like, just about everything that I need to do in a given month I had to get done today and then some. So you’ll have to apologize when I eschew the typical format of these reviews and go about this a little differently this week. This week’s reviews will be comprised of just two books, Batman and Superman # 701. Basically, the biggest two books to hit this week. I mean, Birds of Prey # 3 was awesome, and a bunch of people who went apeshit over certain events in the second issue had eat some serious crow. I finally picked up a copy of The Sixth Gun which I recommend to anybody who likes Jonah Hex but wants a little bit of mysticism thrown in without being outright terrible like the film. Also Generation Lost made me fall in freaking love with the Rocket Reds.
Let’s start with Superman # 701.
Dear god, this whole issue seems like 32 pages of JMS trying to justify the premise of his arc to us by hammering us over the head with apathetic retreads of tired philosophy and even more tired retreads of scenes that Grant Morrison already did to perfection a few years back with All-Star Superman. Seriously, that suicide jumper scene was basically everything Morrison did but stretched out for a few pages with no sense of gravitas. It’s so mind-numbingly blunt that it looses any and all effect.
I think my biggest problem with JMS’s retread of Hard Travelin’ Heroes starring Superman is that JMS doesn’t seem to write Superman in the classic sense. The Superman I know is not the spiteful, sarcastic, embittered abuser of power that we get in this issue. This feels like Stracynski trying to finish out what he had wanted to do with Thor but couldn’t because he got tossed to the curb by Marvel editorial. I think that a lot of the bitterness that he feels over how that panned out is being transferred onto his Superman. Superman here doesn’t feel like he needs to answer to anybody. Not reporters, not the man on the street, nobody. He is sick and tired of everyone’s impatience and expectations. The problem is, he’s made Superman borderline unlikeable in this instance.
I’ve seen just as much love for this issue as I have hate, so obviously he’s struck a chord with people. But I’ve noticed that a lot of the praise is coming from people who are new to reading Superman on a regular basis. A lot of first timer’s interested by the premise got drawn in, and having no attachment to everything that makes Superman…well, Superman, they find this sort of bland retread to be new and fresh and exciting.
It’s lazy and it doesn’t really work for anyone who has any real understanding of Superman as a character. Some would argue that JMS is attempting to write away the flaws of Superman, but by turning him into a cynical jerkwad doesn’t do anything but create more flaws. It alienates the previously faithful readers and the new readership is not likely to stick around in the long run.
It’s not the worst issue of Superman ever written, it’s just an egregious slap in the face to fans of the character. It collapses under the weight of it’s own self importance and in the end will just be another footnote in the long history of the book that people look back on and sort of chuckle at.
Still better than Electric Blue Supes.
On the flipside, we have Batman 701, which goes back to the moments immediately following Batman R.I.P. and leading up to Batman’s collision course with Darkseid in Final Crisis. This issue is the first time in a while we’ve seen Bruce Wayne in the suit for the main story. I think Morrison was wise to hold off on this issue until now, simply because it gives the audience a broader understanding of his entire overall story and allows for the reader to follow the action with greater ease than if it had come immediately following R.I.P.
The artwork is just amazing, a step-up from Daniel, whose work seemed to be rushed while he had to perform the writing duties as well. There is more definition, more style on display here. It matches the mood of the story perfectly, and I think that goes a long way towards crafting an excellent issue.
The basic premise is centered around Hurt’s declaration that following the events of R.I.P., if Bruce were to wear the cowl again it would be the last time. A prophetic curse that weighs heavy on Bruce. It’s interesting that he takes this to heart the way he does, seeing how he comes down on criminals as being overly cowardly and superstitious and I don’t think that is an accident. Morrison doesn’t do coincidence.
His reaction to the death of a New God shows us exactly how Morrison feels about Batman as a character and it works well within everything that’s come to be associated with Bruce as far as his determination and his psyche. It’s the exact opposite of Stracynski’s Superman in that regard. Nobody will accuse this Batman of not being in character. He is the driven detective, the dark knight and he acts as such.
I’m looking forward to the rest of this arc.
I had a horrible night last night. Like, soul crushingly horrible. I was crestfallen and engulfed by rage. I ripped the towel rack out of the wall in the bathroom and punched a wall. Luckily, all of this happened after I read this week’s comics because I’m sure my feelings would have tainted my reading experience. Maybe they’ll hamper my reviewing experience but I can’t say for sure. You’ll have to judge that.
AMAZING SPIDER-MAN #636 GRIM 3.99
BATMAN AND ROBIN #13 2.99
BATMAN ODYSSEY #1 (OF 6) 3.99
BOYS #44 (MR) 3.99
IRON MAN LEGACY #4 2.99
JONAH HEX #57 2.99
JSA ALL STARS #8 3.99
SCARLET #1 (MR) 3.95
SECRET SIX #23 2.99
SHADOWLAND #1 (OF 5) SL 3.99
STEVE ROGERS SUPER-SOLDIER #1 (OF 4) 3.99
X-FORCE #28 XSC 2.99
X-MEN #1 3.99
YOUNG ALLIES #2 2.99
Now let’s get to it…
BATMAN AND ROBIN # 13
Yeah, Grant Morrison may have written his best issue of Batman yet. Everything that he has laid the groundwork for comes to a head in this issue. Morrison is not a fool, nor has he done anything that didn’t have a point. All the attention to detail that has gone into creating a tapestry of different plot threads that all reveal themselves in this issue.
I explained to people when it was finished that Batman RIP was not a self contained story. Everyone looked at it like a graphic novel in and of itself, this simply isn’t the best way to view the story. It’s a chapter in the overall story the same way that The Black Glove or Batman and Son were. It all is a piece of the puzzle that Morrison has presented. The events of this issue would not have worked without the events of RIP.
Morrison is doing some of the best Batman work of all time, and it’s not a gimmick. It’s not like Dark Knight Returns where it has no real bearing on the character aside from what writers choose to take from the message. This is a book that takes major risk on a monthly basis, in continuity. It’s not easy to do stuff like that and get away with it. Fanboys do not like change. And while we know that the status quo will eventually return, it will be changed by the events of this book in a manner that will almost be undetectable. After a run like Morrison’s, it will be hard to accept anything less than what he has delivered. It’s why what came after Hush was so rejected. Not that Hush is anywhere in the league of what Morrison is doing, but it hooked readers in and it had people looking for things that weren’t there in an attempt to keep up with the writer’s pace.
Seriously, I would rank Morrison as one of the best Bat writers of the last twenty years thanks solely to what he has done since launching Batman and Robin as a title. This is just another direct example I can point to when people ask me why.
BATMAN ODYSSEY # 1
This was probably my most anticipated book this week. I adore Neal Adams. I think he is the definitive Batman artist, alongside Jim Aparo of course. That having been said, I have never been exposed to anything that he has done as a writer. He may be one of the greatest artists ever to work in the comic business but as a writer, he’s largely a blank slate as far as I can tell. With the first issue of Odyssey, we can see that his writing style is clearly influenced by the writers he worked with back in the glory days of the dark knight. There is a little Denny O’Neil in his wordsmithery. I’ll admit that alot of the dialog seemed forced, and the flow of certain word balloons was distracting, but then again, that can be said of alot of comic books nowadays. I think it was just more noticeable because I was aware of the fact that Adams was writing for his own pen. I saw the same stuff on Tony Daniel’s work on the main Bat title.
Is the book good, though? That’s the main question that needs answering I suppose, and it is a decent little Batman yarn. The art is great, as if it needed to be said. I think the thing that strikes me is that it’s clearly a tale set in Batman’s past, though I can’t place where. I would have loved to see Adams write a contemporary Batman. I’m sure that would have sold better than a mini-series, as I can see a bunch of people trade waiting on this one. I won’t, because I want to support Adams in whatever he does, but I think from a marketing standpoint they may have stumbled a bit.
Still, no matter how you read it, you shouldn’t be disappointed.
THE BOYS # 44
So we finally get the moment we’ve known was going to happen since early on in the series. The only problem is that Garth Ennis gives it to us in the last panel so we have to wait a month to see the aftermath. Fuck you, Garth. Your mastery of toying with your audience is unparalleled.
Seriously, Ennis knows exactly when to drop the necessary bomb on the readers. He’s been escalating things for months now and everything is coming to a boil. I think the fact that Ennis stated when he began that the series would be finite with a pre-established ending helps to inform the reader that the pacing is deliberate. There are moments where the book comes close to seeming dull and then the veil is removed to show us something we didn’t expect.
This is definitely some of Ennis’ best work. I say that with conviction. I find it on par with his Hitman run and a shade close to matching some of the stuff he did on Preacher. The reason people don’t latch on to this book the way they did with Preacher is that The Boys isn’t as broad as Preacher was. Ennis knew that he could stir up controversy with the tiniest flair on Preacher. With the Boys he’s not really seeking to offend, but to play with heroes in a way that makes a statement on how he feels about the world in general. I don’t believe that Ennis believed everything he did in Preacher but I’m almost sure he does when it comes to The Boys.
SCARLET # 1
I think the easiest way to describe Scarlet is that Bendis has written what Millar wishes he could have with Nemesis. We get a violent subversive anti-hero protagonist who is introduced in the middle of murdering a cop and who is clearly willing to upset the system in any way she can. But unlike Millar who goes broad stroke in every manner imaginable, Bendis prefers to focus on the character first rather than the spectacle of the character’s actions. I think that the narrating directly to reader helps to facilitate this. Nemesis blows up a train to make a point and I felt nothing except dirty because the book wants me to view his actions as extreme with a measure of awesome, whereas when Scarlet chokes out a cop the gut reaction I had was one of knowing there was probably a reason for it beyond “here’s a villain.”
Bendis knows his storytelling. If he didn’t he wouldn’t be teaching classes about it at the collegiate level. It all comes down to whether you like his style. If you enjoy his work on Goldfish, Jinx, or the Powers books, you’ll probably enjoy this one. But there will be a number of people who hate it without reading it just because it has Bendis’ name on it.
SHADOWLAND # 1
This is gonna be a good one folks. Daredevil has been on a tear for years and finally he’s getting the spotlight he deserves. Each successive writer on the title has been outdoing the last since Bendis took over the book and we’ve finally reached a place where the boiling point has been hit.
Writer Andy Diggle has taken Matt Murdock to a place that we never really could have expected. It’s a shocking turn to see him in charge of the Hand, but at the same time the events that led to where Matt has ended up in no way work against what has developed. Normally, you would think there would be no way Matt Murdock would become the leader of the Hand. It just goes against everything that Daredevil has fought for, but the way that it’s been set up makes you feel like if it didn’t work out this way, it would be a cop out.
As for the issue itself, let’s just say that you know how it’s going to end a few pages in but you don’t care because you want to see it happen and you know that the ensuing shitstorm will be an amazing story. Simply put, it does not disappoint in any department. It’s an event book done right and I cannot wait for the second issue.
X-MEN # 1
I don’t know Vic Gischler personally. He bought a Lady Deadpool poster from my store on the one day that week I wasn’t at work. We banter about really dumb shit on twitter from time to time and that’s about it. So don’t think there’s some conspiracy when I praise his work on a regular basis. He just happens to write stuff that I think is really good. If I can ever find a damned copy, I’d like to review his book The Deputy but none of the local bookstores carry it and I don’t feel like ordering anything else off of the internet until I pay off my latest Amazon bill.
Anyway, yeah, X-Men # 1 is pretty good. It’s got Jubilee, so you know I’m going to like it. But it also isn’t the unending doom and gloom that’s taking place in every other title, and while Second Coming has been awesome thus far, it’s also starting to wear me down with it’s unending bleakness. It’s almost too much to take sometimes. So it’s a welcome change just to get Wolverine slashing apart a bunch of vampires. It’s just the sort of thing I want in an X-Men title right now. Problems solved with claws and laser eyes.
And Jubilee. I freaking love Jubilee.
And we’re done. I’ll be back tomorrow with a review of Predators.
Man, this week has been intense. I’ve been working on some major renovations inside the store, trying to make room for all the cool new shipments of figures and statues and assorted awesomeness that’s set to be hitting the shelves within the next month or so, which has left my body sore and weak from the labor. I’m not sure if you know this, but comic books in bulk start to get heavy. Especially hardcover collections. I swear it felt like moving baby cows on my shoulder at some points. But it all was worth it for how great the new setups look and the fact that this week’s new books are pretty much the pinnacle of awesome.
ASTONISHING X-MEN XENOGENESIS #2 (OF 5) 3.99
AVENGERS ACADEMY #1 HA 3.99
BATGIRL #11 2.99
BATMAN #700 (NOTE PRICE) 4.99
BOOSTER GOLD #33 2.99
CAPTAIN AMERICA #606 HA 3.99
CHRONICLES OF CONAN TP VOL 19 DEATHMARK 17.99
DAREDEVIL #507 2.99
DOOM PATROL WE WHO ARE ABOUT TO DIE TP 14.99
HACK SLASH MY FIRST MANIAC #1 (OF 4) CVR A (MR) 3.5
INVINCIBLE IRON MAN #27 HA 2.99
JUSTICE LEAGUE GENERATION LOST #3 (BRIGHTEST DAY) 2.99
NEMESIS #2 (OF 4) (MR) 2.99
PREDATORS #1 (OF 4) 2.99
PUNISHERMAX #8 (MR) 3.99
SECRET SIX #22 2.99
SHIELD #2 2.99
ULTIMATE COMICS AVENGERS 2 #3 3.99
ULTIMATE COMICS SPIDER-MAN #11 3.99
UNCANNY X-MEN #525 XSC 2.99
YOUNG ALLIES #1 HA 3.99
And as always, I will tell you why you should buy things.
Wasn’t initially going to get this one, but Christos Gage is one of those writers who has a tendency to churn out some amazing stuff out of concepts I initially hesitated on. He’s a solid writer who is well on his way to getting the name recognition he deserves. With Avengers Academy, he may have found that project.
If there is one flaw with the book it’s simply that, by nature, it’s sort of the black sheep of the Avengers family. The “heavy hitters” in the book as far as star power goes are Hank Pym, Justice and a newly reformed Speedball. Gage plays with this by saying that we’ll get some big names as “guest instructors” over the course of the book, to show that those characters care about the events transpiring in the book, so we should as well. LISTEN TO CAPTAIN AMERICA! HE’S ALWAYS RIGHT!
So yeah, the book has that hurdle to overcome in the mind of the financially conscious fanboy, who may not view the book as “essential reading.” But the book hits all the notes it aims for, and the new characters introduced in the book are all interesting and get a fair share of development in their debut. Reptil shows up, having gained some exposure through the Superhero Squad cartoon. Other members of the group seem to establish their niche right away, with Finesse and Hazmat being the darker foils to Reptil, Mettle and our primary protagonist Veil. Personally I think Mettle has the chance to grow into a really great character. He seems to echo the greatness that Rockslide projected back in New X-Men.
The reasoning behind using these characters, and why the program exists, parallels the Heroic Age’s overall theme of rectifying the wrongs of the Dark Reign era. It probably won’t be the theme for too long, as the status quo will likely shift again fairly soon, but it’s an excellent way to get the ball rolling and they’ve hooked me in for another one.
Man, this one was epic. It’s not exactly a new-reader friendly jumping-on point as one would figure, as it hearkens back to Grant Morrison’s issue # 666 as well as the two-part Whatever Happened to the Caped Crusader arc and we even get a segment (albeit a short one) that jumps into the Batman Beyond universe. It’s a veritable garbage-bag cocktail where every last drop of alcohol at the party gets mixed together in the hopes of making a concoction that will give you a kicking buzz without making you go blind.
The story has time travel, the Joker acting bat-shit insane, an appearance from the Mutants that harkens back to The Dark Knight Returns, Two-Face 2 who may be the greatest idea for a new villain that won’t be able to recur due to where he made his debut, and an amazing pin-up art gallery at the back end featuring drawings by some of the greatest artists ever to draw the Dark Knight.
I wish this review could be longer, but honestly the book is one that you have to read for yourselves. I don’t think it is an issue that everyone will enjoy, but I think that it’s definitely a ballsy choice for an anniversary issue this large. If nothing else, it’s definitely worth a read just for the sake of seeing if you understand what the hell was going on.
Captain America has been firing on all cylinders for around five years now. Brubaker knows that book like the back of his hand and refuses to let up. This issue deals with the fallout from the last arc where Bucky had to put an end to an evil Steve Rogers clone with a bullet to the dome. It doesn’t sit well with Bucky, as you can imagine the boy has some issues when it comes to Captain America dying, real or not.
While all this is happening, Baron Zemo seems to be working some machinations, which makes me happy as I friggin’ love Baron Zemo. I hope to god he at least gets name dropped in the Cap movie, because I think he’s just one of the most awesome characters Marvel has. Don’t believe me? Go read some Thunderbolts before Warren Ellis turned it into some sort of twisted abomination from the depths of hell. Zemo is a multi-faceted villain who simply does not get his due nowadays and I’m glad that between this and the new Thunderbolts, he seems to be making a comeback.
My only squabble with this issue is the fact that I’ve not yet determined where the hell it fits in with what’s going on over in Thunderbolts. I’m sure they’ll work that out sooner or later, but for the moment I’m trying to place it myself. With all the time line jumping in the Cap book, it’s a chore for sure. But continuity isn’t as important as everyone makes it out to be, especially when the book is this good.
As for the Nomad backup, I’m certainly enjoying it. I like the world they’ve established there, I’m just tired of Nomad ending up in peril so often due to her own naivety. It’s repetitive. Luckily, she seems to not have that shortcoming over in Young Allies, which I’ve reviewed further down the page.
I’ve been looking forward to this one for a long time. Tim Seeley’s Hack/Slash is one of the more consistantly fun and entertaining books on the rack and when I heard it was moving over to Image, I thought “Oh thank the Lord, something good to read by that company that’s NOT written by Kirkman!” (All praise, be to the Kirkman)
With this mini-series, you get a fresh jumping on point if you’ve ever been interested in reading about Cassie’s exploits bashing the brains of creepy stalkery torture-killers with the aid of her hulking sidekick Vlad, who may currently be my favorite recurring comic character. He’s all kinds of awesome and unfortunately he doesn’t make an appearance in this first issue. He’s probably off in a corner reading Chippy Chipmunk at the moment.
The issue gives us a quick origin storry for Cassie that, while familiar to long-time readers, does not feel repetitive or dull. That was my main concern when the book was announced; that the mini-series would mostly be rehashed from prior events that we had already seen and therefore be of no consequence to those of us who have been onboard since the start.
And while I am certainly familiar with Cassie’s origin, the events presented here seem fresh and new even if parts of it do seem familiar. I like that Seeley is simply moving forward with the series rather than using this label-hop as an excuse to do a reboot. Because as we all know, reboots are all the rage in the horror genre right now. Because everybody wanted a remake of Nightmare on Elm Street, right? Whatever.
Get the book, hop on board now so that you can be like me and stand around telling everybody that they should have been reading this years ago. It’s a fun feeling. A nice boost to the ego. I love it.
I picked this one up out of my love for Nomad. I loved her mini-series, I love the backups over in Captain America, and I think that it’s amazing that a character who was borne out of such a horibble event (Heroes Reborn. *shudder*) could end up being such a great addition to the mainstream Marvel landscape. Teaming her up with Araña was a stroke of genius, because that girl, while an interesting concept, needs a foil to work to her fullest potential, as evidenced by her appearances in Ms. Marvel.
The book starts off somewhat dark, giving us the origin of a couple of kids who are ripped from their families and trained to be death soliders for some South American Generalisimo. If it were drawn by someone like Mike Deodato it’d be downright frightening and hard to bear, but artist David Baldeon has a light tone that doesn’t strive to be hyper-detailed or stylized, and so while the impact is effective, it does not make you want to rip out your own soul. This is a comic book after all.
The issue plays out much like New Avengers # 1 did a few years back, with the team being brought together by a single circumstance and a whole lot of coincidence. The formula works well this time around, because even the villains remark before they pul their caper that they’re looking for heroes to be in the area and expect them to show up. It’s a little touch that makes the book run a lot smoother.
Between this and Avengers Academy, Marvel seems to be doing all they can to get their readership invested in the next generation of Marvel heroes. Meanwhile, DC is probably trying to find a way to kill off Jaime Reyes. The butchers.
This was not a huge week as far as comic books go. Thank god, because my wallet needed a break after the companies seemingly unleashed every major title in their arsenal on me last week, a volley I was not prepared with and was nearly washed away by. This week however, we got a different sort of approach. A few books came out that I was downright looking forward to, and some new titles launched that I was able to pick up because the rest of the week was so slim. Touche marketing department, touche.
AMAZING SPIDER-MAN #630 2.99
ASTONISHING SPIDER-MAN WOLVERINE #1 3.99
BATMAN AND ROBIN #12 2.99
BOYS #42 (MR) 2.99
BRIGHTEST DAY #1 2.99
BUFFY THE VAMPIRE SLAYER #35 TWILIGHT PT 4 (OF 4) 2.99
IZOMBIE #1 (MR) 1.00
JSA ALL STARS #6 3.99
MANY LOVES OF AMAZING SPIDER-MAN #1 3.99
RED ROBIN #12 2.99
SAVAGE SWORD OF CONAN TP VOL 07 (C: 0-1-2) 19.99
SECRET SIX #21 2.99
SUPERMAN WAR OF THE SUPERMEN #1 (OF 4) 2.99
UNCANNY X-MEN #524 XSC 2.99
WALKING DEAD HC VOL 05 (C: 0-1-2) 34.99
It took a lot of willpower not to throw aside this week’s books and just read Walking Dead, as I’ve been waiting for that book since…well, for-fucking-ever. But you people need to know what I thought about Brightest Day, so I have restrained myself.
I love Jason Aaron. I think he’s one of the fresher talents that Marvel has and I love that he’s getting more exposure. I think that he’s doing better work with the Punisher than Garth Ennis did in the last years of his run. If he can make the Punisher seem fresh, he might be some sort of genius. So obviously I was going to pick up this issue. In all honesty, the first issue is a slow burn that slightly turned me off of picking up the subsequent issues. In a six issue miniseries, decompression can be a killer and this issue is fairly decompressed. There is great effort taken to establish the world that these two characters now occupy, a world at the dawn of time with giant spiders and neanderthals who think Wolverine is their god. The narration by Parker and Logan is very much in line with the characters but it seems very roundabout at times.
If there is one saving grace for this book it is that the final page begs the reader to return for issue two. Jason Aaron realizes that the previous content of the book was indeed a very slow, methodical setup for a killer finale and the reader can’t help but jump on board. Unless they just don’t like comics that rock harder than Judas Priest on a Wednesday.
I didn’t like Brightest Day # . This is well documented. I think that’s because Aquaman didn’t summon an undead Kraken to kill pedophile pirates in that particular issue. Yes, you just read that sentence. Geoff Johns is turning into some sort of mad scientist with a pen. I would love to see him write a Lex Luthor mini-seri at this point, because I’m pretty damn sure that Johns is bordering on that level of insane right about now. I’m pretty sure the pressure of his time at DC has melted his brain down to the point that he watched the scene from Megashark vs. Giant Octopus where the shark jumps out of the water and chowed down on a flying airplane and thought “What if that shark was a zombie and the plane were a person?”
Geoff Johns is my hero, for all the wrong reasons.
Vertigo really knows how to sell a book. The dollar intro issues are just the sort of thing that Marvel and DC proper should be doing with their series. I might have passed on this series if it had started out with a higher cost on the cover. In fact, since the dollar intro series has started, I think I’ve picked up all of them. Joe the Barbarian, Unwritten, etc., I picked them all up because for such a price it’d be stupid to pass up what could be an amazing series.
iZombie could be one of those amazing series. It’s an interesting premise, as allVertigo books are, with the all the style that Mike Allred’s art style can provide. I spent much of the issue trying to second guess the narrative in finding out what the crux of the story was really about. When the reveal finally comes, the simplicity of it sort of smacks you in the face. The multiple genre crossing looks like it could make it a classic, and I’m going to give at least the first arc a full read.
This issue featured some great character moments. Especially from Wolverine. When was the last time we got some great character development out of Wolverine? Anyhow, the issue was essentially a breather issue. Where the action beats slow down long enough for the reader to catch his breath before they head into the final confrontation with Bastion and his minions. It’s obvious that this issue was basically a buffer; one where everything basically moves in slow motion. This issue was perfectly timed and really helped to drive home the importance of the crossover on both a small scale in how it affects the characters personally, in addition to the changes it will bring to the mutant community on a universal level for the months to come.
*Note: this post will be edited to include a review of War of the Supermen # 1 when I locate my copy. I think I may have left it at the shop. I have the dumb.
I think it’s common knowledge around these parts how much I love the Batwoman driven Detective Comics title. And while a great deal of that love comes from my unabashed love of J.H. Williams III’s wonderful artwork, just as much of it comes from writer Greg Rucka, who has turned a character who could have been a throwaway token lesbian into someone fully developed by subtle characterization and organic growth.
Now the news has broken out of Wondercon that Greg Rucka will be leaving the title and focusing on work outside of the comic industry. I’m not going to rant and rave about how disappointed I am, because as an artist I understand that if doesn’t want to work within someone else’s system, under someone else’s mandate, and would rather let his mind work freely, he should be allowed to do so and commended for having the strength to do it. The main crux of this little article is meant to illuminate what I believe to be a major problem with the DC system, namely, the manner in which their writers are promoted as an entity.
Look at the way Marvel handles their writers. Names like Bendis, Brubaker, Fraction, Slott, etc. are treated like they’re members of some holy pantheon. They put their writers up on a pedestal in such a way that even if we have never heard their names before, the marketing forces us to sit with mouths agape in awe. One only need look at the way Quesada pushed the rotating teams of writers on the Amazing Spider-Man title as an example of how Marvel sells the writer just as much as they do the book itself.
And DC does the same thing, to a point. But my main problem with DC is that at this moment, with Rucka exiting, it’s easy to see that DC doesn’t promote their talent roster the same way that Marvel does. I will be the first to admit that DC has just as many good writers as Marvel, if not more. The difference is the way in which they tier them. DC has Morrison and Johns at the top, with Stracynski joining them after getting little fanfare during his little run on Brave and The Bold. But where is the hype for people like Matt Sturges, who is knocking it out of the park with JSA All Stars? Where’s the love for Jimmy Palmiotti and Justin Gray? People will claim that these names don’t sell books, but that’s my entire point. Marvel has an entire marketing machine built around making their writers, ALL their writers, seem like the cream of the crop. You don’t think people would be consistently buying JSA All Stars if DC ran to Wizard every month telling people how important the work he’s doing there will be at some point? If they splattered editorials all over the internet proclaiming him to be the next Geoff Johns? You bet your ass!
I’m afraid that DC is going to rely on the same “established” writers they’ve had on their books for the last several years, like Winnick and now Robinson, who has fallen so far from his wonderful work on Starman to the point that I can barely read any of his work. JT Krul has been getting a lot of high profile gigs but they’re doing nothing to inspire consumer confidence in him as a writer. The same goes for all the new blood that seems to be working their way into the system. In this regard, DC really needs to take a page out of Marvel’s handbook and start working some marketing mojo.
That is all.