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.
The new novel is almost finished…again. See, this is what happens when I work in “Drafts.” So in between that, school, work, and a revitalized social life that includes actually having to go outside of the house for stuff like concerts (on Thursday nights), don’t be surprised if the blog starts to lie dormant for chunks of time. I try to avoid it but I’m a one man operation here. That having been said, I’m not gonna deny you guys the comic reviews you so deserve. By that I mean that I’m going back to the old format of cherry-picking what issues to review instead of doing the whole stack because it’s getting harder to go through the whole stack in a single evening.
AVENGERS ACADEMY #5 2.99
BOYS #47 (MR) 3.99
BUFFY VAMPIRE SLAYER #37 LAST GLEAMING PT 2 (OF 5) 2.99
CHAOS WAR #1 (OF 5) 3.99
DEADPOOLMAX #1 (MR) 3.99
HAWKEYE & MOCKINGBIRD #5 2.99
JSA ALL STARS #11 3.99
SECRET SIX #26 2.99
SHADOWLAND SPIDER-MAN #1 SL 3.99
STARMAN OMNIBUS HC VOL 05 49.99
ULTIMATE COMICS THOR #1 (OF 4) 3.99
UNCANNY X-FORCE #1 3.99
WOLVERINE #2 3.99
YOUNG ALLIES #5 2.99
And let’s get this show on the road:
Garth Ennis is underrated when it comes to giving us character moments that stay with the reader in their gut long after they’ve finished reading the issue. Here we get the inevitable confrontation between Hughie and his superhero girlfriend for the first time since he found out she was a supe and since he saw her “initiation” video into the Seven where she did more with her mouth than give a convincing presentation of her resume.
The pathos and emotion on display between Hughie and Starlight here is gutwrenching. While Garth Ennis is able to craft visceral gore and violence with reckless abandon, his ability to make you care for the characters he writes is generally overlooked, which is a huge shame because it’s stuff like this that shows what the serialized medium of comics is capable of pulling off with a competent writer at the helm. This issue has been building for some time. It’s not rushed, it hasn’t been drawn out or decompressed, it’s simply been building to a boiling point.
This may be some of Garth Ennis’ best work. I know it’s not as roundly applauded as Preacher or Punisher Max, but it is probably his most carefully crafted since Preacher ended and I think that in the end people will recognize it for the treasure that it truly is.
I am happy to see Hercules back. I truly am. I love the guy. As far as this particular issue, I’m not so sold on the event after the premiere as I was with Shadowland a few months ago. I think that Greg Pak and company did a good job of getting us pumped up for some good old fashioned theological thrashing in what is coming down the road, but there was no big moment that made me step firmly on board with the series. That’s not to say that it’s a bad issue, there is some good stuff set up here, and it’s bound to get much more epic as it goes on. I simply think that a good portion of people are going to be underwhelmed by the debut issue, as not a whole lot really happens. It’s a setup issue pure and simple.
The question this series needs to answer is whether or not the setup is going to pay off. This is going to be one of those series that won’t have a whole lot of impact on the larger Marvel universe the way that Shadowland will because the Marvel Gods don’t seem to get a whole lot of focus in the grand scheme of things unless they somehow relate to Thor, but seeing how Fraction is doing his own thing with the Thor-verse, the reverberations of this series will have to be felt elsewhere, and unless they relaunch an ongoing Herc series, I’m not sure where that will be.
This is the one people have been waiting a good long while for. We’ve wanted some unrestrained Deadpool action forever and we finally get it courtesy of Kyle Baker and David Lapham. In the first issue however, we don’t actually get a whole lot of Wade Wilson. We get a lot more Agent Bob and sodomy. The violence is there, as is the swearing and the sexual situations. It’s definitely a max book. What seems to be lacking is, well, Deadpool. He really only shows up for maybe 5% off the book.
What remains to be seen is how this book will work out in regard to how they want to portray Deadpool. I doubt he’ll be breaking the fourth wall or being as goofy as he is in the 616. We already know from this issue that Deadpool will be treated more as a government assassin than a freelance merc for hire, and that he’s more mentally damaged and dangerous than gutlaugh funny. This book follows the pervasive Marvel trend of waiting until issue two to give us the full picture of what the series will end up being like in the long run. Luckily, the first issue was entertaining enough that I won’t feel like an idiot for picking up issue three.
Jonathan Hickman can do no wrong apparently. According to the internets, Kurt Busiek doens’t like him but he seems to be the lone dissenting voice. With Ultimate Comics Thor he gives us a look into the origins of the Ulimate U’s version of Thor and it seems to be a basic mirror of the regular Thor, except in the Ultimate scheme of things, there are a lot more nazis.
This series is likely going to be one of the best to come out of the Ultimate relaunch. It’s obvious that this one is being produced to be shoved into a hardcover and rushed into bookstores around the time the Thor film hits theaters. I’m not sure how that worked for the Black Widow miniseries from Paul Cornell, but it seems like a smart enough move. It helps that it’s a damned good read. If you’re going to try to introduce someone to a character, you could do worse than the setup they use here. It’s integrated enough into the Ultimate Universe that those with familiarity will be able to place it in continuity, but new readers will be able to jump in just as easily. That’s not an easy feat, no matter what universe you’re working in.
This one is the winner of the week. Rick Remender may be Marvel’s new secret weapon, as the man has yet to produce a book that doesn’t totally kick all sorts of ass. He’s managed to make Deadpool funny without being over the top. He’s made X-Force not seem like a cliche. He’s managed to give X-Force a purpose beyond being an unnecessary ancilliary title predicated on having a place where Wolverine can stab people with reckless abandon.
I was originally going to skip out on this one. The last X-Force title did nothing for me. Everything about it pretty much went against my established sensibilities. I was afraid this was going to be more of the same. I should have known better. Rick Remender, who is rapidly climbing the ladder of my favorite writers following Last Days of American Crime and FrankenCastle, brings us a new X-Force that seems fresh and new, despite building off of plot threads that have been hanging for quite some time. (Archangel, people. Archangel) And while it definitely plays off some rich history, it isn’t like say, New Mutants, where people unfamiliar with the original story of Inferno might be a little bit lost with the new storyline.
So, long story short, pretty please, go buy the damn book.
And that does it for this week. Join us next time when hopefully DC puts something out worth Reviewing. (I’d review Secret Six, but c’mon, you know how I feel about that book. I’d marry it if I could.)
Man, this week has been hectic. I had to write a 2,000 word short-story for my creative writing class in addition to a two page essay on the importance of studying history as it relates to current events all on the first week of the semester. And then new comic book day rolls around and bombards me with a friggin’ huge stack of books, all of which are the ones that I eagerly anticipate every month. (Secret Six and Jonah Hex, yo.) So I’m not sure what kind of creative mojo I have left for the reviews but an attempt will be made anyhow.
AMAZING SPIDER-MAN PRESENTS BLACK CAT #3 (OF 4) 3.99
BOYS #46 (MR) 3.99
BUFFY THE VAMPIRE SLAYER #36 LAST GLEAMING PT 1 (OF 5) 2.99
CHOKER #4 (OF 6) (MR) 3.99
FRANKEN-CASTLE #20 2.99
INCREDIBLE HULKS #612 3.99
IZOMBIE #5 (MR) 2.99
JONAH HEX #59 2.99
JSA ALL STARS #10 3.99
LAST DAYS OF AMERICAN CRIME #3 (OF 3) A CVR MALEEV 4.99
SCARLET #2 3.95
SECRET SIX #25 2.99
SHADOWLAND #3 (OF 5) SL 3.99
SHADOWLAND ELEKTRA #1 SL 3.99
STUMPTOWN #4 (OF 4) (RES) (MR) 3.99
VERONICA #202 2.99
WOLVERINE #1 3.99
X-MEN CURSE OF MUTANTS SMOKE AND BLOOD #1 3.99
YOUNG ALLIES #4 2.99
So, yeah, lots of good stuff. Let’s get started, shall we?
It’s been months since the last issue of BTVS hit shelves. So long in fact that I cannot remember for the life of me what the hell was going on in the series at the time. I remember Spike came back and Angel was boffing Buffy again. But that’s really about it. I understand why they went on hiatus, but it really caused me to lose interest in the series while it was away. With its return this issue, we get a sort of hazy explaination for Angel’s motives as Twilight and Spike makes with the witty banter for a few panels, but not much else happens. It’s probably the quickest issue of any comic book I’ve read in quite some time, which is saying something considering I still read Archie books on occaision and that sort of light-hearted fluff still takes longer to digest than this particular issue.
I will say that the book’s final page did surprise me, although it probably shouldn’t have. It’s sort of a “pandering to the fans” move that comics like this one pull on a regular basis, that having been said, I’m interested to see where Joss goes with it. I’m still a Buffy fan at heart and no matter how blah the book has been over the last few months it’s still got the nostalgia bump going for it that forces me to see past the major flaws and enjoy it for all its worth. I don’t know how much mileage anyone else would get out of the book, but I doubt there are many people out there who aren’t already die-hard fans picking up the book on a casual basis. This book is for the people who stuck with the show to the end and then some.
We get a title change this issue, and a major tone shift from the events of World War Hulks. In the first of two stories, a gamma-family barbeque goes haywire when Betty and Bruce get into a little disagreement over their relationship as it relates to the whole “Betty Was Dead” thing and it escalates, as it always does, into a super-powered fight between Hulk and Red Shulkie.
I think what sets this book apart from Loeb’s Hulk book is that if the same scenes were tackled in the other book, the character development which is handled so masterfully here would have been lost in the manic insanity of the action. Hulk reads like a cartoon show while Pak’s reads more like a melodramatic stage play. I’m not going to call this issue high-art, as it doesn’t come close to matching issue #609, which I think might have been one of the best issues of Hulk I’ve ever read. But it still works on multiple levels because of the way the interactions feel so genuine. I really look forward to seeing how the multiple Hulks come to terms with each other.
In the second story, we catch up with the other Son of Hulk, who I admittedly have not been following and thus didn’t really understand where everything was coming from. They did their best to catch me up but I still felt a bit lost and I think that more people will enjoy the second story if they followed that character from the beginning, which I admittedly did not. I really didn’t care. I might have to find some Son of Hulk trades and get myself up to speed, because the mythology seemed interesting, I just wish I could have grasped it a little better.
Even if this weren’t a pretty good issue, it would be essential reading just so people could understand where the hell Elektra comes from when she shows up out of the blue in Shadowland # 3. I get the feeling that Shadowland might have a bit of Infinite Crisis syndrome when collected in trade unless they do it omnibus style and present all the side-stories in the collection in chronological order.
This one fills in some important gaps in the timeline while at the same time giving a damn interesting glimpse into Elektra’s mind and her feelings about Matt’s turn to the dark side, especially as it pertains to the death of Bullseye. As you can imagine, Elektra has some pretty raging emotions when it comes to that particular psycho, and the scene where she witnesses his death on a big screen in the heart of the city with the rest of the natives is particularly well written.
I am really enjoying Shadowland, but I think that in order to fully enjoy it you have to immerse yourselves in the tie-ins, and that’s something not a lot of people can do. It’s part of my complaint about Marvel’s business strategy. I know it makes them money, but in the long run they are going to burn folks out if this continues in such a fashion.
People have been talking about this one for a while now and I think it’s kind of funny. There’s nothing here that could possible offend anybody and yet neo-con right wingers are using it as an example of how the liberals are infecting children’s entertainment and trying to brainwash children to homosexuality and blah blah blah.
The fact that in this book the new gay character who Veronica lusts after is a well-adjusted healthy young man is admirable. His parents don’t in any way give him the side-eye, nobody bats an eye when he admits his sexual orientation, and there is not a hint of judgment. It’s a subtle message that tolerance should be the immediate reaction, and in that I have to applaud Archie comics for what it’s done here. Nevermind the fact that the issue is actually pretty freaking hilarious, with Jughead trying to keep Veronica from finding out the truth and thus driving her insane. There are some great gags here and I think it’s admirable that Archie can still be worth reading after all these years.
I wasn’t going to buy this one. I was going to pass it by and not look back. I read Wolverine in like eighteen other books and quite frankly I don’t really have much interest in him anymore. But then I started thinking about how much I enjoyed Weapon X and how Jason Aaron has never really written anything I didn’t like, and so I threw it on the stack anyway.
I’m glad I did because he once again manages to knock it out of the park. I think that for the longest time most people didn’t know what made a decent solo Wolverine story. They simply tried to ape the parts of stories that they themselves liked when the first became enamored with the character and it never quite worked. Aaron is able to create something that builds off of Wolverine’s over-arching history while at the same time feeling fresh and modern. The amazingly beautiful art by Renato Guedes only serves to better bring the action to life. I’ve loved Guedes since I discovered his art on Supergirl and think he’s one of the most talented artists working right now. The level of detail he gives is astounding and here he sort of reminds me of Steve McNiven, but that might just be my mind playing tricks on me.
Either way this looks like it’ll be a series to keep on the pull list. I don’t see this one taking a downward turn anytime soon. If it’s anything like Weapon X was, it’ll only get better with each subsequent arc.
And that’s it for this week. If you take away anything from these reviews its that you should probably be buying more Archie comics. Seriously. That stuff is a gold mine.
Fear not, helpless masses! I am returned! After delays and setbacks and general stuff happening in life that doesn’t have much to do with comic books, I’m back to tell you about the weekly pull and what it has to offer. This week was pretty darned massive. It was a tough choice figuring out what to review, because there’s not a much of a point in reviewing part three of a given series, you’ve largely made up your mind by then. I’m more of a startup/wrapup sorta guy. I like to review the beginning or the end, thus chronicling the entirety of the story. Luckily I was able to find some criticism fodder in the pile this week.
AMAZING SPIDER-MAN #639 3.99
AVENGERS PRIME #2 (OF 5) 3.99
BATMAN ODYSSEY #2 (OF 6) 3.99
BOYS #45 (MR) 3.99
CAPTAIN AMERICA #608 3.99
DEADPOOL #1000 4.99
GI JOE A REAL AMERICAN HERO #157 3.99
IRON MAN LEGACY #5 2.99
IZOMBIE #4 (MR) 2.99
JONAH HEX #58 2.99
JSA ALL STARS #9 3.99
LOSERS TP BOOK 02 (MR) 24.99
SECRET SIX #24 2.99
SHADOWLAND #2 (OF 5) SL 3.99
SHADOWLAND BULLSEYE #1 SL 3.99
SUPERGOD #4 (OF 5) WRAP CVR (MR) 3.99
ULTIMATE COMICS AVENGERS 2 #6 (OF 6) 3.99
YOUNG ALLIES #3 2.99
And let’s hope I can remember how to do this!
Let’s get this out of the way right now, this book didn’t need to exist. As such, it fits in well with the majority of the Deadpool books being published right now. The only difference, as far as I can tell, is that this one is actually pretty damned good. Unlike that 900 fiasco, which was largely hit and miss. Every segment in this issue was darned entertaining. Especially the Blackest Night parody which I feel was written just for me to warm the cockles of my still-beating black heart! Also of note is the Canada-man segment, which was downright hilarious.
I have to say that for the 4.99 price, you get a hell of a lot for your dollar. I mean, yeah there’s a superflous catalog of artwork showcasing Deadpool comprised of mostly covers from the Deadpool variant month that does nothing but add heft to the book and could have been tossed aside. But then again, this entire book is technically superflous as it adds nothing to Deadpool’s ongoing arc and is simply a showcase of Marvel talent having a go at the merc with a mouth.
One thing that stood out for me when reading this particular issue, is that it’s been so long since I saw Deadpool kill anyone that it was actually kind of shocking how much actual killing he does in this issue. I know it’s odd to say that, but it’s the truth, at least for me. It’s not a bad thing, it’s just kind of an interesting look at what Deadpool has become as opposed to what he began as. Something to ponder…
I need to reiterate that Jonah Hex is probably the one book I would keep reading if I dropped everything else altogether. Or possibly Secret Six, but we’ll get to that later. With this issue, we get what is essentially a poem about the nature of a bullet’s reason for existence juxtaposed against the wild west backdrop of Jonah Hex’s world. The issue deals with a revolving door of people with revolvers and the intent to use them and the consequences of their decision to cock the hammer.
It’s just the sort of thing that works for this book. It’s probably the most oblique type of subtlety you can get. You know there’s a message but with the shades of grey that our characters occupy, the reader can take the message in all sorts of directions. There’s been a lot of good literature written about the toll that the soul takes when confronted with the realities of vengeance and the guilt of taking a life. My next novel touches on just such subjects. Jonah Hex isn’t high literature, but it’s not schlock either. It’s almost the perfect venue to air such a debate. The book is as unflinching as the impact of a bullet.
Also, for no reason, here’s a picture of Jimmy Palmiotti as Watchmen‘s the Comedian taken from Dave Gibbons’ twitter:
Yeah, that’s about right…
After a brief guest writer spot, Gail Simone returns to write the six again in a weird little story that sees the group transplanted into the old west. It’s an interesting little what-if story that confused the hell out of me for a while because I spent more time than I did reading the issue trying to understand its implications. Were they in some sort of virtual reality? Were they transplanted through time? Is Gail Simone a timelord? Is this a one-shot or a full arc? Will we ever get another tub-sex scene as awesome as the one in this issue?
Seriously, it’s a perplexing issue. It’s interesting, just like the entirety of the series has been so far, but it’s jarring as all hell. There’s no segue into the issue, it just hits you and tosses you into this alternate reality with no regard for your brain’s safety. You just have to roll with it. Listen to Ragdoll’s little puppet show and shut your mouth, there is no refuge for you here.
Also, I totes have a crush on Cowgirl Scandal now.
I was going to pass on ALL the Shadowland spinoffs. I was just gonna get Daredevil and the main mini-series and wouldn’t allow myself to get suckered down the long and winding road of books that I don’t normally read. That plan was torpedoed however when I noticed that this particular issue was written by John Layman, him of Chew fame. And so with full faith in the authorship I put the book in my stack, because I figured I’d regret it later if I didn’t.
I was right.
The issue concerns itself with members of the criminal underworld hosting a funeral for the recently perforated Bullseye in the middle of Hell’s Kitchen Park with a kidnapped Ben Urich there to cover the story. The principle character in the narrative is a fellow who can supposedly commune with the dead, and the dead person currently on his telepathic telephone is Bullseye, constantly screwing with his head the whole of the issue.
I would say that this issue acts as an excellent sort of #1.5 interlude between issues one and two. It feels like a story that needed to be told. The underworld’s reaction to Bullseye’s death isn’t something that needs to mentioned in periphery, it’s an important detail and it deserved a full issue. We get the heroes’ reaction in Shadowland 2, but this presented a different perspective that I think readers will definitely enjoy.
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.
Well, it’s time for me to rant and rave about comics again. It feels like it’s already later in the week than it really is so you’ll forgive me if everything feels a bit “off” today. I’m not sure why I feel so damned disoriented but I do. I spent Tuesday playing Red Dead Redemption, which I finally managed to complete and it was worth it because that game is all kinds of amazing right up to the very end. I want a sequel now. But games are more my brother’s department, so I’ll let him tell you about that if he ever decides to do another editorial for us, the lazy bastich.
AMAZING SPIDER-MAN #633 2.99
AMAZING SPIDER-MAN #634 GRIM 3.99
AMAZING SPIDER-MAN PRESENTS BLACK CAT #1 (OF 4) 3.99
BIRDS OF PREY #2 (BRIGHTEST DAY) 2.99
BLACK WIDOW #3 HA 2.99
BOYS #43 (MR) 3.99
DEADPOOL #24 2.99
DEADPOOL MERC WITH A MOUTH #12 (OF 13) 2.99
HER-OES #3 2.99
HERALDS #3 (OF 5) 2.99
INCREDIBLE HULK #610 WWHS 3.99
NEW AVENGERS #1 HA 3.99
NEW MUTANTS #14 XSC 2.99
ULTIMATE COMICS X #3 3.99
WITCHBLADE TP VOL 07 14.99
X-FACTOR FOREVER #4 3.99
So let’s hop to it. No sense in wasting time.
Two issues of Amazing Spider-Man hit the shelves this week. Three if you count the Black Cat mini-series. The finale of SHED was passable, but the overall quality of the arc is tainted for me by Bachalo’s artwork, which I find to be damn near incomprehensible. Seriously, I have no clue what in god’s blue balls is going on when that dude draws an issue. I’m not saying that he’s a bad artist, as there’s obviously talent there. I certainly can’t draw with any degree of his skill, his style simply aggrivates me and if Spidey weren’t a title I’d been collecting for around six years straight I would probably skip the story just so as to avoid looking at his clusterfuck linework.
Skip to the next issue however, and it looks like we’re in for a ride and a half. The Kraven saga is finally coming to a head, with the Kravinoff family hunting down members of the “Spider” family in some sort of scheme that I guess will either redeem Kraven’s honor in the family’s eyes or straight up resurrect him. I’m not sure. There seems to be a lot of misdirection on the part of the Kraven family. They were straight up trying to explode Arachne with a rocket launcher in the streets of New York while they had much more elaborate and detailed plans in their hunt for Mattie Franklin, the other, OTHER Spider-Woman who sometimes gets lost in the shuffle.
But honestly, the best part of the issue for me was seeing Kaine get his ass handed to him. I’m no fan of Kaine. He oozes 90′s psuedo-cool-lameness and seeing him get beat up and sliced to ribbons was just a treat for me. Like a free dessert at a restaraunt I was already enjoying.
I’m not gonna really review this issue, I just wanted to post a picture of Black Widow’s wicked awesome “Srsly?” face as drawn by Daniel Acuna.
Seriously. Epic bitchface.
You know what? This may be the single best issue of Hulk of the decade. It’s definitely the best to come out since the Planet Hulk saga ended. It feels like the Hulk should. It’s got all the melodramatic pathos, all the internal emotional struggle worked out through unrepentant violence. In short, it’s just a really amazing piece of Hulk. So much of what happens in this issue builds off of years and years of Hulk history, so much so that every event that happens in the pages of the issue carry an emotional weight that has been missing from the series for a while. I think that running parallel to Loeb’s overblown lunacy has caused the Incredible Hulk book to suffer by association. Pak has had to work within the confines of what Loeb has been building up to with the Red Hulk identity mystery and the introduction of gamma-radiated heroes, but he maneuvers in between the raindrops of insanity here to put out a classic Hulk issue that I think people will be talking about YEARS down the line as a perfect example of what makes The Hulk work as a character.
I will admit that the issue did have a bit of sensory overload. A lot of what happens happens very, very fast and there’s a lot of information to process. That having been said, it’s not so mindbogglingly convoluted that you can’t fully understand what’s going on. Compared to something like, let’s say, last week’s issue of SHIELD which just about made my brain crap itself. (Thanks Jonathan Hickman, you magnificant bastard)
In short, it may not be a great jumping on point if you’re unfamiliar with what’s been going on, but this issue should be a treat and a half for true died-in-the-wool Hulk fans who have been waiting for an issue like this for a long, long time.
If Avengers was Bendis doing the Avengers in a more classic mold, New Avengers certainly continues the work he did in the previous volume, with all the stuff that will make Bendis haters gnash their teeth and complain until they’re blue in the face while ignoring the fact that it’s still a damned fine book that is in no way inferior to what he’s doing over in the flagship title or anything any other Avengers writer has done before him. He even has the requisite Avengers trope of having everyone sitting around the table at the Avengers mansion and talking. Which happened ALL THE MOTHERFLIPPING TIME back in the old days, so it’s not as if his “overly talky” style is in any way counter to what the Avengers have done in the past. Plus we get some serious mystical mania with Hellstorm, Strange and the new sorcerer supreme, Dr. Voodoo.
Seriously, to prepare for this review I stalked message board topics about it. Just to see what other people were thinking and I have to say that the majority of comic book readers are a bunch of jaded cynics and hypocrits who really would only be happy with any given title that they claim to love if they were working on it with an artist of their choosing. Of course then only one person would be happy with the book and the rest of us would still be complaining. Lighten up fanboys, you guys are killing me.
Also, my new comic nerd-crush is Victoria Hand. In this issue she has a big gun. She’s won my heart.
Now I have to head back into the shop for a few hours on my day off to continue pulling books for subscribers. UPS lost another one of our boxes and so there’s a few things that we have to finish up today. I swear, in between Diamond Distribution and UPS, it’s a wonder we have any comic books to complain about on a weekly basis AT ALL.
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 actually arrived home from work yesterday to find a box full of manga on my front porch, which I really wish I could have read but I’m saving those little gems until after I’ve finished this week’s American output, which is what I’m primarily focused on reviewing here. I doubt there are many of you who read this blog who really give a damn about what commentary I could provide for Battle Vixens. I mean, it’s all panty shots and using fist-fights as an analog for sex, do you really need me to tell you to read it? I sure hope not.
AME COMI BATMAN VINYL STATUE 70
AME COMI ROBIN VINYL FIGURE 60
AREA 10 HC (MR) 19.99
BATMAN AND ROBIN #11 2.99
BOYS #41 (MR) 2.99
BUFFY THE VAMPIRE SLAYER #34 TWILIGHT PT 3 (OF 5) 2.99
DEADPOOL AND CABLE #25 3.99
DEADPOOL CORPS #1 3.99
INVINCIBLE RETURNS #1 3.99
JSA ALL STARS #5 3.99
RED ROBIN #11 2.99
SECRET SIX DEPTHS TP 14.99
SHIELD #1 (MARVEL) 3.99
SUPERMAN LAST STAND OF NEW KRYPTON #2 (OF 3) 3.99
SUPERMAN SECRET ORIGIN #5 (OF 6) (RES) 3.99
TURF #1 (MR) 2.99
UNCANNY X-MEN #523 XSC 2.99
WOLVERINE WEAPON X #12 3.99
WORLD WAR HULKS #1 WWHS 3.99
And here’s how that shit went down:
I’ll probably catch a lot of hell for this, but I don’t read Invincible on a monthly basis. I get the trades, and I’m admittedly even a bit behind on those, being a cheap bastard and picking them up only through deep discount sales and whatnot. This comes after I bought 4,5,7, and 8 at 1/2 price and then filled in the gaps through Amazon and local clearance bins. I still haven’t read anything after volume 10, so I missed the whole “Conquest” storyline that this mini-series seems to come out of. Luckily, the book fills in the blanks well enough that even with my barely involved knowlege of the story’s progression I was able to understand what had happened in the gap where my reading had ended and the new story began. That isn’t really that amazing a feat, I mean, in reality that should be something that is a given, but luckily it’s done in a way that I feel like when I do pick up my next trade, I won’t feel like the story was spoiled for me.
Basically, Invincible Returns works as a GREAT jumping on point for new readers. Yes, there is a lot of backstory to take in, but it’s weaved into the book through character moments that help new readers get to know the cast. Truly, Invincible Returns is a damned fine read for die-hards as well as the new folks who are looking to try out the character.
One thing I want to comment on is how amazing Ryan Ottley’s art has become over the years. Looking at the first trade of Invincible and comparing it to the art of Invincible Returns, the characters still have the same style and look, but the definition is improved a great deal. Ottley’s art is truly underappreciated. His style is a huge part of what makes the book so amazing, and this single issue is a GREAT showcase for his talent. The backup work by Cory Walker is damned fine as well. I admit his style is just a few degrees off Ottley and so at first parts of it just seemed…different. But still, he nailed the look and did an admirable job.
I fucking hate Jon Hickman. That guy is just too damned good. When Marvel finally caves in and lets this guy write a tentpole event for their entire company, you better hold on to your goddamn balls because he’s going to rock them off in ways you couldn’t imagine while mind-fucking your cerebral cortex at the same damned time. He’s currently writing the best Fantastic Four stories since Mark Waid and Wieringo left and he brings that same sense of otherworldly creativity to SHIELD, a book that sees Leonardo DaVinci creating a renaissance space-suit with wings and flying off into the cosmos.
This book is going to be one to watch. It might just be too good for the general comic-book fanboy crowd. It’s inevitably going to be called pretentious and slammed for overactive retconning, all the while ignoring how goddamn brilliant it is. This book is like touching Jesus’ beard; surreal and enlightening. Comic books were created for shit like this to exist.
I dunno. This single issue was so damned dense that I think it’ll take another few reads to fully understand what’s going on. I mean, obviously it’s set in the prohibition era and there’s a gang full of vampires who are trying to take over the other gangs’ turf but some of them want to remain faithful to their old-country traditions of vampirism. And there’s alien spaceships for some reason. I’m not entirely sure where this is all going to lead, I just know I’m down for it, because, let’s face it, anybody willing to go this far out there in order to tell the story is worth giving the benefit of the doubt.
The only complaint I have is that this book is CROWDED with text. This compounds the already muddy art in making the issue slightly hard to read simply on an aesthetic level. The interesting story makes up for it, but I won’t lie, it did give me a little bit of a headache to read. Maybe when I revisit the issue, knowing what to expect will lessen the blow. Then again, you might not have this problem at all.
You know, when the talent pool writing the color spectrum of Hulks doesn’t include Jeph Loeb, the absurdity of the concept seems to be diminished by the fact that the characters are written with a modicum of subtlety, thus creating an enjoyable story. Jeff Parker, who is probably best known for somehow making Agents of Atlas so damned amazing, writes some great stuff here for A-Bomb, who up until this point has a generic walking ball of who-gives-a-fuck. He also writes a pretty good little Deadpool segment, featuring Bob aka everyone’s favorite agent of Hydra.
The rest of the book is just as well done. We get some good development for Talbot, who with all the focus they’re giving lately seems to be a front runner for the inner identity of Rulk. The talent assembled on the book really runs with the mediocre material they’ve been handed thus far. Kudos to everyone involved there.
So that’s it for this week. If you’ll excuse me I’ve gotta read some really filthy manga. Until next time…
Did you miss me? I bet you did. How would you know what comics to buy if I didn’t tell you what was good or not? Surely you would be lost and you would have to find a new hobby. Like knitting. I’m sure you could do that on your own. Can you tell I’m completely rambling right now? Sorry. I went to a Dropkick Murphys concert last night and didn’t get any sleep afterward. Oh yeah, comics!
THE PULL LIST:
ADVENTURE COMICS #8 3.99
AMAZING SPIDER-MAN #623 2.99
BOYS #40 (MR) 2.99
BUFFY THE VAMPIRE SLAYER #33 TWILIGHT PT 2 (OF 5) 2.99
CHEW #9 (MR) 2.99
CONAN THE CIMMERIAN #19 2.99
DEADPOOL TEAM-UP #895 2.99
DETECTIVE COMICS #862 3.99
FALL OF HULKS SAVAGE SHE-HULKS #1 (OF 3) FOH 3.99
FIRST WAVE #1 (OF 6) 3.99
GIRL COMICS #1 (OF 3) 4.99
GREEN HORNET # 1 3.99
INVINCIBLE IRON MAN #24 2.99
JSA ALL STARS #4 3.99
MIGHTY AVENGERS #34 2.99
PRELUDE TO DEADPOOL CORPS #1 (OF 5) 3.99
PUNISHER MAX BUTTERFLY #1 (MR) 4.99
ULTIMATE COMICS AVENGERS #5 3.99
ULTIMATE COMICS NEW ULTIMATES #1 3.99
WOLVERINE WEAPON X #11 3.99
And now, my humble opinions…
I’ll start off by saying that, yes, the art has taken a bit of a nosedive for this issue. The art isn’t horrible. It’s a bit muddy, but it’s not indecipherable and it clears up in scenes set in daylight. However, I believe that any art will look lackluster when following Michael Lark. Because, c’mon, it’s Lark.
The story however is right up my alley. We finally get a little background on this new Vulture and we get some throwback to JJJ’s involvement in crafting the original Scorpion. There’s a lot to love for Spider-Man purists here, while being modern enough to appeal to people who think that the old Lee/Ditko Spidey stories were too cheeseball.
One thing I would like to point out is that we once again get some acknowledgment of the daughter of Kraven’s existence. She’s been on the periphery for a while now but hasn’t been directly involved in the proceedings, it looks like we’re finally getting to the crux of the story, and I’m anxious to see how things play out.
First of all, how weird is it that this book has reached issue forty? It doesn’t feel like I’ve been reading it for that long. And yet, it’s been on shelves for over three years, and chugging along like a juggernaut each and every month.
This issue sees the fallout from the last issue, which I reviewed HERE starting to shape up. It plays with the common storytelling trope where the reader knows everything but the parties involved know only pieces of the puzzle, thus creating a sizeable bit of tension and drama. Here, Butcher has drawn his own conclusions upon finding out about Hughie’s relationship with a known supe. Hughie is unaware of Butcher’s knowlege and we start to see a bit of a breakdown within the group. As readers we’ve come to really like Hughie and hate to see him put in such a position, and we hope that nothing bad happens as a result of Butcher’s rash and brash nature, but this being a Garth Ennis book, we have a sinking feeling in our gut that something REALLY bad is going to happen soon, and so we are forced to keep reading with mindless zeal.
Batman does not appear in this book. Unless he was stealthily hiding in the shadows or something. I just feel like I should point out that this intro issue is definately a showcase for Doc Savage and the Question, providing the new readers with an insight into the diversity of their crime-fighting styles. Throwing Batman in there might have muddied the waters, I suppose. Still, I’m never going to say that something should have less Batman. I mean, wouldn’t Avatar have been even more awesome if there were some Batman in it? I just imagined There Will Be Blood with a Batman cameo. That would rock.
As far as the issue goes, they do a good job of setting up the story. It’s full of classic noiry intrigue. The kind that Brian Azzarello does so well. And the art by Rags Morales is quite effective. Remember that book called Identity Crisis (aka Mindwipe & Rape : A Musical Revue)? That was a detective story at its core, albeit a shoddy one. But the art was very well done. Morales knows how to capture the tone of a pulp/noir/detective environment and here it most definately shows.
But the next issue better have some Batman or I’m gonna start wrecking shit.
In the same comic we get a cute little comic about Venus trying to prove her worth to the male gods of the pantheon by working at a fashion magazine and a story where the Punisher goes all Chris Hanson to the nth degree on a pedophile at an amusement park.
Kind of a striking dichotomy no?
Everything about this felt…wrong. It was too modern and too keen on being hip to feel like The Green Hornet. The voices of the characters seemed off. I know that characters are open to different interpretations and that no one embodiment can be considered definate because it could always be replaced down the line. I mean, c’mon, look at Batman. But in this instance it just seems like it doesn’t fit anything previously established with the character. Like, if Superman started saying “Yo, man. Stop the crime, dude.”
I spent an entire review praising Kevin Smith’s work on Cop Out, but I cannot do the same here. It just doesn’t feel right. It just didn’t click with me. I hope it clicked with someone because Dynamite put out EIGHTEEN variant covers for this issue, and that’s a lot of effort gone to waste if everyone felt like I did about this particular issue.
The ending of the Tony Stark : Dissassembled arc hits home with a fairly anti-climactic final issue. I think that attempting to balance a fight with Ghost against the cerebral surrealism inside Tony Stark’s head led to a contrast of intent and could only really be resolved in a manner that felt overly simple in the end.
What the book has going for it however, is the last few pages which really drive home how much has changed for Tony Stark. During Civil War someone commented that they wished Tony Stark from years back could see his actions during that crisis, and here we sorta get that but with none of the satisfaction. It’s more of a shallow pity and it does a great deal toward redeeming Stark as a character. Which needs to happen considering he’s just as recognizable as Spider-Man in the public eye now.
The issue begins with a panel of Lady Deadpool seen from behind where her leg tapers off into something that looks like a suction cup. It’s supposed to be her foot.
Did I just start this review with the statement that Rob Liefield can’t draw feet? A fact that is pretty much abject fact at this point? Yes I did. And do you know why? Because it doesn’t get any better from there. The book is one long rambling fight sequence, then Deadpool shows up and drafts Lady DP into some mission and the issue ends.
There is NO substance here. And for a character where razor-sharp wit is the defining characteristic, this issue is filled with some of the dullest humor and sloppiest attempt at witty writing this side of a Dane Cook special.
My fears have been realized. Deadpool is no longer infallible in my eyes. Excuse me while I weep.
I think this book simply proves my point that the Punisher is only as interesting as the people he kills. Garth Ennis knew this. Jason Aaron knows this. And Valerie D’Orazio knows this.
If you don’t know Valerie’s story, and believe me it is a long surreal tale unlike any you’re likely to hear in the world of comics again, you might want to take the time to give her pseudo-memoir/blog “Goodbye to Comics” a look-see. It’s not a short read by any means, but it is something that begs to be read. For a quicker bio, you can click HERE.
There are two ways to read the book. You can read it knowing Valerie’s story or going in blind. If you’ve read Goodbye to Comics you can get an inkling of how cathartic writing this book must have been for her. There are themes that are definitely derived from her experiences in the publishing world and it helps to make the book feel genuine. If you know nothing about the writer, you’ll either bitch that there’s not enough Punisher in the book or you’ll comment on how the best Punisher stories of the last few years seem to use the actual character of Frank Castle sparingly. Like the shark in JAWS.
Jeph Loeb didn’t make me want to kill myself while I read his latest offering to the Ultimate universe. You may remember how I called Ultimatum one of the worst books of 2009. I stand by that. UCNU (because typing out that long ass title every time would make me want to kill myself) is about as middle of the road as you can get. It is not excellent nor is it bad. It simply is. I like where Loeb hs put Tony Stark. I like that we got to see Frank Cho draw Hela undressing herself seductively in an attempt to get Thor to “raise his hammer.” I like that nobody was eaten alive.
It’s like when Homer Simpson invented the Flaming Homer; “It passed the first test…I didn’t go blind.”
Wolverine celebrates the resurrection of Steve Rogers by having Nightcrawler fly them around the world to different bars where they get drunk and form a nice little bromance. Also there are multiple Deathloks going all Terminator on the progenetors of the next generation of heroes.
Yeah. I dug it.
Ah hell, it’s that time again. Where I sit down and type out a bunch of snarky retorts to the weekly comic offerings I put money down for on a weekly basis. Unfortunately, a bulk of the week’s pull was in trade form and I can’t write up a timely review of collected stories so this column might be on the slim side this week. I’ll try to make for it in repetitive ramblings throughout the reviews.
The Pull List:
BLACKEST NIGHT WONDER WOMAN #3 (OF 3) 2.99
BOYS #39 2.99
BUFFY THE VAMPIRE SLAYER #32 TWILIGHT PT 1 (OF 5) 2.99
CINDERELLA FROM FABLETOWN WITH LOVE #4 (OF 6) 2.99
CONAN THE CIMMERIAN #18 2.99
CRIMINAL SINNERS #4 (MR) 3.5
DARK TOWER FALL OF GILEAD PREM HC 24.99
DEADPOOL TEAM-UP #896 2.99
FABLES TP VOL 13 THE GREAT FABLES CROSSOVER (MR) 17.99
GI JOE ORIGINS #12 3.99
INVINCIBLE IRON MAN #23 2.99
JUSTICE SOCIETY OF AMERICA ANNUAL #2 4.99
QUESTION #37 (BLACKEST NIGHT) 2.99
RED ROBIN #9 2.99
SIEGE #2 (OF 4) 3.99
SUPERMAN WORLD OF NEW KRYPTON #12 (OF 12) 2.99
WOLVERINE WEAPON X #10 3.99
The Boys # 39
Not a whole lot goes on here, traditionally speaking. There are maybe three plot movements in the entirety of the book, but this single issue does a great deal to set up the next major arc of the overal narrative because Butcher FINALLY finds out about Hughie banging a supe.
A great deal of the drama thus far has been the reader wondering what will happen when the Boys find out about who exactly Hughie is giving the high hard one to on a nightly basis, given that she’s a part of the group they are ACTIVELY seeking to bring down. And at this point in the issue we get a window into what is going to be coming down the pipe. Butcher reacts not with anger or a sense of betrayal but with a disappointment that he hadn’t been able to figure it out before this very moment. It’s a quiet moment that tells us even more about Butcher as a character. How will he handle the fallout? That remains to be seen. But reading the issue you can tell that Ennis put a great deal of thought into how he was going to handle this moment.
The majority of the issue is spent with Hughie and his girl Annie, exploring the boundaries of their relationship (“LET’S PURCHASE OUR HARDCORE PORN!!!”) and showing what kind of growth their coupling has forced upon them both fundimentally as characters. There is some hint that perhaps being in a relationship with Hughie has changed her in ways that might be driving a gap between them, just in the differences between what the need as far as intimacy and mutual interests. It could be read that Hughie feels a twinge of responsibility for Annie’s sudden personality shift. But, that’s just speculation on my part.
A great many people like to dump on Garth Ennis because his writing veers toward ultraviolence and sophmoric humor, but the man does character moments just as good as any other major writer, and better than some I could mention. The book also has the expressive art of Darick Robertson working in its favor.
I think I’m getting burnt out on Deadpool. And gee, with around six regular series and eighty appearances a month, who would have thought that would happen? This particular issue suffers from the same problems I mentioned in my review of Merc with a Mouth # 7, in that the humor is entirely forced and derivitive. It doesn’t have the voice of Deadpool, that casual zaniness that seems to compliment the character so well. Instead we get cheap trucker jokes and some talking raccoons. Sorry to say, while that would normally have me giddy in my seat, this one just seems to fall flat.
Two things made me pick up this issue; Marc Andreyko’s name in the credit list and that awesome cover. I have to admit that interior artist Ben Templesmith’s art styling is not my cup of tea, the issue itself is a pretty good standalone Baroness tale that gives us the new-canon origin of the character and a glimpse into what molded her morals and values before becoming the character as we’ve come to know her.
The issue hits all the right notes, and while the story is nothing we haven’t seen before, it’s a change of pace from where the book has gone previously and I felt I got my money’s worth out of it. Also, nice cover.
Okay, here’s the one people have been talking about. And it’s impossible to review without major spoilers so just turn back now if you don’t want to know who died and how and what I feel about it.
Okay, let’s go.
So Sentry rips Ares right in half. Yep, it’s Ares who was the “big death” Bendis was hyping. And while the fight leading up to it was pretty cool, it’s not all that impressive considering how many people we’ve seen ripped in half over the years, partiularly in Bendis-penned comics(Vision and Carnage, anyone?). Remember in my review of KICKASS where I said that Millar was the best hype man in the game? Bendis is kind of the opposite. Whereas we believe Millar every damned time despite the fact that we’ve been fooled by him before, everytime Bendis says something will be shocking or unexpected, we know that it’s just going to be one of his old tricks. At least this time he didn’t claim that the event would “rip the internet in half.”
Guys, is that Ares death supposed to be some kind of wink-wink joke? FUCK YOU BENDIS YOU SELF-CONSCIOUS WHORE!!!
That’s it for this week. I’m going to go punch a wall and calm down. *deep breath*