In case you were wondering where I’ll be this FCBD, there’s the promo flyer right there! I’ll have my camera with me taking pictures and generally having a good time!
I learned something this week. Comic books are not an easy habit to downgrade. While last week I remarked that due to my financial situation, comic books would have to be scaled back for a little while alongside other things like blu-ray movies and steak dinners in order to help me build up a little extra cash in the bank, this week I found out that I can’t seem to stop myself from throwing stuff on the pile. Let me just say that while I still am going to try to restrain myself, hard as it may be because there is so much good stuff out there that I really want to read, I’m not going to hamstring myself either. If you can’t enjoy your hobbies the way you want, they sorta cease to be hobbies in my opinion.
ACTION COMICS #889 3.99
AMAZING SPIDER-MAN #629 2.99
CAPTAIN AMERICA #605 3.99
DEADPOOL #22 2.99
DETECTIVE COMICS #864 3.99
FALL OF HULKS RED HULK #4 (OF 4) 3.99
FANTASTIC FOUR #578 2.99
GOTHAM CITY SIRENS #11 2.99
HACK SLASH SERIES #32 A CVR SEELEY (MR) 3.5
INVINCIBLE IRON MAN #25 HA 3.99
JLA DELUXE EDITION HC VOL 03 29.99
JUSTICE SOCIETY OF AMERICA #38 2.99
LAST DAYS OF AMERICAN CRIME #2 (OF 3) A CVR MALEEV (MR) 4.99
MIGHTY AVENGERS #36 SIEGE 2.99
NEW AVENGERS #64 SIEGE 3.99
PREVIEWS #260 MAY 2010 (NET) 2.7
PUNISHER #16 2.99
RANDOM ACTS OF VIOLENCE GN (MR) 6.99
SHUDDERTOWN #2 (MR) 3.5
SUPERMAN #699 2.99
SUPERMAN LAST STAND OF NEW KRYPTON #3 (OF 3) 3.99
THOR #609 SIEGE 2.99
TRANSFORMERS ONGOING #6 3.99
ULTIMATE COMICS AVENGERS 2 #1 3.99
X-FORCE #26 XSC 2.99
And now, your weekly biased opinions.
I love a good one-off Deadpool story in which all kinds of ludicrous wackiness ensues. When you try to go epic with this particular character you can either get some amazing results like the Cable/cult stuff in Cable & Deadpool or you can get something like Deadpool Corps which doesn’t have quite the same *oomph*. This story has Deadpool being Deadpool somewhere in Georgia and wreaking vengea-justice against some corrupt backwoods hillbilly cops. It’s not high art in any way shape or form, but it feels like Deadpool, moreso than any universe-hopping counterpart he may have in another book.
In all fairness, this is the only Deadpool book on my list now. I cut off DPC and Team-Up because I wasn’t caring for them at all. They felt empty and bloated at the same time and didn’t give me anything that I was looking for in the character. Merc With A Mouth is still mostly excellent but it ends in three issues, so it might as well be gone already. I’m going to hold off on the upcoming Wade Wilson’s War mini-series, despite my immense love for Duane Sweircantspellhislastnameski because I’m pretty sure they’re gonna make an oversized hardcover for it that will look nice next to my Suicide Kings hardcover. What can I say? I’m a sucker for the aesthetic of a bookshelf brimming with Marvel hardcovers.
My point is that the main Deadpool book is actually better than it gets credit for, and that I find it interesting that writers at Marvel, like the fanbase, have such wide and varying ideas of what a Deadpool book should be like, given that a few short years ago, Deadpool was one of the simplest characters to write. But exposure has forced multiple interpretations and I’m glad that I found the one that works for me. Maybe Deadpool Corps is the one that works for you. I can’t say. I barely made it through the first issue without vomiting in revulsion.
This issue featured maybe one of the most horrible and obvious plays on words that I’ve ever read in a comic book. I mean, it was too easy and it was telegraphed a mile away and I can’t believe that Paul Dini wrote it. The rest of the comic was pretty damned good. But I keep going back to that one cringe-worthy panel, which I would totally scan if my machine weren’t on the fritz. (Yeah, that’s why the panel of the week segment got cut, because I spend too much money on comics to afford a new scanner. I have no shame.)
The majority of this issue centers around Selina and Harley searching for a lost dog while Poison Ivy makes a first impression at her new job. I will say I was surprised by how that little section of this issue turned out. It looks like they’re not going with the secret identity idea for Poison Ivy as a long-term idea, which I was interested in seeing play out over the course of a few issues.
I think this is a good book. I really do. But this issue is a definate drop in quality from the last arc with Riddler. But then again, that could be on account of my epic Riddler-positive bias. I truly do love the Riddler, I think he’s underappreciated and misunderstood. Thankfully, Dini gets the Riddler better than just about anybody and I think he’s got plans for him down the road.
The heroic age is here. Kind of odd that Siege still technically hasn’t ended and we’re already moving on to the aftermath. Better than holding up all the books while we wait but still a bit odd. This issue is just about everything you could want in an Iron Man comic. Matt Fraction might be God, I’ll have to ask his wife if their new baby was immaculately conceived in order to prove my hypothosis. (Congrats to the both of them on that, by the way)
One thing I think that is immediately noticeable about this book is the timing. A week before the new film drops and we get a comic featuring the return of Hammer Industries, the company founded by Justin Hammer, a prominently featured character in the new movie. Coincidence? I doubt it. Just as when this book launched in the wake of the first film with a story featuring Ezekiel Stane, Fraction has organically found a way to grab the interest of any new readers who might jump on board following the release of the new movie.
The tone of the book has reverted to the same sort that it had around it’s launch. Whereas the last arc was very hyper-real with a good chunk taking place in Tony’s mind, we’re now back to the corporate warfare and industrial terrorism actioner vibe that started in The Five Nightmares. It’s a tone that really works for Iron Man, and even with all the changes Stark is going through, he seems to fit into the puzzle with ease. This truly is some of the best Iron Man writing in ages.
Here’s one of the books that proves my point about the inevitability of my comic collecting nature. I didn’t know this book was coming out this week. I completely overlooked it. But when presented with it, I took one look at the cover, saw Palmiotti and Gray’s name on the credits and tossed it on the pile. If there ever were a dream-team of comic writers, those two are it. Right up there with Brubaker/Rucka as far as I’m concerned. I mean, have you read Jonah Hex? Power Girl? Those guys are amazing.
This book utilizes what they know about the comic book business and builds an effective meta-textual story that comments on the world of comics from the inside and out. From publishing to the fans that read the product, to the media that capitilizes on its burdgeoning popularity. At the same time they manage to make a statement about the current state of the horror genre, both in the world of film and in the graphic literature medium. It’s a mixed message that they put out, I’ll admit, but then again that mirrors the content that they’re deconstructing here. Honestly, the book feels very cinematic. It has a very clear first, second, and third act and is illustrated in such a way that I felt like I was reading an adaptation of a mini-series on HBO.
I’m not going to say that this is their best work, but it is an interesting read. My only real complaints stem from the fact that due to the nature of the book, which seems to be a deconstruction of the modern horror story, the plot turns seem telegraphed and predictible. A problem that seems to plague a great deal of horror movies/novels/comics nowadays. Aside from maybe The Walking Dead, I can’t recall being shocked by a horror title in a long time. Crossed came close, but Garth Ennis can’t stop himself from being Garth Ennis, so a good deal of that book felt predictable as well, sad to say.
However, in the case of Random Acts of Violence, I can say that for the price tag, you get your money’s worth and then some. It’s a very meaty book, it feels full and complete without the need for decompression or rushed…anything. It’s simply a well put together book with a few slight snags applied due to the nature of the beast.
Optimus Prime gets dropped out of a helicopter onto Swindle. Of course I fucking liked it.
See you next week….maybe. I’m taking a trip to Louisiana that weekend and I might space out between the middle of next week and the following Monday.
This has been a shameless waste of time, but it’s better than no content at all, so suck on that while I take a nap.
Rich over at Bleeding Cool has once again broken some interesting Spider-Girl news. This time, though, it seems as if the news is not happy and as such that popping sound you just heard was every blood vessel in my brain exploding in unison. You’ll have to excuse me for a moment while I mop up the mess that just globbed out of my ear canal.
Now that I’m back, let me state emphatically that I’m a heavy Marvel guy. In my recent paring down of my pull list, where I cut back on books that simply felt superfluous, I was surprised how many of those books had a DC logo on them. I’m not anti-DC by any means, but I was a little surpised at how far my list skewed to the Marvel side. Now, that having been said, I’m starting to feel like their company has started a division simply aimed at frustrating me on a personal level. Like someone reads this blog on a daily basis, reading my nitpicky criticisms and storing them away to use against me in some Machiavellian plot of doom.
A while back I posted about SWORD’s cancellation and it bothered me that Marvel didn’t even give the series a chance to sell in trade to make up its audience and keep it going on a monthly basis. I felt that such a move was short-sighted and not in the best interest of the company. Falling back to the old standbys and relying on overhyped event books will only keep them afloat for so long. People need diversity in publication to remain interested. It makes Marvel look weak when they cut the life of any book short before giving it any real chance to find its legs.
Marvel has decided to cut the new Spider-Girl series down from an ongoing into a mini-series, which to me indicates a total lack of faith in the book, even pre-launch. The problem with this of course, is why even produce the series in the first place if you’re going to backpedal and essentially show your consumers that you could care less about the property. Moves like this show a lack of backbone on the part of the publisher. Some critics would argue that we should be happy to be getting whatever we can get, but I say that we deserve better than an afterthought.
It’s a slap in the face to the fans who supported the character through a hundred issues the first time around and twenty five issues in her last incarnation. Find a way to make us feel like we matter. Because we do.
I made the horrible mistake of visiting the IMDB boards for this movie shortly after seeing it. I sometimes forget what a cesspool of ignorance and misery that little patch of internet earth is. Nearly every thread was a black hole of negative energy and petty whining. The people who frequent those boards are, by nature, soulless vultures from the bowels of hell whose one purpose in life is to spread malice and discontent like a disease throughout the labryinth of that site’s message board system. Thread after thread of “They Changed This!” or “Watered Down Crap!” or “This Just Sucked!” or any other mindless dribble they could spurt out like warm blood cut from a femoral artery. I mean, good lord…when you hate everything with such fervor what does it feel like to enjoy something? Would your brain explode like that scene in Scanners? I mean, I am sometimes driven to physical pain by some of the shit I read for this site (*cough*Brightest Day*cough*) but at least 80% of what I read leaves me feeling warm and happy and content. Why are some people so prone to fits of teeth-gnashing hatred over stupid, stupid things?
I should probably state that The Losers is a damn fine film. It hearkens back to the action films of the 80’s that didn’t take themselves too seriously. Where everything wasn’t some pseudo-Jason Bourne world where everything had to be grim and melodramatic and one-liners were punishible by death. I enjoyed it about as much as I have any other movie this year, and I think it’s because everything about the movie is done with the intent of thoroughly entertaining the audience. You do not make your villain chew THAT much scenery if you’re not hoping to go so over the top that you didn’t even realize you’d scaled the bar. This is not an art film people. It’s an action flick for the sake of being an action flick. If you’re not on board with that you probably missed all the signs telling you what to expect when you watched the damned trailer. And don’t act like you didn’t see a trailer.
The major complaints seem to be over the changes made from the book to the film, which I’m tired of hearing. The book and the film are two different entities. Where was the outrage over the changes to Two-Face’s origin back when The Dark Knight came out? There was some, of course. But it wasn’t overwhelming. The boards for The Losers are populated with multiple threads for “ROQUE ISN’T SUPPOSED TO BE BLACK ****WHARGARBLE***!!!!” or “ZOE SALDANA WAS SUPPOSED TO BE AFGHANISTANIANIANIAN!!!!” or other such negligible bullshit. The changes were made to allow the movie to be the movie and the book to be the book. It doesn’t hurt the book that the changes were made to the film. Judge the film on the merits of what is presented in the context of the film, and there is very little to complain about except for some minor stylistic choices in the action scenes and perhaps the fact that Chris Evans is too damned awesome.
I went back and re-read the first volume of the book following the movie and the spirit of the book remains almost wholly intact. The characters on the screen are very much like their counterparts on the page, except for Max who dialled it up to the point that he makes Bond villains uncomfortable. But on a base level, the two are very much alike, with scenes lifted directly from the book to placate those who need everything to be exactly the same all the time.
These flyers will soon be all around Houston comic shops.
So…you probably should have seen this coming. (Telepathy joke. Owned.)