Hey everybody, it’s time for that all important time of the week where I run down a number of comic books and tell you whether they make the grade. Last week was uncharacteristically downbeat, with The Star Wars being the one bright spot in an otherwise grim slate. But the thing about comics is that there is so much on the rack that if you wait a week you might just strike gold. There were a number of books this week that I sat down and read in the hopes of giving you guys a greater variety in terms of recommendations so without further ado, let’s go ahead and get this show on the road.
General Zod storms into The New 52! Witness the origin of this genocidal maniac, and learn how far he will go to destroy those who oppose him!
Greg Pak is a writer who I tend to enjoy. I think a lot of that is holdover good will from Planet Hulk. I’ve talked to him at conventions and he seems to be a pretty cool dude as well. I picked this issue up based more on the fact that his name was in the writing credits than any loyalty to the character of Zod. I’m not sure which incarnation of Zod DC planned on utilizing this time around. I remember there being a great deal of confusion regarding Zod from his previous uses in the Our Worlds at War crossover only to be re-imagined a few years later with Brian Azzarello’s For Tomorrow storyline just to be re-purposed by Geoff Johns and Richard Donner for Last Son. This issue gives us a Zod that doesn’t really line up with any of those, and delves into an origin story for the character that allows us to start from scratch and accept this version of Zod as one that has no conflicts with previous iterations of the character.
Our Zod is one who had to survive a harsh environment in his youth, losing his emotionless parents to a savage attack by alien beasts and eventually being stranded in that hostile locale until he is rescued by the house of El almost a decade later. That time trapped in the wilderness turned him into an embittered, sci-fi version of Green Arrow. He harbors aspirations of vengeance against the alien race responsible for wiping out his family and at the same time rises through the ranks of the Kryptonian military.
Only the ending of his story, being shunted off into the Phantom Zone, the one constant that never seems to change in his narrative, seems familiar. Zod’s motivations don’t seem reminiscent of any version of the character that I can remember, although I am sure there are through-lines that I’m just missing out on. The fact that we are getting a definitive take on the character for the new 52, working from a blank slate, makes the book interesting to read because the expectations of the reader should be equally as open.
Another nice surprise was the inclusion of Faora, who stole the show in Man of Steel this summer. Hopefully the folks at DC plan to utilize her effectively, as the DCU could always use some well-written female antagonists. She gets little face time here but it is Zod’s name on the cover after all. I’ll keep my eyes out for future appearances.
All in all, a better issue on all counts than last week’s Cyborg Superman issue, which I did not cotton to at all.
Rating: 3 and 1/2 out of 5
I pretty much eviscerated the 23.1 Joker issue last week. I felt like it was a harbinger of much worse things to come. After all, if the highest profile Batman villain in the bunch couldn’t get a decent issue, what chance did anyone else stand? The Joker isn’t a hard character to wrap your mind around creatively if you approach it from the correct angle. Giving insight into a tortured childhood isn’t the way to go. The fact that we get abusive parent back-stories for Poison Ivy and Harley Quinn as well just goes to show that applying the same wrote, hack writing tricks to a character like the Joker just isn’t going to fly and that is why the issue failed on the whole.
The Riddler is a hard character to get into as well. For my money nobody writes the guy as well as Paul Dini, though I admittedly liked the turn Jeph Loeb gave him in The Long Halloween and Hush. Scott Snyder and Ray Fawkes take on the character here and the take is one that works. In order to understand the Riddler you need to understand narcissism and self-importance. I am surprised that so many writers have such a hard time empathizing with such emotions because as a writer you have to tell yourself constantly that you are the most talented person in the room, you’re smarter than everyone around you, and your work should stand on its own merit by virtue of escaping from the confines of your imagination. The Riddler deals in similar themes. It comes through very vividly in this issue, where he systematically bypasses each and every security measure in Wayne Tower, returning for the first time since the events of Zero Year.
Riddler matches wits with the head of Wayne’s security, who also used to be a guard he crossed paths with during a stay at Arkham Asylum. This man’s downfall is that, unlike the reader and, especially the writers of this issue, he doesn’t realize that the Riddler is more than a simple criminal. He fails to empathize and it ensures his demise. The Riddler is always three steps ahead of those he feels are below him, which is simply everyone. Riddler is the green-tinted flipside of Batman without the grace of humility. Snyder and Fawkes realize this and write him as such. The issue plays out wonderfully, especially the climax which demonstrates that the entirety of the Riddler’s mission was for a singular purpose that I won’t spoil here, but it renders the rest of the issue in a light that makes perfect sense in regards to character motivation and seals the deal that these guys know what the Riddler is all about.
This is definitely the high bar for the villains month so far. Which, given Snyder’s previous work with Batman, is not at all surprising.
Rating: 5 out of 5
If Dr. Harleen Quinzel wasn’t crazy when she fell for The Joker at Arkham Asylum, she sure was messed up afterwards! Find out more from Harley’s time with her beloved Mr. J. and see what got her into so much trouble that she was “recruited” for the Suicide Squad!
I haven’t been keeping up with Suicide Squad or paying much attention to Harley Quinn. She doesn’t resemble the character I fell in love with back in the early nineties watching episodes of Batman : The Animated Series. There is a cynicism to this version of the character that I don’t identify with. This issue gives us a beat by beat origin story for Harley, where we see that some of the elements of her original incarnation still live on. She was brilliant and became a psychiatrist, then wound up at Arkham hoping to truly challenge herself by helping the worst of the worst of the criminally insane only to be sucked into the Joker’s world. She posed as an inmate to get closer and wound up getting a little too close. That all works and doesn’t rub me the wrong way that much.
The rest of the issue does have flaws. I was not a fan of the fact that we got a beat-by-beat rundown of how she acquired pieces of her uniform. It seemed forced. And maybe I am just off base but the violence of the issue didn’t sit well with me either. There is no comedy to her rampage, just ruthlessness. I suppose that’s just the tone the character has now, but fans of the old Harley probably won’t enjoy this particular take on her. The word I used earlier was forced and that seems to be the whole issue with this revamp of Harley. They’re trying to make her something she isn’t and it simply doesn’t work. It’s not Harley. The tone is all wrong and you can’t fit a square peg in a round hole this way. I’m sure there are fans of this take, and I don’t begrudge them that, but my feelings are that such a revamp of her character makes her indistinguishable from other hyper-violent creations with no sense of irony or fun. It is a bleakness that simply does not jibe with pre-established notions of the character.
I’m probably just being stubborn, but there wasn’t much for me to enjoy here. I think I’m just not the target audience.
Rating: 2 out of 5
Eternal Warrior # 1
Writer: Greg Pak
Penciler: Trevor Hairsine
Colorist: Brian Reber
Cover Artist: Clayton Crain, Trevor Hairsine, Dave Bullock, Patrick Zircher
On Sale: September 11, 2013
New York Times best-selling writer Greg Pak (Batman/Superman, Planet Hulk) and superstar artist Trevor Hairsine (X-O Manowar, X-Men: Deadly Genesis) launch a brand new campaign for Valiant’s immortal champion, the Eternal Warrior, in an all-new monthly series!
Across ten millennia and a thousand battlefields, Gilad Anni-Padda has traversed the darkest, most mysterious corners of history. But the horror and bloodshed of constant warfare has finally taken its toll on the man myth calls the Eternal Warrior…and he has abdicated his duties as the Fist and the Steel of Earth for a quiet life of seclusion. But when a blood vendetta from the distant past suddenly reappears in the modern day, he must decide if he will return to the ways of war…for the child who betrayed him thousands of years ago…
I went into this COMPLETELY blind. I had no idea what to expect. I just saw the cover and thought it would be worth reading. I guess the logline for the story could be Conan the Barbarian meets Highlander. We open on the brink of a massive battle in olden times. Gilad, the Eternal Warrior, an immortal but not entirely invulnerable mass of muscle and sinew, is preparing for a war against a horde of enemies who worship a god of death. Gilad forbids his daughter, Xaran, from involving herself in the battle. So opposed to her involvement is Gilad that he gives her a closed fist smack to the jaw, then rides into battle with his son, Mitu. What follows is a betrayal and a slaughter, then the passage of thousands of years, to a time when the Eternal Warrior is living Wolverine-style as a hermit with only a dog for companionship when the source of his betrayal returns.
I really enjoyed this issue. I like the concept, and Greg Pak brings the action in a way that recalls his time spent writing The Incredible Hulk all those years ago. Fans of books like Conan should give this one a read. I haven’t been following any of the new Valiant comics but this one was rewarding and a surprise pick of the week for myself. It runs a little short because so much of the issue is spent dedicated to action scenes, but overall the series shows tremendous promise. I’ll definitely be picking up issue two.
Rating: 4 out of 5
Hank Pym, Wolverine, and She-Hulk bring the students of the Marvel Universe together to announce a new CONTEST OF CHAMPIONS!This CONTEST OF CHAMPIONS pits the super students of schools all over the Marvel U (including some you’ve never seen before) against each other.However, the Contest is interrupted when Thanos’ forces descend on Earth. What do they have to do with the young heroes?
Man, oh man. Big event crossover tie-ins, right? Why do they even bother anymore. But hold your horses there, Mr. Cynic. This issue is something a little different. Feeling more like a companion piece to Avengers Arena and other books featuring the next generation of Marvel heroes, almost none of the issue feels like a cash-grab tie-in to Infinity. In fact, were it not for the Infinity title on the front cover, you would never know this is related to that event. The book feels more like a crash course intro into different corners of the youth oriented Marvel Universe. Characters from the Future Foundation, Avengers Academy, Jean Grey School, and more are assembled for a gathering that will put them to the test and determine which school for gifted youngsters is producing the most viable talent.
The majority of the issue, as I said, is introducing us to the concept of the book and the characters that will populate it. Only in the end are we treated to a cliffhanger that will set events into motion. I find myself marveling at how adeptly the book was able to draw me in. I don’t read any of the books involving the characters who populate the issue and yet I found myself sucked in. The script is tight and flows from panel to panel fairly effortlessly. If there is one flaw in the book it is that people who are familiar with these characters my grow easily bored with the exposition heavy element of the first issue. As it stands, I appreciated the time spent to set things up and explain everything because if there is one thing I hate it’s not being able to follow a story with characters I don’t know for a tie-in book I shouldn’t have been reading in the first place.
Rating: 3 and 1/2 out of 5
The Avengers are light-years away in space, contending with the Builders! Thanos’ marauders ransack the Earth, doing as they please! Who will stand in defense of mankind?Luke Cage! The Superior Spider-Man! Spectrum! The White Tiger! Power Man! And a mysterious figure in an ill-fitting Spider-Man Halloween costume! These unlikely heroes must assemble when no one else can—against the unrelenting attack of Proxima Midnight!
I won’ speak to Greg Land’s art. Let’s ignore that at the moment because I know it’s a deal-breaker for a lot of people. The writing of the issue works. It practically sings. Power Man (the new one, not Luke Cage) is a character I want to read more of. His voice is fun and vibrant, and his interactions with Luke Cage make for enjoyable reading. The interplay between Cage and Spidock-terman is fun and lively. Of course, this is a tie-in to Infinity and spins out of that event. If you’re not reading Infinity, it doesn’t really matter because all you need to know is explained in a matter of pages. All you need to know is that the Avengers are off-world so Thanos wants to break Earth in twain while it is undefended. Luke Cage ain’t gonna let that happen. Oh, sweet Christmas, it ain’t gonna happen.
I don’t know who Alasdair David Ewing is. I haven’t read anything with his name on the cover. This is my introduction to his work. I have to say I’m impressed. The team is filled with characters I enjoy, and something has to be said about the diversity of the team with Luke Cage, White Tiger, Power Man, Spectrum and some new guy called Spider-Hero who is an enigma and a non-entity at the moment. This is the most diverse team I can think of at either of the major publishers, something that will likely get a lot of press given how the diversity in comics debate is starting to really become the major issue of the industry at the moment.
You know what, I’ve gotta say something about Greg Land. Yes, the art is dry and terrible. I’ve seen these same traced facial expressions more times than I can count. I’m just going to leave it at that. Everyone knows Greg Land refuses to advance himself as an artist. I would say stop buying his books but he seems to land (ha!) books that are worth buying, this one included. It’s a book with a diverse cast by a new writer who seems eager to prove himself and it’s likely Land won’t be on the title forever. Do yourself a favor and get the book and try to ignore how the art is trying its damndest to give you eye herpes.
Rating: 4 out of 5
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.
After another brief hiatus the reviews have returned, and I’m sure you were all so worried that I’d never get back to the weekly review schedule. Well, here I am. I can’t say much for this week’s crop of books because it was a light week all around. Picking what to review was actually the hardest part of this little endeavor because everything I picked up is in the middle of an arc and if you haven’t made up your mind on a book by part four I doubt my little review is gonna sway you either way. If you do get to part four then read my review and go “well I’m not picking that up!” maybe I need to consider a career as a hostage negotiator.
ACTION COMICS #892 3.99
ASTONISHING X-MEN #35 2.99
AVENGERS #4 3.99
BATMAN #702 2.99
BLACK WIDOW #5 2.99
CAPTAIN AMERICA #609 3.99
FANTASTIC FOUR #582 2.99
GOTHAM CITY SIRENS #15 2.99
GREEN ARROW #3 (BRIGHTEST DAY) 2.99
SHADOWLAND MOON KNIGHT #1 (OF 3) SL 3.99
SUPERMAN SECRET ORIGIN #6 (OF 6) 3.99
THOR #613 3.99
WONDER WOMAN #602 2.99
X-MEN LEGACY #239 2.99
Now let’s get this over with.
I praised the first issue of Avengers as a return to the classic feel of the title with a little bit of Bendis’ trademark style. Four issues in, I still get the classic vibe but I don’t so much think that Bendis’ Bendis-ey tendencies (that’s an odd rhyme) are all that suited for this sort of book. Contrast this with New Avengers where he’s really feeling his groove and hasn’t lost a beat since the last volume and you can see where he feels more comfortable. Bendis likes to do epic on a small scale. Epic as it pertains to the individual or a group of individuals. In New Avengers, it’s really Bendis’ statement on how Cage has grown as a leader and Doctor Strange’s role in the world of magic. You can boil the importance of the arc down to two characters, in essence. With Avengers it’s a little harder to do that. And while it’s still a good book and an interesting read, I’m not sure if it has Bendis’ singular focus. However, Bendis does get major brownie points with me for his use of Killraven. I mean, when was the last time we saw that guy? All I know is that its cool that he’s getting a little face time because I think he’s a great character.
Where I’m sure I’m going to lose alot of you is my feelings on the artwork. Now, I like JRJR, I think he’s a great talent and he’s practically synonymous with Marvel. That having been said, his work here looks rushed. I don’t doubt that he was rushed. But this is the Avengers we’re talking about. The Avengers should have the best art in the damned company as far as I’m concerned. New Avengers looks amazing. Avengers looks like a sketchbook that’s been colored in. There’s none of the finished nuance of his work on Amazing Spider-Man or KickAss (though Kickass took like three years to finish eight issues, so he probably wasn’t as rushed.) But all the same I would rather the book come out every five weeks to give the man some extra time than have an Avengers book that looks like it was drawn by someone with shaky hands and blurry eyes.
The book is still strong, it’s just weakened by Bendis being out of his comfort zone and Romita’s art running at about 50% his usual standard. But it’s good to have the real Avengers doing stuff that the real Avengers would do. Thor smashes a martian spacecraft in this issue. That’s the Avengers I love.
Marjorie Liu finishes the first arc on Black Widow as well as her tenure on the title with the fifth issue here. Next month Duane Swiercanspellhislastnameski takes over and crosses the title over with Hawkeye and Mockingbird. I don’t know what the tone shift between the two writers will be like but I’m pretty sure it’ll be minimal. This issue basically serves as a 32 page “exhibit A” as to why Black Widow is a badass. She does a lot of ass kicking here, and proves that in addition to being a spy and an Avenger she’s also a pretty good nude bondage model. (Yeah, I’ll scan that panel later, I promise.)
They’ve done a good job with this book. Black Widow isn’t the most amazing character in the world. She’s essentially a female Jason Bourne at this point. Effecient, badass, and portrayed by an A-List actor on film. As far as the writing on the book is concerned, Marjorie Liu is able to pull together the personal narrative with the spy action well enough that you’re left wondering why Black Widow hasn’t had a monthly title for so long. If there’s one thing that she does right with Natasha it’s that she makes her an organic and viable character that has room for years worth of stories based just off of the work in this introductory arc. Whatever comes next, it won’t feel like they’re trying to cash in on the character because of her appearance in Iron Man 2 but instead because there are stories that need to be told based off of what has been established.
I’m not sure what Duane is going to bring to the book, but he has big shoes to fill. Actually, I don’t know what size shoes Marjorie Liu wears. He’s got a lot to live up to that’s for sure. I expect at least one more equally awesome cold-storage bondage moment out of him before I think he’s anywhere near Liu’s level.
When I first picked up Shadowland I promised myself I wasn’t going to get the tie-ins. I was going to give Marvel the finger when it came to the side-books that had no real bearing on the actual story. Now we’re about two months in and I’ve gotten every tie-in they’ve released so far. Congrats Marvel, you’ve got your hooks so far into my hide that I can feel it in my colon. Anyhow, it’s not a bad thing because every tie-in book thus far has been worth the money. I haven’t been let down by anything in the Shadowland pantheon as of yet. I picked up this one because I was hoping to figure out where Moon Knight plays into the whole thing and how he wound up in the underground prison in the main series.
While the book does address those issues it also seems to focus on the themes presented in the Vengeance of Moon Knight book with Moony becoming a less violent hero and Khonshu taking it the wrong way, seeing as how he lives off of the blood that his avatar delivers to him through acts of vigilantism. I assume I’m getting that right, Moon Knight can be confusing sometimes. So Khonshu is haunting Moon Knight in his dreams and his waking hours in the visage of a gigantic chicken (I know he’s not really a chicken, but he looks like one and I find that funny) and another nutjob is running around as the “Shadow Knight” giving Khonshu the blood he wants and making Moon Knight feel all guilty. It’s a damned odd book but the way they weave it through the Shadowland tapestry makes it worth picking up.
Also, I guess Quesada pulled the stick out of his ass about the smoking edict because one of the characters is perpetually puffing away in this issue and that kind of made me chuckle.
Well, that’s it for this week. I’ll be back next week with more unless I get another superflu of some sort. If that happens I swear I’ll never leave the house again.
I habitually watched Smallville for about six seasons. I admit that. Shut up, there’s a reason we have the term guilty pleasure. The more ludicrous it got, the more I enjoyed it to be perfectly honest. But the best part about the show (aside from Michael Rosenbaum’s Lex Luthor) was Allison Mack who is friggin’ adoreable. She makes me want to cuddle. Again, shut up. Apparently Chloe will be popping up as a recurring character in the Jimmy Olsen backups of Action Comics, so she certainly made an impression somewhere.
Anyhow, it’s her birthday today, and we here at CCQ salute her dedication to the show and hope that she finds another recurring gig when the final season is over because we don’t want to not have her on TV every week.
I’m not even gonna lie, folks. Yesterday I was on the verge of lashing out at anybody who looked at me the wrong way. Some people said some things that I felt were highly disrespectful, and then they followed up on that by asking me to go out of my way to do something that I am not actually able to do without significant time spent doing so. Why would I do this when I don’t get treated with any measure of respect in the course of my regular comings and goings? All I can say is that luckily the day was salvaged by a date with a beautiful girl and a stack of mostly excellent comics.
Yesterday was really the kind of day that comics were invented for. I was in a foul mood, the rain outside was just nasty, nothing was on TV; it was just a day meant to be ended laying on the couch reading about super powered people in bright costumes punching bad guys in the face. Honestly, yesterday would have been almost a total down note if it weren’t for my weekly pull.
ACTION COMICS #890 3.99
ASTONISHING X-MEN #34 2.99
BATMAN BEYOND #1 (OF 6) 2.99
CAPTAIN AMERICA #607 HA 3.99
DEADPOOL TEAM-UP #892 2.99
DEATH OF DRACULA ONE-SHOT 3.99
FLASH #3 (BRIGHTEST DAY) 2.99
GOTHAM CITY SIRENS #13 2.99
HERALDS #5 (OF 5) 2.99
INVINCIBLE IRON MAN ANNUAL #1 4.99
JUSTICE LEAGUE OF AMERICA #46 (BRIGHTEST DAY) 3.99
JUSTICE SOCIETY OF AMERICA #40 2.99
SECRET AVENGERS #2 HA 3.99
THOR #611 HA 3.99
WONDER WOMAN #600 (NOTE PRICE) 4.99
And now that my personal bitching is out of the way, let’s do this shit.
Lex Luthor takes over the protagonist duties on Action Comics this week, with former Captain Britain and Doctor Who writer Paul Cornell taking the reigns and bringing us a story that spills directly out of Blackest Night, which most of my readers will recall me as christening a “steaming pile of Geoff John’s diaretic feces” or something similar. And while my feelings on that particularly shoddy mini-series haven’t changed, the fallout here with Luthor, whose power hungry ego was out of control before he got ahold of an orange ring, is actually intriguing and well plotted. I attribute this mostly to the fact that Luthor is one of the better multi-faceted villains DC has at their disposal. I mean, the Joker has a lot of different degrees of crazy he can go in, but he’s still going to be the Joker. With Lex we can get mad scientist Lex or evil industrialist Lex or actually-not-evil Lex, his lack of true definition isn’t a fault of the writers it’s a byproduct of his psyche as a character. Luthor truly does not know what he wants to be. Really, he just doesn’t want to be Superman, despite what Geoff Johns would have you believe.
This particular issue knocks it out of the park as far as I’m concerned. The story is obvious setup, where we learn of Luthor’s plan to quest for the rings (which sounds a little more Tolkien-esque than I thought when I typed that out). But while it’s definitely an issue meant to catch up readers who may be jumping on board as well as giving us a clear direction for where the title is headed, we also get Cornell’s Luthor clearly defined in the span of one issue. We know which Luthor we’re going to be getting. Cornell writes a very compelling Luthor, with his actions making complete sense in the context of who we’re dealing with. The way he treats Lois in this issue (probably my favorite aspect of the series thus far) is probably as good a gauge of character as we’ll ever see.
Oh, and the surprise reveal of the villain at the end made me squee, because he’s a personal favorite and I’ve been waiting for him to pop back up for a while now. But that’s just personal bias.
I only vaguely remember Batman Beyond as a show. I mean, I watched it because I was young and there wasn’t much else on but I didn’t latch onto it the way that I did with Batman The Animated Series. Chris Sims over at ComicsAlliance said that he enjoyed the show because it was basically Batman meshed with Spider-Man but set in the future. I agree wholeheartedly with that assessment. The character is more Spidey than Bats most of the time, and I think that’s an interesting dynamic but it was never something that hooked me. I mean, if I want to watch Spider-Man I’ll go watch Spider-Man. Batman has a specific style and tone that I identify with and Batman Beyond didn’t really hit that note for me.
That having been said, I felt compelled to pick up the first issue of the mini-series because I’ll be damned if I’m not going to at least give it a fair shake to make me a convert. I won’t say that it has, but I think that is because a lot of what did make the show work in terms of style was lost when translated with it’s adaptation to a different medium. I think that regular fans will enjoy it more than I did because they’ll just be happy to see Terry McGinnis back in some form.
I will say that Beechen gets kudos for surprising me with the villain, if they do in fact go where they suggest at the end of the issue. He’s not my favorite villain by any means, in fact I hate the living hell out of the story that introduced him while a lot of people hold it up as some paragon of Batman lore, but given that this is an alternate reality maybe they can fix him in some small degree, although any progress made won’t resonate in the regular titles and so I’ll likely end up dissapointed either way. As you can tell, I am still harboring some residual pessimissm left over from yesterday.
Spoiler Alert – Dracula dies in this issue. Yeah, I know some people will actually complain that I mention that. Despite having the central premise of the book right there in the title. Though Marvel has thrown swerveballs at us in regards to titles and events and covers that bely my point, but this is my blog so deal with it.
Anyhow, all I have to say about this issue is that it is a damn fine little vampire story that follows the logic and style I prefer in my vampire fiction. I was hoping for a Blade cameo, but no such luck, this one is all about the fanged dudes. The clear definition that Gischler gives to the vampire sects is refreshing rather than having a catch-all group of undead with no real regard to locale or backstory. I particularly liked the hot dominatrix female vampire sect. (The fact that I almost typed that as “Sext” seals the deal. Hot vampires for the win. Good job Gisch!)
I have to appreciate Marvel’s recent revival of their vampire community. The upcoming trade reprints of Tomb of Dracula have me positively giddy as I can finally replace my Essentials. Cornell’s Vampire State arc of Captain Britain was phenomenal and every time I see a copy at the shop I get really angry that the book got cancelled because it truly was a gem. But luckily Marvel has good, talented writers like Gischler handling their vampires because they seem to understand what makes them work. Vampires are supposed to be creatures of horror. There is a lamentation in the book that humans don’t fear vampires the way they should, despite being creatures of fear by nature. And that’s the crux of this. There is a regal fearsomeness to the vampires presented in this issue. I want to thank Vic Gischler for righting the wrongs brought on by vampires like this:
Yeah, seriously. Read Death of Dracula. It’s not lame.
First, let me state how awesome it is that Matt Fraction was able to throw in a nod to Immortal Iron Fist in this annual. I think that was wicked awesome, especially for those of us who loved that book unconditionally. I will say that for the five bucks I paid to pick up this book, I got about as much content as your average trade paperback. Fraction knows how to give his readers bang for their buck, and here we got an interesting look at the life story of the Mandarin through the eyes of the director he shanghai’d to film his biopic. It’s filled with fabrications and lies mixed with fact. Kind of like a White House press conference (BA-ZING!).
It’s a hefty book, with a sprawling story that weaves itself around Iron Man without ever being about him. Which is both a good and a bad thing I suppose. I did like how Fraction essentially updated Tony’s origin to mirror the one in the film, with the terror sect from the first movie being utilized and the escape sequence recreated almost identically. We knew it was going to happen eventually, I’m just glad it was done in a way that was organic and didn’t feel forced. Like some stupid mini-series launched simply to cash in on the movie. I get tired of that. Quickly.
This annual has a lot going for it the way that Action Comics did. We get a character who is well known but not defined in any real manner. Fraction plays with that a bit to create a character who is defined by the smokescreen created by his own illusionary presence. The Mandarin is a villain who needed an issue like this to give us a reason to care about his existence. I can’t wait to see what Fraction does with the character in the pages of the book proper.
Christ on a cracker, Robinson. You’re killing me here.
JLA has turned into a solid gold turd. I mean, it started off pretty bad with Meltzer, and McDuffie’s run was a mediocre bore, but now it’s just a walking joke. Bagley’s pencils are great and all but they cannot salvage this dreck. It’s poorly written, poorly plotted, and doesn’t feel like a JLA book at all to me. There’s none of the gravitas of Morrison or Waid’s run, and none of the fun that was so prevalant in the cartoon. JLA is supposed to be big and bombastic, it’s supposed to be all that’s great about the DC characters in one book but instead I find myself reading this issue and wondering how anyone could enjoy it. It’s full of faux importance but everything rings hollow. If it weren’t crossing over with JSA, which I’m loving, I never would have put money down on this title. It’s sad to see how far Robinson has fallen since Starman, it really is.
All anyone is talking about is that damned costume redesign. Which basically confirms my suspicions that Wonder Woman is more an image than a catalyst for stories. She’s a fetishized figure that hearkens to teenage masturbatory fantasies whose value as a character is largely ignored. I personally liked every little story in the book, with my favorite of course being the one by Amanda Conner, who may be the most talented working artist around. I mean, come on. You have Power Girl and Wonder Woman teaming up to punch a giant walking egg. Don’t tell me that’s not great!
But all the coverage of this milestone issue has been about the damned costume. It only appears for one of the five stories in the issue and that seems to be the only thing that every article I’ve read since the beginning of this week has focused on. Not the fact that Gail Simone teamed up with George Perez to tell a Wonder Woman story that builds on years of Diana’s legacy for a truly genuine story. One that demonstrates how just about every other female character in the DCU is beholden to Wonder Woman in some way, shape or form. Whether in the context of their existence in the mainstream DCU or in a meta-textual manner that references the way Diana trailblazed female heroes, that story spoke volumes. And it made the message while she was wearing the classic costume. If there is anything wrong with that costume it’s simply that George Perez can’t draw every issue of Wonder Woman as well as her every appearance in every DC book. Between Gail and George’s enormous talent, their worst work would be better than the best work of some other talented creators. I stand by that firmly.
Of the Trinity’s anniversary issues, this one was probably the strongest. There was a respect to the character that was lacking in Superman’s, like the point of Superman 700 was to expose the flaws of Superman and somehow right them. Which felt a little like arrogance on the part of Stracynski. With Wonder Woman, he’s also trying to revise her and bring her some place new. But he didn’t do it at the expense of saying “your personality is wrong, this shall be fixed.”
Still not sold on him as the ongoing writer, but this issue was solid. I just wish people could see the reason why.
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 week was a monster. I mean, it’s been a while since I picked up this many books in a single week. I normally don’t go this heavy, and I’m trying to pull back on my subscriptions because money’s getting a little tight at this point. But this week I bit the bullet and plopped down a good chunk of change on some comics, so I might as well do an equally impressive review post.
PULL LIST 4-14-2010
ACTION COMICS #888 $3.99
ADVENTURE COMICS #10 $3.99
BATGIRL #9 $2.99
BATMAN #698 $2.99
BRIGHTEST DAY #0 $3.99
FLASH #1 $3.99
GREEN ARROW #32 $2.99
SECRET SIX #20 $2.99
UNWRITTEN #12 (MR) $2.99
CHEW #10 (MR) $2.99
BLACK WIDOW #1 HA $3.99
DAREDEVIL #506 $2.99
DEADPOOL TEAM-UP #894 $2.99
EXCALIBUR VISIONARIES WARREN ELLIS TP VOL 01 $19.99
IRON MAN LEGACY #1 $3.99
NEW MUTANTS #12 XSC $2.99
PUNISHERMAX #6 (MR) $3.99
SIEGE CAPTAIN AMERICA #1 $2.99
SIEGE LOKI #1 $2.99
SIEGE YOUNG AVENGERS #1 $2.99
WORLD WAR HULKS HULKED OUT HEROES #1 WWHS $3.99
X-FACTOR FOREVER #2 $3.99
HACK SLASH SERIES #31 A CVR SEELEY (MR) $3.50
Granted it’ll probably take me a week to ready everything I bought, I still have enough knocked out to bring you the following criticisms…
After an impressive debut arc for Tony Daniel on the mainline Batman book, now comes the part where we find out if he’s worth his salt or if he just got lucky that first time around. I was not a fan of Battle for the Cowl, so Daniel’s showing in the last few issues of Batman has been a nice little surprise. With this issue we don’t get his art to go along with his pencils, and I think that my point made in an earlier review that Daniel writes better when he knows he’ll be drawing the action himself is pretty much on the money, as this new artist, who really is only pedestrian at best, doesn’t really convey the action in the same manner that Daniel did. The story itself seems like filler, which the fill-in artists seems to back up.
I like just about any Batman comic featuring the Riddler, as I think this private detective revamp has made him into an especially viable character, but in this issue it is painfully obvious that he’s a better detective than Dick, which makes it hard for me to believe that nobody has caught on to him being an entirely different person under the mask. Gordon especially. And if he has noticed, you would think he of all people would be the first to tell the new Batman to bugger off if he can’t add anything helpful to the mix. And when the Riddler is constantly making you look like a schmuck in front of the police commissioner, you really have nothing helpful to add to the mix.
The return to happy-times in the DCU starts with a baby bird falling out of a tree and braining itself on a tombstone. Blood splatters and I’m sure a child somewhere weeps. Sure, a very much alive Deadman resurrects him with white power (Holy shit, white power? I need to find a better term.), but still, that little bit caught me off guard. This whole issue didn’t connect with me after that. I mean, we get Max Lord giving himself a nosebleed, a bunch of yammering with Hawkman and Hawkgirl, who I very much preferred to be left dead, and a scene where Aquaman is afraid to go into the water.
Aqauaman is afraid of the water.
It’s hard for me to defend my love for Aquaman as a character when scenes like that pop up. I mean, come on. I try to prove that he’s not the lamest character in existence and now Geoff Johns has essentially turned him from the brave king of the seas into a little boy who lost his floaties.
Brightest Day just goes to proove that Geoff Johns output for the GL universe outside of the book proper is probably not going to be my cup of tea, and as such you probably won’t be hearing much about it here unless he does something that truly shocks me, either positive or more likely negative.
And while Brightest day might have made me give up on Geoff Johns as a writer, Flash # 1 proves that he can still write the hell out of a monthly book. I have to admit that I’m not a big Barry Allen fan. I grew up with Wally. Wally is my Flash. I was going to give this book a pass but picked it up for the sake of doing a review. And I’m glad I did because this book moves at a mile a minute and hits every note that it needs to. Geoff Johns really has a grip on the Flash. This is no surprise given how great his last run was on the title, but that was years ago and that was Wally. He also seemed to care more about the Rogues than he did about the Flash, which gave the book a distinct sort of flair.
Here he is really more interested it seems in showing us how Barry is going to integrate himself back into society after having been gone for so long. He’s bringing back old characters and introducing Barry to a new generation at the same time. It’s sort of like a spin-off TV series in the way everything is set up. There is a striking familiarity but at the same time everything feels so shiny and new.
Honestly, I think this is going to be a book to watch, as I think this is something that Geoff wants to write while at the same time being a book that he needs to write in order to ground himself after spending so much of his talent writing mindless epic event books. I hope I’m right. Dear god, I hope I’m right.
Uh, wow. That was quick. You want to talk about a rushed issue? This would be it. Plots are resolved within the length of a page, what would normally take several issues is condensed down into a few panels, and the book ends with a major tease for the new # 1 issue.
I guess with the timeframe he was given JT Krul did the best he could to wrap everything up in a manner that didn’t completely collapse under its own weight, but jeez, an extra issue might have helped to pad this thing and make the narrative flow better. Ollie changes his mind about life-altering decisions in the span of half a panel. It’s so sudden and jarring that it can’t be described as anything other than a WTF moment.
Oh well, bring on the relaunch.
Here’s one I’ve been looking forward to. The Black Widow – Deadly Origin book stoked my interest for an ongoing Black Widow book and now it’s here. I can only say that Marjorie Liu does a bangup job with the character. Artfully taking from what writers like Ed Brubaker have done with her in the Captain America book and moved in the next logical direction.
This book is a lot like Deadly Origin, in that it has a great deal to do with the Widow’s past in setting up the narrative. And honestly, that’s one of the things that makes the Widow so interesting. She’s like the bizzaro Wolverine in that regard. Wolverine is (was) interesting because of the mystery of his past. The Widow however seems to work because we know how integrated with the Marvel Universe she is. That allows for her to organically interact with just about ANY character in the Marvel Universe without it seeming like a gratuitous cameo. Here we get Tony Stark, Wolverine, and Bucky, all of whom should appear in a book like this.
We don’t get that many books with female leads. We were lucky that Ms. Marvel lasted as long as she did and it’s a shame that She-Hulk isn’t around anymore. But between this and Bendis’ Spider-Woman, the ladies of the Marvel Universe are looking damn fine right about now.
I might as well just write a review that says “FUCK YEAH!” and leave it at that, because really that’s all I can say about this book. Matt Fraction has been knocking it out of the park over in Invincible Iron Man, but Fred Van Lente takes a look at Tony’s past and completely nails the character in ways every writer who’s ever handled Tony wishes they could.
I’m not gonna spend any more time on this book. I don’t need to. Go buy the damned thing. If you don’t, you hate being happy. And for that I am so so sorry.
I have to say, this crossover feels like an X-Men story. I maintain that the holding pattern that the x-books were staying in from Messiah Complex to this moment only heightened the intensity of the crossover and it’s making for some amazing storytelling. This issue is balls-to-the-wall action and it’s all done on such a scale that it can only be described as classic X-Men. I get the feeling this is gonna be one of those crossovers that we look back on with a fond memory, remembering just how awesome it truly is.
Jason Aaron writes a better Punisher than Garth Ennis.
There. I said it.
There is something about his run so far that really connects with me. I think a lot of it may be how he seems more willing to blatantly show that he has no regard for mainline continuity. Whereas we know that Ennis was writing in another universe, simply by proxy of using no existing characters, Aaron is more than happy to re-define existing Marvel characters like Kingpin and Bullseye with Ulitmate Universe style reckless abandon, and at the same time make it work and not alienate the fanbase.
Not only that, but he seems to get the Punisher in more than a cathartic sadist sort of way that Ennis did. Aaron’s Frank Castle is decidedly human, and we see this through the skillful mastery that Aaron brings to the people surrounding the Punisher. We get precious little insight from the Punisher himself instead getting more out of reactions from people like Kingpin, Bullseye, or an old army friend who comes by to patch up Frank’s wounds.
Jason Aaron is amazing, and so is this book.