You know the drill by now. I hope.
This week I had more than a few papers due in more than a few classes so the reviews weren’t the first thing on my mind. I’m trying to better myself through education and whatnot. Anyhow, I did read quite a few books and some of them surprised me so I figured it’d be a waste not to get something posted.
AMAZING SPIDER-MAN #645 2.99
AMAZING SPIDER-MAN PRESENTS BLACK CAT #4 (OF 4) 3.99
BATMAN RETURN OF BRUCE WAYNE #5 (OF 6) 3.99
BOOSTER GOLD #37 2.99
DAKEN DARK WOLVERINE #2 2.99
GREEN LANTERN #58 (BRIGHTEST DAY) 2.99
HACK SLASH ANNUAL 2010 MURDER MESSIAH #1 CVR A (MR) 5.99
INCREDIBLE HULKS #614 3.99
INVINCIBLE IRON MAN #31 2.99
JONAH HEX #60 2.99
KNIGHT & SQUIRE #1 (OF 6) 2.99
NEW AVENGERS #5 3.99
SECRET SIX #26 2.99
SHADOWLAND #4 (OF 5) SL 3.99
SHADOWLAND BLOOD ON STREETS #3 (OF 4) SL 3.99
SICKNESS IN THE FAMILY HC (MR) 19.99
SUPERIOR #1 (OF 6) (MR) 2.99
SUPERMAN #703 2.99
THOR #616 3.99
THOR MIGHTY AVENGER #5 2.99
TUROK # 1 3.50
X-MEN #4 3.99
Now let’s do this thing.
Tim Seeley has me hooked on Hack/Slash. It’s a great book that is easily accessible if you’re willing to deal with the content and manages the kind of self-referential tone that a lot of books try to reach but can’t because they don’t know how to handle it. With this Annual, we get the bridge between the old Devil’s Due series and the new relaunch coming around at Image. It’s got a definite middle ground feeling to it, where I’m sure new readers could catch what was going on while long-time fans like myself are happy to see plot threads start to re-align after a four month mini-series that felt a little too much like wheel-spinning.
I seriously cannot wait for the upcoming relaunch. I hope that people will take a chance on the book and hop on when the new #1 issue comes out because Hack/Slash is one of those books that understands that comic books can be fun. It’s not a full on comedy book, and it’s not always serious. Which makes me happy because a lot of books nowadays cannot balance tone at all. It’s an art and Seeley should give lectures.
Also, whoever had the idea to have Six Sixx wear a Fastway shirt in the opening part of the book is my hero, because I freaking unabashedly love that band.
Matt Fraction is writing the definitive run of Iron Man for the modern age. The world he is creating for Tony Stark here is one that builds not only off of Marvel’s rich history but off of the technological and political history of our own world. Fraction is saying something about technology and society that others have tried to in the book before but never found the right tone to make the story click. Here we’re getting an Iron Man that works on multiple levels. Stark’s unending quest for personal worth through altruism and progressive thought that has become the defining characteristic that pushes the narrative forward and it feels genuine. Tony Stark has truly become a multi-layered character in the last decade and Fraction is doing a good job of building Tony as a character while at the same time giving us the kind of story that we expect to read in an Iron Man comic.
I’m just not British enough to like this book. I love me some Doctor Who and I thought Blackadder was hilarious, but even still, Cornell’s first issue of this mini-series went over my head like nobody’s business. I think that it could possibly be a great series for those who understand what happened. But that’s not me. I’m admitting this up front so that you know I can’t accurately criticise the book. It’s just the truth. I’m sorry.
The art was pretty though. So there’s always that. *sheepish grin*
I’ve been a massive detractor when it comes to Mark Millar. I really haven’t enjoyed anything he’s written since Ultimates 2 or thereabouts. He’s obviously capable of writing some amazing stuff, as I loved Red Son and his work on The Authority but his recent output hasn’t been in any way intriguing to me. Kickass was a solid concept made better when translated to film, Old Man Logan was inconsequential and Nemesis just doesn’t work for me.
With Superior, Millar finds his once impeccable knack for dialog and pathos that was so prevalent in his Red Son days. The story works with established superhero tropes but doesn’t seek to subvert them the way that Kickass or Nemesis do. Instead he shows that an interesting story can be told out of tried and true ideas and still feel fresh if you have a story worth telling. I didn’t think Millar had it in him to create sympathetic characters, or characters that didn’t feel paper thin for that matter. His recent work certainly wouldn’t indicate that as being the case. However he downright surprised me here.
I think this could be the strongest work he’s turned in for quite some time, though I doubt it will be his most popular because so far it’s a solid book but lacks the hyped up sensationalism that makes Millar’s books fanboy-bait. I hope people will look past the fact that there’s no forced incest or pre-pubescent female murderers and pick the book up knowing that it’s a glowing testament to the superhero genre.
It’s hard for me to say this, as a Superman fan, but the current run of the title is just about the worst Superman stuff I’ve ever read. No middle ground to this anymore, it’s just steadily headed toward absolute horrendousness since the second JMS took over the title. And like 90% of bad Superman stories it comes from the writer just not getting what makes Superman work. Superman is not a thug who holds a stalker hundreds of feet in the air and threatens to drop him if the man doesn’t change his ways. That’s kind of what Batman does, but not Superman. Superman would talk to the guy and the mere experience of meeting Superman would cause him to re-evaluate his life and that person would go on to do great things.
Superman also doesn’t lecture Batman about saving ordinary folk. I’m sorry. I know Superman is on some sort of self-reflection kick, but he cannot reshape his entire worldview in three issues to the point where he can lecture Dick Grayson about staying grounded to reality.
I get that some people don’t like the fact that Superman isn’t edgy. But JMS doesn’t need to try to “fix” all of Superman’s percieved problems. He needs to take what works with the character and go from there, not write a character that barely resembles him in any way shape or form. For the love of God, let this little expirement wrap up soon so we can get back to the title just being mediocre instead of nearly unreadable garbage.
My only experience with Turok comes from wasting several hours playing the N64 game back in the late nineties. That’s about it. I never read any of the classic comics or anything of that nature. I picked up the new series wondering what it was like and it felt fairly generic and tepid, so far as I could tell. It feels about the same as the other relaunched-through-Dark Horse properties like Magnus or Doctor Solar. There’s obviously some effort put into making a modern feel to a classic character but the story progression feels choppy and though I’ve never read Turok before in my life, a lot of this felt like a rehash of something I’d read before.
The series has potential to grow, obviously, as the character wouldn’t have warranted a relaunch if there wasn’t something worth exploring with the property. I just hope that the flow of the book gets a little smoother because it certainly felt rough around the edges throughout the course of the first issue.
The End. I’m gonna go have a sandwich and watch all the crap I’ve DVR’d this week but haven’t had a chance to watch.
Hey, guess what? I read some books! Just like last week? Aren’t I unpredictable? But seriously folks, I got my books yesterday, though about six hours later than usual so I actually stayed up late reading comic books to ensure that I would be able to get this post up in a reasonably timely manner. You guys should send me a gift basket.
AMAZING SPIDER-MAN #622 GNTLT 3.99
AVENGERS INITIATIVE #33 SIEGE 2.99
BATMAN AND ROBIN #9 2.99
BLACK LANTERN GREEN ARROW #30 (BLACKEST NIGHT) 3.99
BLACKEST NIGHT #7 3.99
BLACKEST NIGHT JSA #3 (OF 3) 2.99
CAPTAIN SWING #1 (OF 4) 3.99
CHOKER #1 (MR) 3.99
DARK WOLVERINE #83 SIEGE 2.99
DEADPOOL #20 2.99
FALL OF HULKS RED HULK #2 (OF 4) FOH 3.99
FANTASTIC FOUR #576 2.99
GI JOE TP VOL 02 19.99
GOTHAM CITY SIRENS #9 2.99
JUSTICE SOCIETY OF AMERICA #36 (C: 1-0-0) 2.99
MS MARVEL #50 3.99
NEW AVENGERS #62 SIEGE 3.99
SUPERMAN #697 2.99
THOR #607 SIEGE 2.99
TRANSFORMERS ONGOING #4 3.99
WONDER WOMAN #41 2.99
X-FACTOR #202 2.99
X-MEN LEGACY #233 XN 2.99
That’s a pretty healthy haul. So what did I think?
For the last few week’s I’ve really been boosting up ASM as a book. I think it’s been consistantly good and that the naysayers have been blinded by their own biases. This issue however is a bit of a mixed bag, in that the lead story with Morbius is actually quite fun if a tad on the light side, not actually being full length and thus appearing somewhat rushed, while the second story with Flash Thompson is just sort of a discombobulated mess.
I am willing to bet that the secondary tale is in there because they need to quickly set up Flash’s new status quo for when he inevitably comes back into the fold of the supporting cast on a regular basis. It feels like the writing team’s attempt to get us re-aquainted with Flash and let us know that by featuring him in such a beefy role in what amounts to a backup story, he must be important enough to care about. Continuity wise, at least.
Like I said, the issue is a mixed bag, but it’s only a slight hiccup in the road as far as I’m concerned, because it’s a one-off story meant to act as an interlude anyhow. I don’t blame them for trying to cram some exposition in there that might have gotten cut short if it were rammed into an ongoing storyline. You take the good, you take the bad, you take them both and there you have…Amazing Spider-Man.
It’s like Sin City meets Blade Runner with enough of the classic Marlowe noir not to feel cheap. Choker is Ben McCool’s debut creator-owned story and damned if he didn’t knock it out of the park with this first issue. The dialogue is crisp and feels as solid as noir dialogue can, which admittedly can sometimes come off as really cheesy. Remember Frank Miller’s script for The Spirit? Yeah, it’s nothing like that.
I’ve admitted that I’m not normally a fan of Ben Templesmith. His artwork is hard to critique because any complaints can be attributed to his wanting to add a sense of style. And luckily, in the case of this book, the style works. Whereas I felt it actually hindered the story in something like 30 Days of Night, here it feels like any other type of art style would have seemed…off.
Do yourself a favor and pick this one up. I’m always telling people that there’s great new stuff out there and this is no exception. You’re doing yourself a disservice if you pass it up.
Speaking of original material, fuck you Warren Ellis. How the living hell do you manage to crank out so many titles in such short periods of time, and all of them be thoroughly entertaining? Where is your off month? When do I get to read something from you that sucks. That would be a surprise. I would actually be shocked if I picked up an Ellis book and didn’t like it. The man has such a vivid sense of world-building and setting that he could tell an infinite number of stories simply by interchanging the characters and plots from his different endeavors into each other’s locales. In this case, we get a pre-industrial revolution London in the time of the formation of the Metropolitan Police (aka the “Met”) and a mysterious steampunk villain(?) who fires electric bullets and cavorts around town in a flying airship.
Once again, fuck you Warren Ellis. You creative prick.
It pains me to say that reading this final issue of Ms. Marvel, I understand why it’s going away. When your grand finale is so astoundingly anti-climactic that it makes the reader’s chest hurt, you probably should thank your lucky stars that you made it to issue 50. Now, I’ve followed this title since # 1, and I’ve tried to get people on board, because I think that it’s been a really damn good title for the majority of the run. But I see the final arc as sort of a missed opportunity. It seemed…I guess rushed is as good a word as any. Like this is all Brian Reed could come up with because the weight of delivering a final issue was weighing on him so heavily.
The backup story is passable. I’m not a big Noh Varr fan, so it didn’t speak to me on any real level. But something tells me that what happened there will come into play whenever they decide to focus a little more on that character. At least when that happens I’ll be prepared.
Overall, this would have been a fine issue were it not the grand finale. In that sense, it feels like a bit of a misfire.
It’s an extended Power Girl cameo, how the hell do you think I felt about it?
And that’s it for this week, join us next time when I aim to be even more passive aggressive.
So I’ve been battling a cold that’s primary affliction to my system has been a severe sense of apathy. I don’t think I’ve ever moved slower on a Wednesday than I did at work yesterday, but when the fever broke in the night I realized that I had a blog to update, and thus I started work on this week’s reviews, which will begin momentarily.
THE PULL LIST: 2-17-2010
AMAZING SPIDER-MAN #621 GNTLT 2.99
BATMAN #696 2.99
BATMAN STREETS OF GOTHAM #9 3.99
BLACK WIDOW AND MARVEL GIRLS #4 (OF 4) 2.99
BLACK WIDOW DEADLY ORIGIN #4 (OF 4) 3.99
CAPTAIN AMERICA #603 3.99
CHASE VARIANT ONE SHOT IS ALL I NEED (ONE SHOT) 3.99
DAREDEVIL #505 2.99
DARK AVENGERS #14 SIEGE 3.99
DEADPOOL #19 2.99
DEADPOOL MERC WITH A MOUTH #8 2.99
DOOMWAR #1 (OF 6) 3.99
GREEN LANTERN #51 (BLACKEST NIGHT) 2.99
GREEN LANTERN CORPS #45 (BLACKEST NIGHT) 2.99
HULK #20 FOH 3.99
IGNITION CITY TP 19.99
INCORRUPTIBLE #3 3.99
INCREDIBLE HULK #607 FOH 3.99
JOE THE BARBARIAN #2 2.99
JUSTICE LEAGUE OF AMERICA #42 3.99
POWER GIRL #9 2.99
PSYLOCKE #4 (OF 4) 3.99
PUNISHER #14 2.99
SPIDER-WOMAN #6 2.99
STARMAN OMNIBUS VOL. 4 49.99
SUPERGIRL #50 (NOTE PRICE) 4.99
THOR BY DAN JURGENS & JOHN ROMITA JR TP VOL 02 24.99
UNCANNY X-MEN #521 2.99
And so, I begin:
AMAZING SPIDER-MAN # 621
I feel like I’ve heaped sufficient praise on this book over the course of it’s “Gauntlet” storyline. This issue is worth picking up for Michael Lark’s art alone. That man could draw Daredevil making a sandwich for 32 pages and I’d buy two copies. (Grilled cheese variant?)
This issue catered to me in numerous ways. It had Black Cat, who I effing love. It had Mr. Negative, who I honestly believe is one of the better additions to Spidey’s rogues gallery that we’ve seen in the last few years. Honestly, it was just a good Spider-Man comic. And while the previous few issues have felt decisively like old-school Spidey, this one feels frighteningly modern, and I think alot of that comes from Michael Lark’s artwork. While not overly realistic, the tones are muddied and contrasting as opposed to the clean cut-and-dry work of the last few issues. I like both styles, and the art definately worked for this story, but the change is a litle jarring when held up to what had come before. The saving grace comes in the form of the writing, which doesn’t shift tone nearly as radically and keeps the story on course.
Again, I really only have good things to say about this series at this point, and if you’re not picking it up I think you’re probably just still bitter over the One More Day angle. We get it, you feel slighted, but at this point you’re just denying yourself some quality entertainment with a character you claimed to love.
Rich Johnston is basically what would happen if I went around shouting a bunch of stuff I heard and considered it hard journalism. I won’t deny that the man gets his shit right every so often, as the man does have some sweet hookups and his site is a go-to for many people. I consider him and people like him to be the reason that Wizard has lost it’s relevance to the comic community and that in itself sort of makes him relevant.
Does any of that qualify him to write a comic book?
I don’t know. If it does, I’m hoping someone at Image calls me because I’ve got a great pitch about a Texas ranger who fights ronin-Samurai in a post-apocalyptic California with the help of a cat named Asshole. (Seriously, call me.)
I don’t know if he’s ever written anything outside of an editorial before this book, but if he’s a newbie he didn’t do too bad for his opening shot. If nothing else, the book has a pretty cool framing device, with unseen hands dealing magic-style dueling cards that shape the flow of the narrative. Such a framing device would be especially interesting in an ongoing series, where it could be explained in detail, but as it is not an ongoing and simply a one-and-done sort of deal, part of me wonders what their purpose was. Though that’s just me contemplating what could be or should have been and not what is.
As far as what the book is, I would say that Chase Variant is decent but it feels like an anachronism. A sort of throwback to the 90’s Image that I never really got into. There’s no character development or plot that runs beyond a few lines of dialogue, but there is some well-developed imagery and the potential for impressive worldbuilding. Environment and aesthetic over true content, honestly.
That doesn’t mean that it’s rubbish, because at least the book feels like it moves forward given it’s limited frame of existence. It’s not like it treads water trying to stay afloat. The book may not be the best thing ever written, but none of the effort was phoned in and it feels genuine, which is more than can be said for some books.
I’ve gotta nominate this one for turnaround book of the month, because the last issue to hit stands was downright atrocious. I was literally floored by how asinine that book was. This issue on the other hand seems to work well to regain focus and present a singular path for the book that I hope isn’t lost next month for some reason nobody can explain to me.
Instead of disjointed mini-sodes with a hodge-podge of different artists breaking up the flow, we get Deadpool and co. sucked into the Marvel Zombies universe where Deadpool goes all Tom Savini on a bunch of undead superheroes. The art is clean, crisp, and fits the tone preented by the writing and the jokes don’t completely suck the life out of the book.
Thank god, I was afraid I was going to have to drop this book. And how damned ironic would it be if after clinging to Cable and Deadpool because I didn’t want to see DP’s only book get cancelled would it be for me to be able to drop a Deadpool book and not be concerned because he has two other books I could read? I’d love to go back to the 90’s and drop that bombshell on someone. The look on their face would be priceless.
SUPERGIRL # 50
I’m glad that we have a Supergirl book that isn’t a horrible trainwreck. The current team has been doing a bang up job with the character, and though I’m not a big fan of the huge line-wide crossovers the Superman family seems to be enduring until the end of time, this book has been doing the best with what it’s been given from the get-go. The character development they’ve been working with Kara and Lana is refreshing, as both of them have drastically needed to be refocused for quite some time.
This issue feels like a good old fashioned Superman story to me. I mean, replace Supergirl with Clark and you would swear that this story belonged in one of those Black and White SHOWCASE books. Giant wasps? Lazer beams! GANGBUSTER?!?!?!
The backup story is short and essentially unnecessary, but the tone was on the money and I’m sure putting Helen Slater’s name on the book bumped sales by a fair margin, though what size that margin is could be anybody’s guess. Either way, the total package was worth the extra dollar on the price tag.
If all they had printed in this book was that final page, I still would have loved it. I won’t spoil it, but they made me a very happy nerd.
Very very happy nerd.
And I’m done for this week. Check back next time, when maybe I’ll review a comic that totally sucks. It’s kind of odd when I don’t read anything that makes me wanna hurl.
I would try to say something worthwhile, but I believe the pictures speak for themselves.