Rick Remender can write the hell out of some superhero comics. He can write the hell out of comics, period. The guy doesn’t get near enough respect although his run on Secret Avengers gets a lot of love as does his Uncanny X-Force. The fact that he’s now on one of the most high profile books of the year that will bring in readers from the X-Men and Avengers camps with art from the amazing John Cassaday, I would say the general level of anticipation around this book hit some pretty high levels. I know I rushed out to pick up a copy even though I have one on order from my monthly shipment that won’t arrive for another two weeks. Was it worth it?
Let me say this, just seeing Cassaday drawing Wolverine again gave me the warm fuzzies in my geek cockles. I am an unabashed lover of his work on Astonishing X-Men and he hasn’t lost a bit of his magic. He gives these characters life and shows why he is one of the most revered artists of his generation. I don’t know what the schedule for this book will look like, because I remember Planetary and Astonishing X-Men and the intermittent shipping delays, but if the book maintains a level of quality from the artwork, I can do with some waiting. Cassaday is that good.
Remender’s scripting is equally impressive. The man knows how to launch a book. We’re coming right out of the fallout of AvX and while that series was one of meandering quality, what has been birthed from its loins is anything but mediocre. Remender gives us a look at Alex Summers at a crossroad in his life and at a crucial time in his development. He’s approached by Cap and Thor who want to bridge the camps of the Avengers and the X-Men and put hostility behind them. Of course, this is a Marvel comic so at the appropriate time the shiz hits the blades and chaos resumes at its regularly scheduled pace.
The big reveal at the end of the issue is spoiled in one of the variant covers, but if you are unaware I’ll leave it to you to discover on your own but it looks like Remender is going to go for the same sort of over-the-top drama that makes the Avengers work so well. His ideas are the perfect fit for something like this and he has delivered on his first issue. I am confident the rest of the run will live up to his debut.
I’ve been reading The Avengers on a monthly basis since a little before Bendis pulled the whole Disassembled thing. Looking back on it, that’s a lot of time to invest into a title. Couple that with the fact that I stuck with Bendis’ handling of the team through both the New and Mighty Avengers titles and then the “Heroic Age” relaunch and that’s a lot of time spent reading his take on the franchise. I’ll admit that for me, Bendis is the name I will probably always associate with Avengers. I’ve gone back and read most of the pivotal runs and I think only Kurt Busiek’s run matches it in density and enjoyability. Though there are some classic Silver Age moments that I quite enjoy.
I had to drop both of the Avengers titles shortly after the relaunch because of monetary issues. A lot of really good books got chopped, actually. But with the movie recently in theaters I thought it would be a good idea to re-examine some prominent Avengers stories once again and so here we are.
The 2010 volume of Avengers begins in the wake of Marvel’s “Siege” storyline where Norman Osborn’s reign as the leader of SHIELD/HAMMER comes to a close and the status quo reverts to something more akin to what longtime readers were familiar with, this time with Steve Rogers in the role previously filled by Nick Fury and assembling two separate Avengers teams. This volume deals with the more “traditional” Avengers featuring Iron Man, Hawkeye, Thor, etc. with holdovers from the previous volume of New Avengers in Spider-Man, Spider-Woman, and Wolverine.
The book still maintains much of what made Bendis’ run on the first volume of New Avenger such a success, ie. his dialog. He’s especially gifted at writing witty banter and makes good use of characters like Hawkeye, Spider-man, and the more garrulous members of the team. This time around however, there is less focus on grounded street level action and the plot is driven by BIG ideas that the Avengers series seem to thrive on. In this particular volume, we get a broken timestream and alternate realities. We get classic Avengers villains like Ultron and Kang. It’s everything longtime fans of the book should love.
The principle complaint against the book is that Bendis cannot write with his trademark style and manage that sort of plotting. I would argue that this isn’t true. Working with John Romita Jr, the layouts and flow seem to work as well as they ever have with a story of this type. While the artwork does seem more sketchy and rough around the edges than I would really like out of Romita, he does a serviceable job making sure that Bendis’ story comes to life on the page.
My major issue with these six issues is that the book does seem to have too much going on for its own good. The chaos in one timestream seems to suck the energy from the parallel plot and as such the story reads somewhat uneven. It’s not a bad story, it just isn’t very even. In regards to assembling a new team, the book sets up the new status quo quite well. We get a very good idea of what the book is going to do very quickly. You just have to decide for yourself whether it is up your alley.
I know I probably should have gotten this out there on, oh, Friday before everybody went and saw it. I know that. But at the same time, I think this is a film I needed to digest a little bit before I put my thoughts down on it. And by “digest” I mean, see it again. As of this writing I’ve experienced the film in both standard format and 3D. Each of these showings was packed to the brim. The first was on Friday at the first showing of the day at 10 in the morning. The next was a Saturday show at 1 PM. I need to point this out because the biggest surprise about The Avengers is that it even exists in the first place. The amount of planning and preparation that went into developing a crossover of this magnitude is mind boggling. There have been crossover films before this. Godzilla and King Kong fought it out, Freddy and Jason slashed at each other, the list goes on. It’s not that big a deal for cinematic properties to come together. What is unique is the idea of using individual characters and their films as a roadmap to an eventual crossover. In the world of cinema, it’s a miracle that it ever got made. Even more impressive is that Marvel was able to bring the viewing audience around as well. They sold the idea of this being on of the biggest movies ever and the audiences turned up. They invested their time in it. This is a movie that has been on everyone’s minds for close to five years. Ever since the end of Iron Man when Samuel L. Jackson walked in the room and told the world that the Marvel universe was going to be a shared experiment. This film is important.
That having been said, is it any good? I’m happy to say that everything you want out of this movie you will receive. Joss Whedon handles it as well as you would expect and we may finally have the shining definition of what it means to bring a comic book to life on screen. The final act is like watching a collection of “hell yeah” splash pages from a Marvel crossover brought to life. The film does not skirt the fact that comic books are writ large and with joyous bombast. The action sequences are everything that Michael Bay wishes he could accomplish. They are loud, they are big and at the same time they have a sense of direction that is managed and easy to follow. You never get confused watching the carnage and for that we should be thankful.
But what I really want to talk about is the character moments. The time between Norse gods fighting men in iron suits. Joss Whedon gives us a movie where the time spent with these character simply talking to each other are as gripping as the action sequences and set pieces. The interplay between these actors is something that holds the film together in a way that without it, the whole experiment would fail. Robert Downey Jr. and Mark Ruffalo’s respectful banter is a highlight. Hell, anything Mark Ruffalo does is a highlight. I know folks liked Edward Norton but Ruffalo brings something that has always been missing from the big screen portrayal of Banner in the previous incarnations. He manages to portray Banner as a person who is angry at his own anger and yet somehow accepting of it all at the same time and he may very well be the MVP of the film. Downey does his usual great work with Stark, but here he really sells the trans-formative arcs that propel his character forward, and seeing him bounce of Chris Evans’ Captain America is a joy to watch. I will admit that I feel as if Evans didn’t get much to do until the final act when he really gets to shine as a team leader, but in a movie with this many characters to juggle it is a small conceit. Also, Tom Hiddleston needs some awards. All of them, really. Loki was a great villain in Thor, mainly because of Hiddleston’s ability to play the wounded creature. He was a tormented soul and that made him fun to watch. Here we get to see what happens when the soul is tormented for so long that it snaps. He plays the broken soul just as well and he sells it like nobody’s business.
The film is everything it needs to be and then some. There will be those who complain about the run-time or the way characters are handled but in the end this is a big win for Marvel and a bigger win for people who still enjoy the spectacle of seeing a true summer blockbuster on the big screen. I do not doubt that I’ll see it at least one more time in the theater because this is definitely a film that benefits from a big screen. I might even shell out the cash to see it in IMAX. It’s that good.
Did you guys see Jurassic Park III? You know the guy who directed that also helmed this. He was also responsible for The Wolfman last year. Though that won an Academy Award, so I won’t be cruel to that one. Plus, much like Captain America, the best part of that film was Hugo Weaving straight up chewin’ scenery. My point is that Joe Johnston was a bold choice to direct what would be the final piece in Marvel’s film-puzzle before The Avengers hits next may. At the same time, much as Kenneth Branaugh was an inspired choice to take up Thor Johnston is one of those directors who, when on his game, would be perfect for something like Captain America. The number one reason that people have been giving since the day he signed on the dotted line was the fact that he directed The Rocketeer which shares some similar themes as well as the “period piece” setting. Well, Captain America is decidedly better than The Rocketeer. Though to be honest I’d love to see Timothy Dalton hamming it up against Hugo Weaving. That would be golden.
The film begins in the present day, where a team of scientists drilling in the arctic find something unusual. The story is familiar to anyone who has a basic knowledge of Captain America beyond “he fights Nazis.” From there we fade back to World War II, where we meet up with Hugo Weaving’s Johann Schmidt laying siege to a village in Norway hoping to obtain some ancient Norse artifact supposedly taken from Odin’s throne-room. At this point we must accept that if you’re not seeing every Marvel Studios film you’re not getting the full experience. The item in question is of course the Tesseract, or the cosmic cube, which was actually glimpsed by keen eyed viewers in Thor earlier this year. We’ve finally reached the point where everything has come together and while if you missed Thor you can still enjoy Captain America, the sense of connectivity will be an added bonus for fans who have been following the buildup since Iron Man.
I have to say that this is probably the best origin story comic adaptation to date. Only Iron Man really comes close. There have been some complaints that Steve Rogers doesn’t really have a character arc, he just has a physical transformation. Those people clearly missed the point of the film. Steve was always a good man. His discussion with why he was chosen to be a super-soldier with Stanley Tucci’s Abe Erskine (another standout among many) touches on this quite effectively. Steve’s real arc doesn’t get a chance to begin until he reaches the future. With this being a true origin story, we don’t get to deal with that yet. A good portion of that will be dealt with in The Avengers I would assume. And that is the only downside to Marvel’s interconnected universe. There will always be things that get lost in the shuffle. In a movie like this you can’t get everything in a two hour time-span.
But they do manage to work in a good number of things that work, a truly epic villain who isn’t afraid to go big in a way that most villains have been lacking for a while on screen now for one. Hugo Weaving is perfect as the Red Skull and it’s good to see a true, and pardon the term, “comic-bookey” villain on screen and done well. He’s what the scenery chewing villains of the 90’s Batman franchise aimed for but missed entirely. Much credit must be given for making a character that could have been hokey and downright lame into a memorable character.
Chris Evans also does a good job portraying Steve Rogers. He’s almost too likeable. He brings that sense of honor and duty that Steve Rogers has always had as well as a truly great degree of charm. After seeing him in the role I’m not sure if any of the other names on the shortlist to play the character would have worked out near as well. This is the first time where I watched Chris Evans and didn’t see Chris Evans. I saw Captain effing America. As much as I enjoyed him in Fantastic Four, his Johnny Storm was much like the wise-cracking characters he had played in other films. In Scott Pilgrim, I got a feeling he was mostly just Chris Evans making fun of Chris Evans trying not to be Chris Evans. Here, he was Steve Rogers. The earliest parts of the movie where they used all the CGI left in the universe to make him a skinny little runt seemed to distract from the fact that this was an actor playing a part. I was greatly impressed.
But one of the things that truly stunned me, especially coming off of something like Thor, is that the romance element of the story was handled organically and sincerely. Hayley Atwell, who will likely become a lot of young men’s new celebrity crush after this film, plays a fully developed character in her own right whose relationship with Rogers is given time to shift and grow in a way that feels very real and genuine. Compare this to Chris Helmsworth’s attraction to Natalie Portman in Thor that was basically boiled down to “She’s Pretty, He Has Muscles.” Granted sometimes that’s how real relationships do happen but it doesn’t make for the most satisfying cinematic experience. The Rogers/Carter romance is definitely more interesting. Steve’s jealousy of the attention Tony Stark’s dad keeps throwing her way over the course of the film is one of the more entertaining aspects and shows that even though Steve is a good man at heart, he’s just like you. He hates it when good lookin’ dudes start eyeballin’ your girl.
Personally, this is my favorite of the Marvel Studios entries. I’m a big Cap fan and I feel they nailed it with this one. Iron Man comes very very close. But there was something about this film that just felt more like a Marvel comic come to life than any of the previous entries. Iron Man II attempted that feeling but in the wrong manner. Cameos out the wazoo do nothing. But capture the tone and feel of the page and translate it to screen, and you’ll get something truly special, which Captain America is. I plan on seeing it again very very soon.
The regular ongoing Captain America series, which has been damned amazing since Brubaker came on board with # 1 a few years back has become Captain America & Bucky, and will retain its original numbering, focusing on the pair of heroes and their numerous adventures under the watchful eye of a new creative team. A brand new Captain America # 1 hit stands last Wednesday, again under the direction of Ed Brubaker with art by Steve McNiven, he of Civil War and Old Man Logan fame. It marks a new chapter for the Captain America saga. One that builds off of Brubaker’s already elaborate work and provides a new jumping-on point for new readers as well. It’s a strategy that has worked well for other books in the past, with Invincible Iron Man under Fraction and The Mighty Thor under…Fraction again.
The book begins in a cemetery where Cap is mourning the loss of an old friend. If you’ve been reading Fear Itself, you’re almost immediately convinced that it’s (**spoiler alert**) the recently deceased Bucky Barnes. But that’s not the case at all. In fact this introductory issue doesn’t address Bucky at all. Brubaker instead hits the ground running and plunges us into the story that, in a manner consistent with the rest of his run, is tied heavily to Steve’s adventures in World War II. The interplay between the past and the present is a defining element of Brubaker’s run. The Winter Soldier storyline would have had no impact if Ed and company hadn’t been able to skillfully craft the narrative in such a way that all the pieces fit like a jigsaw puzzle. Steve remarks that he sometimes still has trouble reconciling the fact that even after all these years he is still a man out of time. He’s displaced. Despite being the representation of America itself, the modern landscape is never fully going to be his home. While some writers take this and run with it in precisely the wrong direction, as was the case with Civil War Frontline, Brubaker’s Steve Rogers is a character who always tries to retain the elements of himself that shine brightest while trying to evolve to fit into a world that, quite frankly, does not deserve a hero of his caliber.
Some fans will be put off by the fact that the manner in which Steve becomes Captain America once again is not immediately addressed, but this is just as much a book for new converts from the film as it is for longtime fans. Brubaker is not one to ignore those elements, but they will have to be introduced organically over time so that everyone feels at ease. This is a very classically written book in that regard. Half of the fun will be having answers revealed over time as it is appropriate. Brubaker’s crime-fiction background shows heavily in his writing here. Little snippets surface to make the big picture appear clearly but they don’t come at you on every panel. Brubaker is a master of the slow burn, if his prior work on the title has shown us anything. I would expect that tradition to carry over here.
As for McNiven’s art, it’s as clean and crisp as ever and I can only hope that he’s got the issues finished because I would weep at the thought of a fill-in artist. He draws Cap with amazing skill and his artwork matches the tone of the book perfectly. You couldn’t ask for a better artist, though many in his caliber have worked with Brubaker on Cap in the past and I’m hoping that Steve Epting and Michael Lark get their turns on the new title as well. Rotate them all through the different arcs and you’d have as close to a perfect Captain America title as could be managed.
I strongly advise picking this up. Captain America is and has been one of Marvel’s best properties for quite some time now and this issue seems to indicate that’s not changing anytime soon.
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.
Fear not, helpless masses! I am returned! After delays and setbacks and general stuff happening in life that doesn’t have much to do with comic books, I’m back to tell you about the weekly pull and what it has to offer. This week was pretty darned massive. It was a tough choice figuring out what to review, because there’s not a much of a point in reviewing part three of a given series, you’ve largely made up your mind by then. I’m more of a startup/wrapup sorta guy. I like to review the beginning or the end, thus chronicling the entirety of the story. Luckily I was able to find some criticism fodder in the pile this week.
AMAZING SPIDER-MAN #639 3.99
AVENGERS PRIME #2 (OF 5) 3.99
BATMAN ODYSSEY #2 (OF 6) 3.99
BOYS #45 (MR) 3.99
CAPTAIN AMERICA #608 3.99
DEADPOOL #1000 4.99
GI JOE A REAL AMERICAN HERO #157 3.99
IRON MAN LEGACY #5 2.99
IZOMBIE #4 (MR) 2.99
JONAH HEX #58 2.99
JSA ALL STARS #9 3.99
LOSERS TP BOOK 02 (MR) 24.99
SECRET SIX #24 2.99
SHADOWLAND #2 (OF 5) SL 3.99
SHADOWLAND BULLSEYE #1 SL 3.99
SUPERGOD #4 (OF 5) WRAP CVR (MR) 3.99
ULTIMATE COMICS AVENGERS 2 #6 (OF 6) 3.99
YOUNG ALLIES #3 2.99
And let’s hope I can remember how to do this!
Let’s get this out of the way right now, this book didn’t need to exist. As such, it fits in well with the majority of the Deadpool books being published right now. The only difference, as far as I can tell, is that this one is actually pretty damned good. Unlike that 900 fiasco, which was largely hit and miss. Every segment in this issue was darned entertaining. Especially the Blackest Night parody which I feel was written just for me to warm the cockles of my still-beating black heart! Also of note is the Canada-man segment, which was downright hilarious.
I have to say that for the 4.99 price, you get a hell of a lot for your dollar. I mean, yeah there’s a superflous catalog of artwork showcasing Deadpool comprised of mostly covers from the Deadpool variant month that does nothing but add heft to the book and could have been tossed aside. But then again, this entire book is technically superflous as it adds nothing to Deadpool’s ongoing arc and is simply a showcase of Marvel talent having a go at the merc with a mouth.
One thing that stood out for me when reading this particular issue, is that it’s been so long since I saw Deadpool kill anyone that it was actually kind of shocking how much actual killing he does in this issue. I know it’s odd to say that, but it’s the truth, at least for me. It’s not a bad thing, it’s just kind of an interesting look at what Deadpool has become as opposed to what he began as. Something to ponder…
I need to reiterate that Jonah Hex is probably the one book I would keep reading if I dropped everything else altogether. Or possibly Secret Six, but we’ll get to that later. With this issue, we get what is essentially a poem about the nature of a bullet’s reason for existence juxtaposed against the wild west backdrop of Jonah Hex’s world. The issue deals with a revolving door of people with revolvers and the intent to use them and the consequences of their decision to cock the hammer.
It’s just the sort of thing that works for this book. It’s probably the most oblique type of subtlety you can get. You know there’s a message but with the shades of grey that our characters occupy, the reader can take the message in all sorts of directions. There’s been a lot of good literature written about the toll that the soul takes when confronted with the realities of vengeance and the guilt of taking a life. My next novel touches on just such subjects. Jonah Hex isn’t high literature, but it’s not schlock either. It’s almost the perfect venue to air such a debate. The book is as unflinching as the impact of a bullet.
Also, for no reason, here’s a picture of Jimmy Palmiotti as Watchmen‘s the Comedian taken from Dave Gibbons’ twitter:
Yeah, that’s about right…
After a brief guest writer spot, Gail Simone returns to write the six again in a weird little story that sees the group transplanted into the old west. It’s an interesting little what-if story that confused the hell out of me for a while because I spent more time than I did reading the issue trying to understand its implications. Were they in some sort of virtual reality? Were they transplanted through time? Is Gail Simone a timelord? Is this a one-shot or a full arc? Will we ever get another tub-sex scene as awesome as the one in this issue?
Seriously, it’s a perplexing issue. It’s interesting, just like the entirety of the series has been so far, but it’s jarring as all hell. There’s no segue into the issue, it just hits you and tosses you into this alternate reality with no regard for your brain’s safety. You just have to roll with it. Listen to Ragdoll’s little puppet show and shut your mouth, there is no refuge for you here.
Also, I totes have a crush on Cowgirl Scandal now.
I was going to pass on ALL the Shadowland spinoffs. I was just gonna get Daredevil and the main mini-series and wouldn’t allow myself to get suckered down the long and winding road of books that I don’t normally read. That plan was torpedoed however when I noticed that this particular issue was written by John Layman, him of Chew fame. And so with full faith in the authorship I put the book in my stack, because I figured I’d regret it later if I didn’t.
I was right.
The issue concerns itself with members of the criminal underworld hosting a funeral for the recently perforated Bullseye in the middle of Hell’s Kitchen Park with a kidnapped Ben Urich there to cover the story. The principle character in the narrative is a fellow who can supposedly commune with the dead, and the dead person currently on his telepathic telephone is Bullseye, constantly screwing with his head the whole of the issue.
I would say that this issue acts as an excellent sort of #1.5 interlude between issues one and two. It feels like a story that needed to be told. The underworld’s reaction to Bullseye’s death isn’t something that needs to mentioned in periphery, it’s an important detail and it deserved a full issue. We get the heroes’ reaction in Shadowland 2, but this presented a different perspective that I think readers will definitely enjoy.