G.I. JOE #1
Fred Van Lente • Steve Kurth (a) • Juan Doe, Kurth (c)
YO JOE! The truth is out: the world knows the G.I. JOE team is real. Now Duke leads his squad directly into the public eye, confronting COBRA on American soil! 32 pages • $3.99
I tried getting into the last iteration of G.I. Joe by IDW when it rolled out. I liked some of what was going on and disliked other elements. Eventually I dropped all the books because none of them seemed to hold my interest. It wasn’t that any of those books was poorly written or badly drawn, I think they were competent books, but they just didn’t have anything to draw me in and keep me on board in the long run. It is more a side-effect of serialized fiction in general than any statement on that particular initiative to revive the G.I. Joe brand.
Now in 2013 IDW is giving it another go, this time with Fred Van Lente, a writer I very much enjoy, taking the reins. Van Lente is tasked with the difficult task of giving a fresh look at the franchise while keeping things familiar enough that longtime fans won’t revolt. Looking at the first issue of this new series, it would appear that he has a good idea of what to do. I personally would have loved to have seen his take on screen instead of the hodge-podge that made up Rise of Cobra.
Van Lente drops us into the middle of a continuity that will eventually be fleshed out. Here we meet a Shipwreck who doesn’t like his codename or the outfit he’s been stuck in, a G.I. Joe operation that is meant to be a public relations maneuver, complete with statistically engineered racial/gender demographics, facing off against an enemy that is established within the confines of the story but still somewhat a mystery to the reader.
The book gives us G.I. Joe through the lens of military action and the way the media handles units like these. In the wake of Zero Dark Thirty and the celebrity status of Seal Team 6, this is a logical progression for a franchise like G.I. Joe. The concept of G.I. Joe is the very essence of heightened reality but the world they live in, within the context of this new series, is a very acute reflection of our own. Our divisions over military reaction to terrorist threats, along with the idea of our military utilizing the media to fight a war are pushed to the forefront here and give the crux of what will make the book work so well. This Joe unit has an embedded journalist, code-name Hashtag, and is introduced to the reader by General Joe Coulton at a media press conference. If there is any doubt to what the central theme of the book is, let’s just say that this new series seems heavily focused on the idea of media in warfare and public opinion as a weapon.
I don’t want you to think this is the sort of heady, Oscar-bait military story that Zero Dark Thirty was, although they oddly feature similar themes. G.I. Joe is still an action comic, meant to entertain the reader and inspire a bit of nostalgia for a long-established brand. In that department, the issue excels as well. Seeing Roadblock toss out a “Yo, Joe” with his finger on the trigger hit all the right notes. This is still the sort of G.I. Joe that long-time fans can enjoy.
All in all, if you’re a fan you won’t be disappointed, and if you’re looking for a good place to jump on, this is a very new-reader-friendly issue. How much mileage you’ll get out of it is something that will vary from person to person, but there’s plenty to enjoy between the covers here.
Rating: 3 1/2 Stars of 5
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.
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.