There has been a lot of ink spilled about the controversy surrounding this Harley Quinn series. Mainly around that “tryout” page where artists were encouraged to draw a scene depicting the title character preparing to commit suicide in a bathtub with electrical devices hanging above her. There were plenty of good arguments made as to why that was a bad idea. The fact that it got hyped up in the middle of suicide prevention awareness month was a major blunder. We could easily spend a couple thousand words talking about whether a book focusing on a character who is clearly mentally deranged needs to walk the logistical tightrope of addressing a topic like suicide. No amount of context or satirical intent will silence certain elements on either side of the argument. I’m going to say that Jimmy Palmiotti and Amanda Conner are good people. I’ve never seen anything that would indicate either of them was looking for a cheap laugh, or to make light of suicide as a topic. It just isn’t in their character.
So the first thing I have to do while discussing this issue is point out that the panel in question does not appear in the final product. The talent search yielded a page by Jeremy Roberts where most of the page remains intact but the panel depicting the suicide is absent, replaced by a panel with Harley riding an Apollo style rocket in outer space. Within the context of the book, the fourth-wall breaking creators are discussing Harley’s role in the Suicide Squad, which would explain the panel in question. Honestly, with that context, it makes perfect sense. I applaud everyone involved for seeing that it is a sensitive topic however and going in a different direction. The page in question gives off a vibe of Harley’s perceived death wish without diving into the mental illness/suicide quagmire.
I know I dedicated a lot more space on that little issue than I intended. I wanted to cover the actual issue, not the issues people had before the book came out. So let’s start from the beginning.
This book is good. It’s fun. It put a smile on my face. Why? Well, Palmiotti and Conner have a playful tone that carries throughout and they manage to find a through-line for Harley criss-crossing through various art styles while breaking the fourth wall and showing us that Harley truly can be a versatile character. The book is essentially Amanda and Jimmy showing that there are an infinite number of possibilities for Harley as a character and, with the correct art team, any one of them could be a viable long-running series. This is an introductory issue where Harley has to figure out what Harley wants to be. It’s a metatextual commentary on the creation of comics itself filtered through a character who, for all intents and purposes, could be viewed as simply one dimensional.
I think that freed from the constraints placed upon her by the Suicide Squad book, this title could truly be a blast. Honestly, I was reminded of the way that Jimmy and Justin Gray put such a fun spin on Power Girl, who much like Harley had infinite numbers of interpretations waiting in the wings. No character is without merit, and while I personally don’t have much of a connection to Harley and only really found her intriguing within the context of Batman The Animated Series, I think this issue is one of the more solid releases DC has put out in a while. It certainly surprised me in ways I wasn’t expecting.
I say go in with an open mind and see where the issue takes you. You may find yourself surprised where you end up.
I didn’t cover the furor over DC’s art contest, in which aspiring artists were encouraged to submit their take on a series of panels that depicted Harley Quinn in a bathtub, electrical objects suspended precariously above her naked body, in an apparent imminent suicide attempt. As you may have guessed, the internet flipped the ever-loving frickafrack out. DC seemed reluctant to make any apologies for the page in question, deflecting with statements that the intent of the issue did not line up with the offense being thrown their way.
Jimmy Palmiotti, who I consider to be a class act all the way, said that he felt disheartened at the reaction and explained the intent of the issue to be more in line with Looney Tunes slapstick and was not intended to be a mockery of the dreadful seriousness of suicide. With Suicide Awareness week looming, he made sure to let everyone know that nobody intended to offend anyone.
But following pressure from the American Foundation for Suicide Prevention, American Psychiatric Association and National Alliance on Mental Illness, DC issued an official apology for the carelessness of the contest;
“The purpose of the talent search was to allow new artists an opportunity to draw a single page of a 20-page story. True to the nature of the character, the entire story is cartoony and over-the-top in tone, as Harley Quinn breaks the 4th Wall and satirizes the very scenes she appears in. DC Entertainment sincerely apologizes to anyone who may have found the page synopsis offensive and for not clearly providing the entire context of the scene within the full scope of the story.”
I feel like the correct response would probably be to completely discard the page in question. I know DC would never consider doing such a thing. Let’s just applaud them for recognizing that they made a mistake in the first place. That seems to be a huge step forward for a company that seems so hell bent on alienating anyone who doesn’t fall in line with their way of thinking.
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 that time again! And lucky for you this time the reviews are on time. I hope you appreciate how much effort goes into that because I really don’t feel like being analytical at 8:00 am on a Thursday morning. I’m doing this all for you. Really. Because I sure as hell am not getting paid to do this.
I’m apologetically pro-Damien. I think he’s one of the best things to come out of Grant Morrison’s Batman run. There’s something about him that sets him apart from all the other Robins and I would say that it’s mostly the fact that he’s what Jason Todd could have been. The whole “Sidekick with an attitude” thing works for some and doesn’t for others and Damien works. Now, I will admit that too much of his schtick can be tiresome. But the same can be said for any character. I love me some Deadpool but I got some serious DP burnout following the 87 series he had going on at once last year. Luckily, DC seems to realize that Damien provokes strong reactions and therefore uses him with a deal of finesse. What I mean by this is that usually his personality is either downplayed or dialed up depending on the context of the story. In this debut issue, he’s far more antagonistic than usual because we’re being reintroduced to his dynamic with Bruce. That level of mutual respect that we had seen in previous stories seems to have been scaled back because of this new timeline and as such we get some interesting character beats from both Bruce and Damien in regards to their views on the sentiment of death and the ethos of fighting crime.
Like some other books this week, it’s clear that some holdover elements from the old continuity will be front and center for certain characters. In this case, it’s the worldwide enterprise of Batman, Inc. The fact that Batman has only been around for five years in this continuity doesn’t seem to hinder that storyline at all. We’ve yet to see exactly what parts of Batman’s history are still relevant. I don’t know if Knightfall, No Man’s Land, Murderer/Fugitive, etc. have happened in this timeline but we do know that Damien is still around and Batman Inc is still happening around the globe. Again I have to point out how troublesome this is to new readers if that’s truly what DC is trying to draw in with this relaunch. Someone picking up Batman and Robin # 1 without a prior knowledge of Morrison’s work on the character might be a little perplexed as to when exactly Batman had a son and what the hell Batman, Inc. is. Fans of those particular storylines will not be let down however, as this is a pretty direct continuation of those themes in a similar sort of style.
Overall Rating: 3/5
I’ll just go ahead and say upfront that this is my favorite title of the bunch so far and if you haven’t already you need to go buy a copy and read it right now. The rest of this review is just going to be me gushing over how amazing the book is and how lucky we as readers are to have someone like Paul Cornell writing a book like this. Seriously, if there is one thing that I have to applaud DC for in this whole stunt it’s giving good writers chances to work on books that otherwise would have never seen the light of day. There are a lot of people who are going to pick this up just because of its connection to the “new 52” and they’re going to find one of the most fun, well-written fantasy adventure comics to come along in a long damned time.
I’ve always been a fan of Etrigan. I think he’s one hell of a character and he really hasn’t been given his due in the last few years. That changes here and I think it’s mostly due to the fact that Cornell knows how to write him and that he is a character that works best when he has appropriate characters to bounce off of and he gets that here with Madame Xanadu, Vandal Savage, and a whole host of medieval side-characters. The fact that this is set entirely in the middle-ages allows Cornell to go wild and do whatever he pleases without worrying about bumping up against someone else’s plans. The recent dust-up with Gail Simone being displeased about Batgirl’s appearance in Birds of Prey without her prior knowledge comes to mind. I don’t think anyone is going to try to appropriate anybody in Demon Knights anytime soon. There is an artistic freedom that comes with a book like this that I really can get behind.
Seriously, go buy the book. It’s the shining pinnacle of what this relaunch has to offer.
Overall Rating: 5/5
This one is hard to review. It’s not a bad book. It’s actually quite an interesting read. It’s just so hard for me to disconnect this version of the character from the previous incarnation. Even more so than last week’s Green Arrow, not a whole lot of this book felt like what I would associate with Superboy. That having been said, what we’re presented with is a fresh take on the character. The scientific procedural element of the story is interesting and provides an excellent framework for progressing the issue. My only problem with the book has been that Superboy’s personality is defined by NOT having a personality. That can only last for so long before it becomes a chore to read through. I think that Scott Lobdell knows this, but he’s trying to match the character’s personality to the expected tropes of the genre he’s presenting the character in. He’s a clone, so he needs to be a blank slate at the beginning. That’s how these stories work. I think he’s trying to play with expectations a little bit and it’ll be interesting to see where he goes with it.
Superboy is a title that I’m cautiously optimistic about. The final page seems to indicate that this storyline somehow informs the new Teen Titans, which doesn’t look very interesting at all to me. I can’t really say for sure how much I’ll enjoy this past the first issue. I’ll just have to keep reading to find out.
Overall Rating: 3/5
I am very tempted just to write *facepalm* and leave it at that. There really are no words to express how much I disliked this book. Anything not involving King Shark (he’s a shaaaaarrrk!) was pretty much terrible. Deadshot has lost his mustache and Amanda Waller is a young, thin slice of bland. This was just…well, a mess. I don’t imagine any other DC book has missed the mark as hard as this one has. Or let us hope, at least. I’d hate to see what could be worse than this slap in the face to what was once an amazing title.
I don’t want to sound like a cranky fanboy, but seriously…I just can’t imagine how anyone would find this interpretation of the title appealing. It’s generic, bland, and brings nothing new to the table while disregarding the elements of the characters involved that made them interesting in the first place. It’s just one big ball of missed opportunity, because these characters in their pre-reboot forms on the same team would have been interesting to see. Now? not so much.
Overall rating: 1/5
So, controversy, huh? We’ve got an African-American/Hispanic Ultimate Spider-Man and that has some people angry and other people bored and other people happy as hell. Emotions! Does any of that have any bearing on how good the book is or isn’t? Not really. The initial PR stunt nature of the book is a bit disheartening because I think it might have been a little bit better received if it had come out of the box as a surprise. It’s actually a pretty decent book. It doesn’t feel like a continuation of the old series as much as it feels like an entirely new story where someone who isn’t Peter Parker somehow winds up getting spider-based powers. It’s got Bendis’ usual sense of story-flow, that is to say that it begins a bit slowly, but the slice-of-life soap-opera elements of Bendis’ writing were what made that book work so well in the early days.
I’m not going to call this one better or worse than the Parker years because it’s only been one issue and it’ll be another twenty-three or so until I’m able to see what sort of book this is really going to be. All we know right now is that Miles is going to have a little bit of a different power-set from Parker judging from that final page cliffhanger, and that he probably won’t have a costume until around issue six if Bendis keeps to his usual pace. But if everything between then and now is well written as it was back when he first launched USM, then I doubt we’ll really care.
Overall Rating: 3.5/5
And that’s our show everybody. Join us next week for another round of my telling you what you should do with your money. See you then.
You know the drill by now. I hope.
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.
I have no clue WHY Lexi Belle (twitter alias @OMG_LEXIBELLE) is dressed up like Harley Quinn. I’m assuming it’s for that forthcoming Batman porno parody I mentioned about a month ago. That having been said, there is no reason NOT to post a cute girl essentially cosplaying as the Joker’s main squeeze. So enjoy!
You see? And I did it without going to the “Wonder Woman well.” I imagine if I did this entry would have over 15,000 images, and I imagine that would be the number of page views as well.
I would try to say something worthwhile, but I believe the pictures speak for themselves.
Offered Without Context:
From “Catwoman # 83”