On the third day of the convention my mission was simply to buy the things that were on my shopping list. I had a chunk of Jimmy Palmiotti’s Jonah Hex series I needed to fill in, as well as some Hellboy trades and I wanted to get a damned copy of the first issue of Conan the Barbarian at a reasonable price. I was able to pick one up for around $70.00, the going price for one in that condition being close to $120.00 so I was content. I managed to snag one of the Hellboy trades and most of the Hexes. With the money I had left over I decided to support our friends over at RED 5 COMICS and buy one of each of their trades. I’m planning on tearing through Atomic Robo sometime within the next few days.
After scouring the convention for the items on my shopping list I picked up the few remaining commissions I had not collected on and said goodbye to the professionals I’d annoyed throughout the weekend. Stopped to get my requisite picture with the Suicide Girls who I try to say hello to at every convention because as a photographer I keep hoping one of them will request my services. They directed me this time to their application site, so I might give that a go.
Now I’m back in Houston and looking to recharge by going back to work. At the comic shop. I think I might need a hobby away from my hobby.
And as the cold weather breezes into Houston about a month later than it should have, we get the first new books of November. It’s an interesting haul of titles filled with debuts and final touches. This is all very poetic and whatnot, but the truth is I’m hopped up on leftover Halloween candy and could make a bowel movement seem melodic.
AMAZING SPIDER-MAN #647 4.99
AVENGERS ACADEMY #6 2.99
BATMAN AND ROBIN #16 3.99
BOYS #48 (MR) 3.99
BUFFY VAMPIRE SLAYER #38 2.99
BULLSEYE PERFECT GAME #1 (OF 2) 3.99
CAPTAIN AMERICA MAN OUT OF TIME #1 (OF 5) 3.99
GENERATION HOPE #1 3.99
JONAH HEX #61 2.99
PUNISHER IN BLOOD #1 (OF 5) 3.99
SCARLET #3 (MR) 3.95
SECRET SIX #27 2.99
SUPERBOY #1 2.99
WOLVERINE #3 3.99
WOMEN OF MARVEL #1 3.99
YOUNG ALLIES #6 2.99
I’ve bolded the issues I will review. Which is redundant, as the reviews will now begin and you will be able to see what I have reviewed.
Here it is. The conclusion of Grant Morrison’s run on Batman & Robin before he jumps onto the new “Batman Inc.” title which should be one hell of a ride given the setup he provides for us in this issue. Morrison has been the architect of the Batman universe now for about as long as I’ve been working in comic book retail. Close to five years or so. He’s not showing any signs of slowing down anytime soon. It seems like he’s moving into the third act of his overall story with Batman Inc. The fact that his overarching story has an act-structure ties into the melodrama he’s crafted. His Batman reads like a sci-fi/action opera and it’s evident that he’s put a great deal of effort in making sure the parts all come together.
The biggest achievement that he can lay claim to in regards to his Batman ouvre is his ability to shake things up in ways that other writers have teased for the short term but never committed to in any real way. Plot twists that Morrison uses as the long-term theme of his story seem like ideas that other writers would love to pursue but only for six issues or less. Morrison seems to think that shaking things up and doing so in a way that shifts the paradigm of how Batman operates on a level that is not easily reversible is the key to telling a good story. I won’t argue that it’s made for some of the most compelling reading for quite some time.
What I really appreciate about Morrison on the Bat books is that in a few years time we’ll be able to view him as one of the better Batman showrunners in the history of the character. There aren’t many creators who leave such a lasting mark on the character that fans can easily identify. Most of the time you get the requisite Denny O’Neil or Frank Miller. Morrison is going to be the next name on the immediate go-to list when all is said and done.
Bullseye is a character who can be used to absolute perfection or to an end that simply does not work. There’s not a whole lot of middle ground when it comes to the character. He’s been front and center for so many great and memorable moments and then again he’s been wasted or misused by writers who simply want to use him in a way that doesn’t really make sense.
Here we get a story where there’s very little actual Bullseye. The story is all second-hand, but it gives us an insight into how the character operates that we don’t really see. That part that deals with how and why he picks his targets. The montage showing some of his more unique and violent kills is a perfect example of why Bullseye sometimes doesn’t work out in the hands of an unskilled writer. He’s the perfect killer. He knows he’s the perfect killer. He’s got the same problem Superman does in the sense that he’s so above and beyond the range of his peers that he can come off as boring in his superiority.
The biggest downfall of this book is that lack of Bullseye. The second hand narrative structure is interesting but ultimately unless they give us something a little more substantial it’s basically not even like reading a comic at all but reading a comic about someone who read a comic about what Bullseye did for a year. That sounds stupid, but it gives off a little of that vibe.
It’s a Captain America miniseries written by Mark Waid. I’m not going to pass that up. Seriously, I don’t care that it’s essentially a retread and that no matter how they take the story it’s essentially inconsequential because it’s one of a hundred takes on the same story because it’s such a great part of the Captain America mythos that’s being retold.
The stuff set in World War Two is pretty good. We get some fun banter between Bucky and Cap amongst some soldiers who don’t know who they are and we get some fun, if cliched, introspective moments where the two discuss what they would like to do when the war is over and the fighting is done. Of course all of this happens mere moments before Bucky gets caught in the explosion that “kills” him and Cap winds up frozen in the ice.
What really works in this issue is the dichotomy between that old world and the new one that Cap wakes up to. You really can feel how directionless and confused Steve is when confronted with a world that has grown leaps in bounds in technology and regressed equally in its brutality. The dangers of being a hero in such a world become readily apparent and the ending of the book packs quite a punch.
I think this one could be one that people regret not picking up if they let it slip under their radar because it is an excellent read. However, Marvel needs to learn that these arbitrary books aren’t going to get the same readership they would at a lower price point. $3.99 is a warning siren to a lot of consumers nowadays, even if the book is worth the cash, as this one seems to be.
They’ve been building to this one for a while. I need to begin by saying that I would have been just as happy had this been the central running plot of Uncanny X-Men or Legacy. Or hell, run it through both titles as a crossover. It would have worked just as well. This has the smell of a cash grab by throwing it out as an independant mini-series. It’s like if Marvel had done the Inferno followup they’re doing in New Mutants as a mini-series and let the ongoing title move along as if nothing happened. I think the logistics of this miniseries are flawed, and I needed to get that out of the way up front.
As to the book itself, it’s hard to tell what direction it will take. Whether the fifth “light” will be the villain for the whole of the series or if there is something more is not readily apparent. The book seems to indicate as much, but to what end they are going with the character in question is unknown.
If you haven’t been reading X-Men, this book is not very new-user friendly. All the characters have been introduced over in Uncanny, which backs up my assertion that it should have been continued there. So if you need the background, pick up the last few months of Uncanny after the end of Second Coming. That should fill in some gaps for you.
I’m hoping there’s a bigger endgame here than I’m seeing at the moment. To justify its existence, the miniseries better have one hell of a closer.
All you whiney fanboys can quit your bitching, Frank Castle is back in non-monster form to do what he’s done for the last thirty or so years. It’s still got the same gritty flair that Remender brought to the title under the Franken-Castle banner but in an easily digestible, familiar package so that frightened fans don’t feel offended by change.
The first issue feels like a classic Punisher riff, it builds upon years and years of 616 Punisher lore, with Microchip and the long feud with Jigsaw coming back into play. It feels a bit more natural than the early parts of the last volume did, as Punisher shouldn’t be anywhere near storylines that have anything to do with alien invasions. He’s at his best when the capes don’t make an appearance.
This could be the beginning of a great new chapter for the character, if Remender’s past work is any indication of what he can do with Frank now. He certainly kicked the show off with an impressive debut, so it’s his ballgame to lose. Let’s just hope he doesn’t get too inventive, or people will get frightened and claim that he’s “ruined the character again” and run to the hills like stampeding fear-cattle.
Jeff Lemire is in a position to be a hot item. Sweet Tooth is an amazing book and he’s got that good buzz to his credit as well as being hailed by just about everyone as the next big thing. With Superboy he has the chance to really let loose and show the world what he can do with the mainstream DCU characters. Superboy isn’t a sacred cow. He has a following but he has room to be molded into something more concrete. The building blocks are there, Lemire just needs to move them around.
He certainly doesn’t waste any time with this issue, utilizing a familiar old Superman villain to write some great action scenes that are drawn out spectacularly by artist Pier Gallo whose work has a very classic feel to it, which fits the Smallville setting wonderfully.
Where Lemire also garners some good will is the manner in which he sets up the supporting cast. This is the first issue, and for many new readers this is their first exposure to the character, but the interactions with the Smallville community are written in the same manner that they would be had the title been running for five years. The familiarity works. Lemire doesn’t get overly expository with everyone in the first issue. He knows that the time will come to fill people in when the moment is appropriate. He gives just enough to let the story work itself out organically and the book is better for it.
I think this one could end up being a long-running fan favorite. Let’s just hope Lemire stays on the title for a long enough time to truly leave his mark on the character, because judging from the first issue it could be quite an interesting and fun take on a character who until this point has basically been defined by his association with the Titans, his relationship to Wonder Girl or his overly violent death.
And them’s the reviews. Hope you enjoyed my ramblings. Now I’m going to finish this bowl of leftover candy and watch old episodes of the Simpsons while I work on a poetry paper for my creative writing class.
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.
People ask me why I buy certain series. For example, I picked up Freedom Fighters # 1 despite the fact that I was very vocal about how much I disliked the previous two mini-series by the same creative team. I think for this particular book it came down to three things:
1. I trust Jimmy Palmiotti and Justin Gray. They constantly hammer out great stuff and their misfires are the anomolies.
2. Phantom Lady’s Cleavage.
3. I needed review material for the dead days following Labor Day holiday.
As I told Palmiotti on Twitter earlier this morning, I disliked the previous two mini-series but this one connected better in my opinion. I stated that the main cause of that is probably that it doesn’t have ties to any event book. The first mini-series from the team spun out of Battle for Bludhaven, a book that was not that great in its own right. This one doesn’t seem to have ties to anything in the larger scheme, it’s not a Brightest Day crossover at least as far as I can tell. It’s just a superhero book that wants to do its own thing.
A few sites have complained that there is too much jammed into the issue. That the flow doesn’t feel right and that it’s compacted. I disagree completely. For 2.99, I feel this is one of the best comics for your money that DC has published in a while. Just because a book doesn’t fall into the post-Bendis decompression phenomenon doesn’t mean that it’s crammed. I think we as a fanbase have grown content with padded books that don’t live up to what can be done with the storytelling medium. Here we get a fight with superpowered neo-nazis, an asteroid threatening to destroy the earth, an alien parasite destroying a town, and a government conspiracy about the foundations of the US. None of it feels obtrusive however, because it serves to reintroduce the characters in a manner that shows that they’ve been active in the DC universe even if they weren’t getting much stage time.
I think of Freedom Fighters as sort of like a more easily accessible Doom Patrol. All of these people have something they are struggling with internally, whether it’s the Human Bomb whose troubles are pretty apparent or Black Condor who has serious emotional baggage in regards to his native American heritage, there is that internal strife that makes for intriguing characters. Unlike the Doom Patrol however, you don’t feel sorry for these characters for having to put up with an asswipe like Niles Caulder. While Uncle Sam is a hardcase, he’s no self-serving jerk. He has the weight of the nation on his shoulders, literally as his power is connected to the soul of the country, but he doesn’t come off as completely unlikeable and that’s why I really like the book; I like the characters. They’re relateable and interesting. They may not be the biggest names in the business but they’re not complete throwaways. Jimmy and Justin do a good job of infusing them with life, which I hope will sustain the title long enough to get some good stories. Unfortunately DC doesn’t seem to be pushing the book very hard, which is a shame. Then again, they don’t push Jonah Hex very hard either and that doesn’t affect its fanbase much at all. I hope the same will be able to be said for Freedom Fighters.
Man, this week has been hectic. I had to write a 2,000 word short-story for my creative writing class in addition to a two page essay on the importance of studying history as it relates to current events all on the first week of the semester. And then new comic book day rolls around and bombards me with a friggin’ huge stack of books, all of which are the ones that I eagerly anticipate every month. (Secret Six and Jonah Hex, yo.) So I’m not sure what kind of creative mojo I have left for the reviews but an attempt will be made anyhow.
AMAZING SPIDER-MAN PRESENTS BLACK CAT #3 (OF 4) 3.99
BOYS #46 (MR) 3.99
BUFFY THE VAMPIRE SLAYER #36 LAST GLEAMING PT 1 (OF 5) 2.99
CHOKER #4 (OF 6) (MR) 3.99
FRANKEN-CASTLE #20 2.99
INCREDIBLE HULKS #612 3.99
IZOMBIE #5 (MR) 2.99
JONAH HEX #59 2.99
JSA ALL STARS #10 3.99
LAST DAYS OF AMERICAN CRIME #3 (OF 3) A CVR MALEEV 4.99
SCARLET #2 3.95
SECRET SIX #25 2.99
SHADOWLAND #3 (OF 5) SL 3.99
SHADOWLAND ELEKTRA #1 SL 3.99
STUMPTOWN #4 (OF 4) (RES) (MR) 3.99
VERONICA #202 2.99
WOLVERINE #1 3.99
X-MEN CURSE OF MUTANTS SMOKE AND BLOOD #1 3.99
YOUNG ALLIES #4 2.99
So, yeah, lots of good stuff. Let’s get started, shall we?
It’s been months since the last issue of BTVS hit shelves. So long in fact that I cannot remember for the life of me what the hell was going on in the series at the time. I remember Spike came back and Angel was boffing Buffy again. But that’s really about it. I understand why they went on hiatus, but it really caused me to lose interest in the series while it was away. With its return this issue, we get a sort of hazy explaination for Angel’s motives as Twilight and Spike makes with the witty banter for a few panels, but not much else happens. It’s probably the quickest issue of any comic book I’ve read in quite some time, which is saying something considering I still read Archie books on occaision and that sort of light-hearted fluff still takes longer to digest than this particular issue.
I will say that the book’s final page did surprise me, although it probably shouldn’t have. It’s sort of a “pandering to the fans” move that comics like this one pull on a regular basis, that having been said, I’m interested to see where Joss goes with it. I’m still a Buffy fan at heart and no matter how blah the book has been over the last few months it’s still got the nostalgia bump going for it that forces me to see past the major flaws and enjoy it for all its worth. I don’t know how much mileage anyone else would get out of the book, but I doubt there are many people out there who aren’t already die-hard fans picking up the book on a casual basis. This book is for the people who stuck with the show to the end and then some.
We get a title change this issue, and a major tone shift from the events of World War Hulks. In the first of two stories, a gamma-family barbeque goes haywire when Betty and Bruce get into a little disagreement over their relationship as it relates to the whole “Betty Was Dead” thing and it escalates, as it always does, into a super-powered fight between Hulk and Red Shulkie.
I think what sets this book apart from Loeb’s Hulk book is that if the same scenes were tackled in the other book, the character development which is handled so masterfully here would have been lost in the manic insanity of the action. Hulk reads like a cartoon show while Pak’s reads more like a melodramatic stage play. I’m not going to call this issue high-art, as it doesn’t come close to matching issue #609, which I think might have been one of the best issues of Hulk I’ve ever read. But it still works on multiple levels because of the way the interactions feel so genuine. I really look forward to seeing how the multiple Hulks come to terms with each other.
In the second story, we catch up with the other Son of Hulk, who I admittedly have not been following and thus didn’t really understand where everything was coming from. They did their best to catch me up but I still felt a bit lost and I think that more people will enjoy the second story if they followed that character from the beginning, which I admittedly did not. I really didn’t care. I might have to find some Son of Hulk trades and get myself up to speed, because the mythology seemed interesting, I just wish I could have grasped it a little better.
Even if this weren’t a pretty good issue, it would be essential reading just so people could understand where the hell Elektra comes from when she shows up out of the blue in Shadowland # 3. I get the feeling that Shadowland might have a bit of Infinite Crisis syndrome when collected in trade unless they do it omnibus style and present all the side-stories in the collection in chronological order.
This one fills in some important gaps in the timeline while at the same time giving a damn interesting glimpse into Elektra’s mind and her feelings about Matt’s turn to the dark side, especially as it pertains to the death of Bullseye. As you can imagine, Elektra has some pretty raging emotions when it comes to that particular psycho, and the scene where she witnesses his death on a big screen in the heart of the city with the rest of the natives is particularly well written.
I am really enjoying Shadowland, but I think that in order to fully enjoy it you have to immerse yourselves in the tie-ins, and that’s something not a lot of people can do. It’s part of my complaint about Marvel’s business strategy. I know it makes them money, but in the long run they are going to burn folks out if this continues in such a fashion.
People have been talking about this one for a while now and I think it’s kind of funny. There’s nothing here that could possible offend anybody and yet neo-con right wingers are using it as an example of how the liberals are infecting children’s entertainment and trying to brainwash children to homosexuality and blah blah blah.
The fact that in this book the new gay character who Veronica lusts after is a well-adjusted healthy young man is admirable. His parents don’t in any way give him the side-eye, nobody bats an eye when he admits his sexual orientation, and there is not a hint of judgment. It’s a subtle message that tolerance should be the immediate reaction, and in that I have to applaud Archie comics for what it’s done here. Nevermind the fact that the issue is actually pretty freaking hilarious, with Jughead trying to keep Veronica from finding out the truth and thus driving her insane. There are some great gags here and I think it’s admirable that Archie can still be worth reading after all these years.
I wasn’t going to buy this one. I was going to pass it by and not look back. I read Wolverine in like eighteen other books and quite frankly I don’t really have much interest in him anymore. But then I started thinking about how much I enjoyed Weapon X and how Jason Aaron has never really written anything I didn’t like, and so I threw it on the stack anyway.
I’m glad I did because he once again manages to knock it out of the park. I think that for the longest time most people didn’t know what made a decent solo Wolverine story. They simply tried to ape the parts of stories that they themselves liked when the first became enamored with the character and it never quite worked. Aaron is able to create something that builds off of Wolverine’s over-arching history while at the same time feeling fresh and modern. The amazingly beautiful art by Renato Guedes only serves to better bring the action to life. I’ve loved Guedes since I discovered his art on Supergirl and think he’s one of the most talented artists working right now. The level of detail he gives is astounding and here he sort of reminds me of Steve McNiven, but that might just be my mind playing tricks on me.
Either way this looks like it’ll be a series to keep on the pull list. I don’t see this one taking a downward turn anytime soon. If it’s anything like Weapon X was, it’ll only get better with each subsequent arc.
And that’s it for this week. If you take away anything from these reviews its that you should probably be buying more Archie comics. Seriously. That stuff is a gold mine.
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.
I had a horrible night last night. Like, soul crushingly horrible. I was crestfallen and engulfed by rage. I ripped the towel rack out of the wall in the bathroom and punched a wall. Luckily, all of this happened after I read this week’s comics because I’m sure my feelings would have tainted my reading experience. Maybe they’ll hamper my reviewing experience but I can’t say for sure. You’ll have to judge that.
AMAZING SPIDER-MAN #636 GRIM 3.99
BATMAN AND ROBIN #13 2.99
BATMAN ODYSSEY #1 (OF 6) 3.99
BOYS #44 (MR) 3.99
IRON MAN LEGACY #4 2.99
JONAH HEX #57 2.99
JSA ALL STARS #8 3.99
SCARLET #1 (MR) 3.95
SECRET SIX #23 2.99
SHADOWLAND #1 (OF 5) SL 3.99
STEVE ROGERS SUPER-SOLDIER #1 (OF 4) 3.99
X-FORCE #28 XSC 2.99
X-MEN #1 3.99
YOUNG ALLIES #2 2.99
Now let’s get to it…
BATMAN AND ROBIN # 13
Yeah, Grant Morrison may have written his best issue of Batman yet. Everything that he has laid the groundwork for comes to a head in this issue. Morrison is not a fool, nor has he done anything that didn’t have a point. All the attention to detail that has gone into creating a tapestry of different plot threads that all reveal themselves in this issue.
I explained to people when it was finished that Batman RIP was not a self contained story. Everyone looked at it like a graphic novel in and of itself, this simply isn’t the best way to view the story. It’s a chapter in the overall story the same way that The Black Glove or Batman and Son were. It all is a piece of the puzzle that Morrison has presented. The events of this issue would not have worked without the events of RIP.
Morrison is doing some of the best Batman work of all time, and it’s not a gimmick. It’s not like Dark Knight Returns where it has no real bearing on the character aside from what writers choose to take from the message. This is a book that takes major risk on a monthly basis, in continuity. It’s not easy to do stuff like that and get away with it. Fanboys do not like change. And while we know that the status quo will eventually return, it will be changed by the events of this book in a manner that will almost be undetectable. After a run like Morrison’s, it will be hard to accept anything less than what he has delivered. It’s why what came after Hush was so rejected. Not that Hush is anywhere in the league of what Morrison is doing, but it hooked readers in and it had people looking for things that weren’t there in an attempt to keep up with the writer’s pace.
Seriously, I would rank Morrison as one of the best Bat writers of the last twenty years thanks solely to what he has done since launching Batman and Robin as a title. This is just another direct example I can point to when people ask me why.
BATMAN ODYSSEY # 1
This was probably my most anticipated book this week. I adore Neal Adams. I think he is the definitive Batman artist, alongside Jim Aparo of course. That having been said, I have never been exposed to anything that he has done as a writer. He may be one of the greatest artists ever to work in the comic business but as a writer, he’s largely a blank slate as far as I can tell. With the first issue of Odyssey, we can see that his writing style is clearly influenced by the writers he worked with back in the glory days of the dark knight. There is a little Denny O’Neil in his wordsmithery. I’ll admit that alot of the dialog seemed forced, and the flow of certain word balloons was distracting, but then again, that can be said of alot of comic books nowadays. I think it was just more noticeable because I was aware of the fact that Adams was writing for his own pen. I saw the same stuff on Tony Daniel’s work on the main Bat title.
Is the book good, though? That’s the main question that needs answering I suppose, and it is a decent little Batman yarn. The art is great, as if it needed to be said. I think the thing that strikes me is that it’s clearly a tale set in Batman’s past, though I can’t place where. I would have loved to see Adams write a contemporary Batman. I’m sure that would have sold better than a mini-series, as I can see a bunch of people trade waiting on this one. I won’t, because I want to support Adams in whatever he does, but I think from a marketing standpoint they may have stumbled a bit.
Still, no matter how you read it, you shouldn’t be disappointed.
THE BOYS # 44
So we finally get the moment we’ve known was going to happen since early on in the series. The only problem is that Garth Ennis gives it to us in the last panel so we have to wait a month to see the aftermath. Fuck you, Garth. Your mastery of toying with your audience is unparalleled.
Seriously, Ennis knows exactly when to drop the necessary bomb on the readers. He’s been escalating things for months now and everything is coming to a boil. I think the fact that Ennis stated when he began that the series would be finite with a pre-established ending helps to inform the reader that the pacing is deliberate. There are moments where the book comes close to seeming dull and then the veil is removed to show us something we didn’t expect.
This is definitely some of Ennis’ best work. I say that with conviction. I find it on par with his Hitman run and a shade close to matching some of the stuff he did on Preacher. The reason people don’t latch on to this book the way they did with Preacher is that The Boys isn’t as broad as Preacher was. Ennis knew that he could stir up controversy with the tiniest flair on Preacher. With the Boys he’s not really seeking to offend, but to play with heroes in a way that makes a statement on how he feels about the world in general. I don’t believe that Ennis believed everything he did in Preacher but I’m almost sure he does when it comes to The Boys.
SCARLET # 1
I think the easiest way to describe Scarlet is that Bendis has written what Millar wishes he could have with Nemesis. We get a violent subversive anti-hero protagonist who is introduced in the middle of murdering a cop and who is clearly willing to upset the system in any way she can. But unlike Millar who goes broad stroke in every manner imaginable, Bendis prefers to focus on the character first rather than the spectacle of the character’s actions. I think that the narrating directly to reader helps to facilitate this. Nemesis blows up a train to make a point and I felt nothing except dirty because the book wants me to view his actions as extreme with a measure of awesome, whereas when Scarlet chokes out a cop the gut reaction I had was one of knowing there was probably a reason for it beyond “here’s a villain.”
Bendis knows his storytelling. If he didn’t he wouldn’t be teaching classes about it at the collegiate level. It all comes down to whether you like his style. If you enjoy his work on Goldfish, Jinx, or the Powers books, you’ll probably enjoy this one. But there will be a number of people who hate it without reading it just because it has Bendis’ name on it.
SHADOWLAND # 1
This is gonna be a good one folks. Daredevil has been on a tear for years and finally he’s getting the spotlight he deserves. Each successive writer on the title has been outdoing the last since Bendis took over the book and we’ve finally reached a place where the boiling point has been hit.
Writer Andy Diggle has taken Matt Murdock to a place that we never really could have expected. It’s a shocking turn to see him in charge of the Hand, but at the same time the events that led to where Matt has ended up in no way work against what has developed. Normally, you would think there would be no way Matt Murdock would become the leader of the Hand. It just goes against everything that Daredevil has fought for, but the way that it’s been set up makes you feel like if it didn’t work out this way, it would be a cop out.
As for the issue itself, let’s just say that you know how it’s going to end a few pages in but you don’t care because you want to see it happen and you know that the ensuing shitstorm will be an amazing story. Simply put, it does not disappoint in any department. It’s an event book done right and I cannot wait for the second issue.
X-MEN # 1
I don’t know Vic Gischler personally. He bought a Lady Deadpool poster from my store on the one day that week I wasn’t at work. We banter about really dumb shit on twitter from time to time and that’s about it. So don’t think there’s some conspiracy when I praise his work on a regular basis. He just happens to write stuff that I think is really good. If I can ever find a damned copy, I’d like to review his book The Deputy but none of the local bookstores carry it and I don’t feel like ordering anything else off of the internet until I pay off my latest Amazon bill.
Anyway, yeah, X-Men # 1 is pretty good. It’s got Jubilee, so you know I’m going to like it. But it also isn’t the unending doom and gloom that’s taking place in every other title, and while Second Coming has been awesome thus far, it’s also starting to wear me down with it’s unending bleakness. It’s almost too much to take sometimes. So it’s a welcome change just to get Wolverine slashing apart a bunch of vampires. It’s just the sort of thing I want in an X-Men title right now. Problems solved with claws and laser eyes.
And Jubilee. I freaking love Jubilee.
And we’re done. I’ll be back tomorrow with a review of Predators.
Here’s a caveat that I feel needs to be introduced early on into the review before I really get into the meat and potatoes of the critique; I enjoy bad movies. My taste is somewhat questionable because I love stuff that ranges from high art to utter dreck. That having been said, even a bad movie has to have certain things going for it that transcend whatever it is that makes the mainstream reject it in the first place and therefore allow it to meet the criteria of ironic enjoyment. There are unending caches of horror films that are only enjoyable because of their incompetent nature. How many people watch the films of Ed Wood simply because of how shoddy they were? There’s nothing wrong with a good bad movie.
Jonah Hex was never going to be high art. We were lucky enough to get a Batman film that saw itself as a finely crafted film first and a comic adaptation second, that used up all the good will we were gonna get for a long while. The off-kilter characters that don’t have a mainstream following, ie. Jonah Hex, The Spirit, etc. are going to have trouble being taken seriously by anybody but the die-hard fans. The studios don’t understand them, the mainstream audience doesn’t understand them and more often than not, the people working on the film don’t understand them.
With Jonah Hex, we get a film that has production values that frankly seem a bit out of place when it comes to what’s put on screen. The environments and set pieces, when not underlit in times of darkness, are all vibrant and don’t look like cheap shoddily built props. The movie doesn’t look like it was shot by amateurs and so the film looks good. My contention is that it really looks too good.
The story and the broadside anti-subtlety of the actors performing their parts make me feel like they should have shot this thing and made it look like a straight-up spaghetti western in the style of Django or A Fistful of Dollars. I think if the producers of the film had tried to go for more camp they might have picked up more people coming in to see the film. Though most people won’t admit it, everybody enjoys a bad movie now and again. The problem was that everyone went into this film with their serious face on and rather than coming off as fun it tends to seem like a missed opportunity. Josh Brolin brings a lot of gritty charm to Jonah but everyone else, aside from maybe Michael Fassbender, just seem to be going through the motions. Imagine if Malkovich could have really poured on the ham. What if we could have gotten another Con-Air style performance out of him?
Even the supernatural elements wouldn’t have seemed so out of place if the tone of the film hadn’t been so serious. The best thing that could have happened to this movie would have been a direct edict to go over-the-top with no restriction and they really should have kept the previously rumoured “zombie confederate army” plotline that got mentioned so much in the early stages of development. Hex talking to the dead would have made a lot more sense if the central plot of the film revolved around the resurrection of the dead. Instead he has supernatural powers for no real reason and Turnbull wants to blow up Washington with a cannon that shoots Dragon Balls.
I actually enjoyed the movie, I thought it was a pretty middle-of-the road actioner and that Josh Brolin did a damn fine job as Hex. But it really is a silly little movie that is hampered by it’s reluctance to admit its own ridiculousness. I won’t bother mentioning the plot holes, or the choppy storytelling, or Megan Fox’s accent. Those things are self evident. I’m just saddened that we couldn’t have gotten something unique and special out of Jonah Hex. Instead we get a spiritual cousin to Will Smiths’ Wild Wild West. The tone is almost identical. The “wtf” factor of the villain’s plan is almost identical, and neither of them seemed to care much about catering to the hopes of the original fans.
I won’t say that I hated it, but I won’t admit it wasn’t a dissapointment either.
Ladies and gentlemen, I drank a 1/2 gallon of Gatorade yesterday. I am more hydrated than I have been in my entire life and I’m pretty sure my brain is suffering because of it. So small talk be damned, it’s review time.
AVENGERS PRIME #1 (OF 5) HA 3.99
FRANKEN-CASTLE #17 2.99
HAWKEYE & MOCKINGBIRD #1 HA 3.99
IZOMBIE #2 (MR) 2.99
JONAH HEX NO WAY BACK HC 19.99
JSA ALL STARS #7 3.99
JUSTICE SOCIETY OF AMERICA #39 2.99
SERENITY FLOAT OUT ONE SHOT #1 FRANK STOCKTON CVR 3.5
THANOS IMPERATIVE #1 (OF 6) 3.99
Stand back, I’m prepared to do criticism!
I wasn’t going to pick this one up at all but got suckered into it by Alan Davis’ pretty pretty drawerings. I don’t have much to say about the writing, because it’s typical Bendis fare; but it’s good Bendis fare, as we get some good cathartic character interaction between Tony and Steve that really needed to happen before the whole Heroic Age could take off. While the book seems to be heralded as the reunited Avengers back together for the first time since the Disassembled disaster, they actually spend most of the book’s length separated, which works in establishing what this series will focus on, as it’s definitely tied heavier to Thor than either of the other big three.
I don’t think that this book is truly in any way essential, other than the character interactions between Steve and Tony which could have easily been done in the opening pages of the mainline Avengers book. This is mostly an exercise in capitalism. It’s a cash grab, honestly. But it’s a well written and superbly drawn cashgrab, which is more than I can say for some other recent attempts.
I will be honest and say that I don’t know too much about Hawkeye and Mockingbird’s backstory. The entirety of my knowlege is made up by what was presented in this introductory issue. I enjoyed what was presented but I don’t have the emotional attachment to these characters the way some people do. I will say that from what I saw on the page, this series could be an interesting one as the dynamic and the setup is different from just about every other Marvel b0ok out there right now. It’s a team book without being a team book. The group of specialists that Hawkeye and Mockingbird run with in this book, including none other than Dominic Fortune, give off a dynamic not unlike Birds of Prey, which doesn’t bode well for the inevitable Green Arrow/Black Canary comparisons that are bound to stick with the book despite being much better written than that book ever could have hoped as well as establishing itself as a lynchpin in the Avengers universe.
Hawkeye, despite the fact that I haven’t had much exposure to him, is central to the Avengers dynamic. He’s as attached to Steve Rogers at this point as the Falcon is, and they play on that well in this issue. I think that this series will serve as a nice companion piece to the new Avengers-centric Marvel Universe. I just hope it doesn’t get hamstrung by the fact that Hawkeye is, let’s be honest, a 2nd tier character and series built around those tend to have fairly limited runs. Like Hawkeye’s own series that lasted about twelve issues before getting shut down so he could die in Avengers Dissassembled.
I stopped following the monthly exploits of Jonah Hex about twelve issues back. I just had to find some room to trim on the pull list and I switched it over to trades. But when this came along I had to pick it up because I’m a sucker for original graphic novels. This one is very well done, and feels like the monthly series but with the dial turned up to eleven. Honestly, this feels like what the movie should be. It’s a taut western tale that adheres to and embraces alot of the western tropes and devices, while seeming decidedly modern in it’s raw narrative structure and effectively blunt depictions of violence in the old west.
I’ll say that if you wanted mass market appeal for the character in the weeks leading up to his theatrical debut, you could have gone with an artist that is more easily palatable to the everyday reader, but Tony DeZuniga’s sketchy style fits the character well. He’s done some amazing work on some of my favorite characters, and while I think his style is a good fit for the narrative, some complaints about his artwork are bound to arise.
What I liked most about this book was really how it appeals to any and all Jonah Hex readers. Newbies get a pseudo-origin story and can jump right into the action with no real trouble at all, while old fans will undoubtedly love it for how well it stays in line with what’s come before. It hits all the notes it needs to and then some.
And that’s it for this week. I’m going to focus my attention on these scrumtious extra crispy strips from KFC that I’ve picked up for lunch. They are just aces, and they won’t immediately put you into a death coma like a DoubleDown will. So, that’s just a check in the plus column.
Yesterday I did a little post about the creative shift on Power Girl, a book which I alone seem to be reading. That got me thinking about books that REALLY need to be getting some more attention. I thought I’d provide a public service by putting together a list of such books, in the hopes that you might put down that Avengers title long enough to read something a little different.
# 1 : POWER GIRL
This seems like the logical point at which to begin, considering that this is the title that spawned the list in the first place. The book is one of the best being published by DC at the moment and I’m not just saying that because of the boob jokes. I mean, yeah, they’re awesome. But the minute details thrown in to the characterization makes for a rich read without being too unwieldy. It’s not saddled with continuity, despite being about a character with the most convoluted history this side of Donna Troy.
I enjoy reading this book more than just about any other book out there, because the intent of the narrative seems to be to entertain rather than to advance some company-wide initiative or other such drollery. The book is able to stand on its own merit which is something a lot of titles nowadays seem to lack.
2: JONAH HEX
A western book that pushes the boundaries of what can be done in a book that doesn’t have the Vertigo banner on the cover. This is a gritty book with sharp writing and intensive art that doesn’t fit into any mold whatsoever. No other current western book has this kind of feel. Granted, there aren’t that many other western books, but in that short category, Jonah Hex is the obvious winner.
3: BOOSTER GOLD
I feel the same way about this book as I do about Power Girl. It’s one of the most entertaining books being published at the moment. Unlike Power Girl however, this book thrives on continuity. This is for the true geek out there, the one who has read every DC mega event of the last thirty years and loves alternative history books. This is for the true DC aficionado. And at the same time, it’s a great way for the newbie to learn about those same events without diving in head first. That’s the charm of Booster Gold; it’s a double edged sword of awesome.
4: SECRET SIX
No book on the market can merge dark subject matter and gallows humor into such a fun book. Gail Simone really does have an outstanding talent for creating something unlike anything else on the stands on a month by month basis. It’s no wonder that this book seems to inspire such amazing fan loyalty. And not just to the book itself or to the writer, but to the individual characters. Everybody has their favorite, and they will fight to the death over said character’s value and worth to the DC Universe at large.
Too late on this one, as the final issue just hit stands. You missed the boat on this one. But when that trade hits stands, I’m begging you to pick it up. As a bridge between the Dark Reign events and the cosmic universe being run by Abnett and Lanning, this is one of the most unique titles that Marvel published this year. It really is worth giving a read.
So if you get a chance, give those titles a try. Diversification, people. It’s important. Or else soon everything published will be an Avengers book by Bendis, and then I’ll have to punch myself repeatedly into a coma.*
*Please note that I enjoy Bendis’ Avengers titles but if you have steak day after day after day, eventually you’ll get tired of steak.
Apparently, Marvel Comics has decided that it wanted to hurt me in some way and they couldn’t decide between kicking me directly in the narbles with a steel-toed shoe or cancelling one of my favorite books. I’m pretty sure they decided on cancellation based solely on the fact that they couldn’t find a shoe in the appropriate size at a reasonable cost.
And thus, S.W.O.R.D., a title that I have wholly enjoyed for all of three issues, is slated to get the axe at issue 5. Of course, the inevitable campaign to save the book has already begun, this time spear-headed by NerderyBlog, but very seldom do such programs work out, especially for books that have just launched and represent, for Marvel anyway, a miniscule investment with only marginal returns.
That having been said, Marvel seems to be on a path to cancel-happy wonderland. This is disheartening because, working in a comic shop as well as being a long time obsessive reader, I know how people react to new series in the first place.
“It’ll probably get cancelled, I’ll just get the trade.”
Do you know how many times I hear that when Marvel launches a new series? About as often as my brother heard me call him a worthless idiot during the course of our childhood. (That’s alot.) This mindset is not good for business in any way, shape or form, because now Marvel isn’t even letting the first trade hit stands to guage whether or not they should keep the book afloat. It’s not like over at DC where, and this is one of the few things they really got right, books like Jonah Hex continue monthly publication based off of the strength of the trades. Hell, from what I understand the entire Vertigo line is based off of this principle.
So why then does Marvel seem compelled to cut their losses at the earliest sign of reader slippage? I think that following the Disney merger, Marvel is trying to maintain a tight publishing organization that shows sizeable profits for everything they publish. This would explain why Super Hero Squad was recently relaunched for almost no discernable reason whatsoever, as well as the re-launch/re-branding of the Avengers titles coming after the end of SIEGE in April.
The problem with this strategum is that as readers, we will inevitably come to believe that Marvel as a publishing house has no fresh ideas, because in the end they will stop putting them on the stands. If they can’t make a profit off of them, why would they? This is just as much a call to arms for consumers as it is for the publisher. I know it’s asking a lot in this economy, but if you can stomach an extra 3 bucks a month, put it toward a title that you normally wouldn’t try. Just to show Marvel that we DO want creative and diverse titles on the rack. Yes, we will all still buy New Avengers and whatever event book they’ve put Bendis on at the moment, but we also want the books that are cut from a different cloth. And I would think Beast joining an agency that prevents extra-terrestrial warfare to be closer to his green-haired alien girlfriend would qualify as being cut from a different cloth.
R.I.P. S.W.O.R.D., I will certainly miss you. (Until the re-launch, or last minute un-cancelation, or return as a backup, or whatever they end up doing.)