I’m not even gonna lie, folks. Yesterday I was on the verge of lashing out at anybody who looked at me the wrong way. Some people said some things that I felt were highly disrespectful, and then they followed up on that by asking me to go out of my way to do something that I am not actually able to do without significant time spent doing so. Why would I do this when I don’t get treated with any measure of respect in the course of my regular comings and goings? All I can say is that luckily the day was salvaged by a date with a beautiful girl and a stack of mostly excellent comics.
Yesterday was really the kind of day that comics were invented for. I was in a foul mood, the rain outside was just nasty, nothing was on TV; it was just a day meant to be ended laying on the couch reading about super powered people in bright costumes punching bad guys in the face. Honestly, yesterday would have been almost a total down note if it weren’t for my weekly pull.
ACTION COMICS #890 3.99
ASTONISHING X-MEN #34 2.99
BATMAN BEYOND #1 (OF 6) 2.99
CAPTAIN AMERICA #607 HA 3.99
DEADPOOL TEAM-UP #892 2.99
DEATH OF DRACULA ONE-SHOT 3.99
FLASH #3 (BRIGHTEST DAY) 2.99
GOTHAM CITY SIRENS #13 2.99
HERALDS #5 (OF 5) 2.99
INVINCIBLE IRON MAN ANNUAL #1 4.99
JUSTICE LEAGUE OF AMERICA #46 (BRIGHTEST DAY) 3.99
JUSTICE SOCIETY OF AMERICA #40 2.99
SECRET AVENGERS #2 HA 3.99
THOR #611 HA 3.99
WONDER WOMAN #600 (NOTE PRICE) 4.99
And now that my personal bitching is out of the way, let’s do this shit.
Lex Luthor takes over the protagonist duties on Action Comics this week, with former Captain Britain and Doctor Who writer Paul Cornell taking the reigns and bringing us a story that spills directly out of Blackest Night, which most of my readers will recall me as christening a “steaming pile of Geoff John’s diaretic feces” or something similar. And while my feelings on that particularly shoddy mini-series haven’t changed, the fallout here with Luthor, whose power hungry ego was out of control before he got ahold of an orange ring, is actually intriguing and well plotted. I attribute this mostly to the fact that Luthor is one of the better multi-faceted villains DC has at their disposal. I mean, the Joker has a lot of different degrees of crazy he can go in, but he’s still going to be the Joker. With Lex we can get mad scientist Lex or evil industrialist Lex or actually-not-evil Lex, his lack of true definition isn’t a fault of the writers it’s a byproduct of his psyche as a character. Luthor truly does not know what he wants to be. Really, he just doesn’t want to be Superman, despite what Geoff Johns would have you believe.
This particular issue knocks it out of the park as far as I’m concerned. The story is obvious setup, where we learn of Luthor’s plan to quest for the rings (which sounds a little more Tolkien-esque than I thought when I typed that out). But while it’s definitely an issue meant to catch up readers who may be jumping on board as well as giving us a clear direction for where the title is headed, we also get Cornell’s Luthor clearly defined in the span of one issue. We know which Luthor we’re going to be getting. Cornell writes a very compelling Luthor, with his actions making complete sense in the context of who we’re dealing with. The way he treats Lois in this issue (probably my favorite aspect of the series thus far) is probably as good a gauge of character as we’ll ever see.
Oh, and the surprise reveal of the villain at the end made me squee, because he’s a personal favorite and I’ve been waiting for him to pop back up for a while now. But that’s just personal bias.
I only vaguely remember Batman Beyond as a show. I mean, I watched it because I was young and there wasn’t much else on but I didn’t latch onto it the way that I did with Batman The Animated Series. Chris Sims over at ComicsAlliance said that he enjoyed the show because it was basically Batman meshed with Spider-Man but set in the future. I agree wholeheartedly with that assessment. The character is more Spidey than Bats most of the time, and I think that’s an interesting dynamic but it was never something that hooked me. I mean, if I want to watch Spider-Man I’ll go watch Spider-Man. Batman has a specific style and tone that I identify with and Batman Beyond didn’t really hit that note for me.
That having been said, I felt compelled to pick up the first issue of the mini-series because I’ll be damned if I’m not going to at least give it a fair shake to make me a convert. I won’t say that it has, but I think that is because a lot of what did make the show work in terms of style was lost when translated with it’s adaptation to a different medium. I think that regular fans will enjoy it more than I did because they’ll just be happy to see Terry McGinnis back in some form.
I will say that Beechen gets kudos for surprising me with the villain, if they do in fact go where they suggest at the end of the issue. He’s not my favorite villain by any means, in fact I hate the living hell out of the story that introduced him while a lot of people hold it up as some paragon of Batman lore, but given that this is an alternate reality maybe they can fix him in some small degree, although any progress made won’t resonate in the regular titles and so I’ll likely end up dissapointed either way. As you can tell, I am still harboring some residual pessimissm left over from yesterday.
Spoiler Alert – Dracula dies in this issue. Yeah, I know some people will actually complain that I mention that. Despite having the central premise of the book right there in the title. Though Marvel has thrown swerveballs at us in regards to titles and events and covers that bely my point, but this is my blog so deal with it.
Anyhow, all I have to say about this issue is that it is a damn fine little vampire story that follows the logic and style I prefer in my vampire fiction. I was hoping for a Blade cameo, but no such luck, this one is all about the fanged dudes. The clear definition that Gischler gives to the vampire sects is refreshing rather than having a catch-all group of undead with no real regard to locale or backstory. I particularly liked the hot dominatrix female vampire sect. (The fact that I almost typed that as “Sext” seals the deal. Hot vampires for the win. Good job Gisch!)
I have to appreciate Marvel’s recent revival of their vampire community. The upcoming trade reprints of Tomb of Dracula have me positively giddy as I can finally replace my Essentials. Cornell’s Vampire State arc of Captain Britain was phenomenal and every time I see a copy at the shop I get really angry that the book got cancelled because it truly was a gem. But luckily Marvel has good, talented writers like Gischler handling their vampires because they seem to understand what makes them work. Vampires are supposed to be creatures of horror. There is a lamentation in the book that humans don’t fear vampires the way they should, despite being creatures of fear by nature. And that’s the crux of this. There is a regal fearsomeness to the vampires presented in this issue. I want to thank Vic Gischler for righting the wrongs brought on by vampires like this:
Yeah, seriously. Read Death of Dracula. It’s not lame.
First, let me state how awesome it is that Matt Fraction was able to throw in a nod to Immortal Iron Fist in this annual. I think that was wicked awesome, especially for those of us who loved that book unconditionally. I will say that for the five bucks I paid to pick up this book, I got about as much content as your average trade paperback. Fraction knows how to give his readers bang for their buck, and here we got an interesting look at the life story of the Mandarin through the eyes of the director he shanghai’d to film his biopic. It’s filled with fabrications and lies mixed with fact. Kind of like a White House press conference (BA-ZING!).
It’s a hefty book, with a sprawling story that weaves itself around Iron Man without ever being about him. Which is both a good and a bad thing I suppose. I did like how Fraction essentially updated Tony’s origin to mirror the one in the film, with the terror sect from the first movie being utilized and the escape sequence recreated almost identically. We knew it was going to happen eventually, I’m just glad it was done in a way that was organic and didn’t feel forced. Like some stupid mini-series launched simply to cash in on the movie. I get tired of that. Quickly.
This annual has a lot going for it the way that Action Comics did. We get a character who is well known but not defined in any real manner. Fraction plays with that a bit to create a character who is defined by the smokescreen created by his own illusionary presence. The Mandarin is a villain who needed an issue like this to give us a reason to care about his existence. I can’t wait to see what Fraction does with the character in the pages of the book proper.
Christ on a cracker, Robinson. You’re killing me here.
JLA has turned into a solid gold turd. I mean, it started off pretty bad with Meltzer, and McDuffie’s run was a mediocre bore, but now it’s just a walking joke. Bagley’s pencils are great and all but they cannot salvage this dreck. It’s poorly written, poorly plotted, and doesn’t feel like a JLA book at all to me. There’s none of the gravitas of Morrison or Waid’s run, and none of the fun that was so prevalant in the cartoon. JLA is supposed to be big and bombastic, it’s supposed to be all that’s great about the DC characters in one book but instead I find myself reading this issue and wondering how anyone could enjoy it. It’s full of faux importance but everything rings hollow. If it weren’t crossing over with JSA, which I’m loving, I never would have put money down on this title. It’s sad to see how far Robinson has fallen since Starman, it really is.
All anyone is talking about is that damned costume redesign. Which basically confirms my suspicions that Wonder Woman is more an image than a catalyst for stories. She’s a fetishized figure that hearkens to teenage masturbatory fantasies whose value as a character is largely ignored. I personally liked every little story in the book, with my favorite of course being the one by Amanda Conner, who may be the most talented working artist around. I mean, come on. You have Power Girl and Wonder Woman teaming up to punch a giant walking egg. Don’t tell me that’s not great!
But all the coverage of this milestone issue has been about the damned costume. It only appears for one of the five stories in the issue and that seems to be the only thing that every article I’ve read since the beginning of this week has focused on. Not the fact that Gail Simone teamed up with George Perez to tell a Wonder Woman story that builds on years of Diana’s legacy for a truly genuine story. One that demonstrates how just about every other female character in the DCU is beholden to Wonder Woman in some way, shape or form. Whether in the context of their existence in the mainstream DCU or in a meta-textual manner that references the way Diana trailblazed female heroes, that story spoke volumes. And it made the message while she was wearing the classic costume. If there is anything wrong with that costume it’s simply that George Perez can’t draw every issue of Wonder Woman as well as her every appearance in every DC book. Between Gail and George’s enormous talent, their worst work would be better than the best work of some other talented creators. I stand by that firmly.
Of the Trinity’s anniversary issues, this one was probably the strongest. There was a respect to the character that was lacking in Superman’s, like the point of Superman 700 was to expose the flaws of Superman and somehow right them. Which felt a little like arrogance on the part of Stracynski. With Wonder Woman, he’s also trying to revise her and bring her some place new. But he didn’t do it at the expense of saying “your personality is wrong, this shall be fixed.”
Still not sold on him as the ongoing writer, but this issue was solid. I just wish people could see the reason why.
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.
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.
Hey, guess what? I read some books! Just like last week? Aren’t I unpredictable? But seriously folks, I got my books yesterday, though about six hours later than usual so I actually stayed up late reading comic books to ensure that I would be able to get this post up in a reasonably timely manner. You guys should send me a gift basket.
AMAZING SPIDER-MAN #622 GNTLT 3.99
AVENGERS INITIATIVE #33 SIEGE 2.99
BATMAN AND ROBIN #9 2.99
BLACK LANTERN GREEN ARROW #30 (BLACKEST NIGHT) 3.99
BLACKEST NIGHT #7 3.99
BLACKEST NIGHT JSA #3 (OF 3) 2.99
CAPTAIN SWING #1 (OF 4) 3.99
CHOKER #1 (MR) 3.99
DARK WOLVERINE #83 SIEGE 2.99
DEADPOOL #20 2.99
FALL OF HULKS RED HULK #2 (OF 4) FOH 3.99
FANTASTIC FOUR #576 2.99
GI JOE TP VOL 02 19.99
GOTHAM CITY SIRENS #9 2.99
JUSTICE SOCIETY OF AMERICA #36 (C: 1-0-0) 2.99
MS MARVEL #50 3.99
NEW AVENGERS #62 SIEGE 3.99
SUPERMAN #697 2.99
THOR #607 SIEGE 2.99
TRANSFORMERS ONGOING #4 3.99
WONDER WOMAN #41 2.99
X-FACTOR #202 2.99
X-MEN LEGACY #233 XN 2.99
That’s a pretty healthy haul. So what did I think?
For the last few week’s I’ve really been boosting up ASM as a book. I think it’s been consistantly good and that the naysayers have been blinded by their own biases. This issue however is a bit of a mixed bag, in that the lead story with Morbius is actually quite fun if a tad on the light side, not actually being full length and thus appearing somewhat rushed, while the second story with Flash Thompson is just sort of a discombobulated mess.
I am willing to bet that the secondary tale is in there because they need to quickly set up Flash’s new status quo for when he inevitably comes back into the fold of the supporting cast on a regular basis. It feels like the writing team’s attempt to get us re-aquainted with Flash and let us know that by featuring him in such a beefy role in what amounts to a backup story, he must be important enough to care about. Continuity wise, at least.
Like I said, the issue is a mixed bag, but it’s only a slight hiccup in the road as far as I’m concerned, because it’s a one-off story meant to act as an interlude anyhow. I don’t blame them for trying to cram some exposition in there that might have gotten cut short if it were rammed into an ongoing storyline. You take the good, you take the bad, you take them both and there you have…Amazing Spider-Man.
It’s like Sin City meets Blade Runner with enough of the classic Marlowe noir not to feel cheap. Choker is Ben McCool’s debut creator-owned story and damned if he didn’t knock it out of the park with this first issue. The dialogue is crisp and feels as solid as noir dialogue can, which admittedly can sometimes come off as really cheesy. Remember Frank Miller’s script for The Spirit? Yeah, it’s nothing like that.
I’ve admitted that I’m not normally a fan of Ben Templesmith. His artwork is hard to critique because any complaints can be attributed to his wanting to add a sense of style. And luckily, in the case of this book, the style works. Whereas I felt it actually hindered the story in something like 30 Days of Night, here it feels like any other type of art style would have seemed…off.
Do yourself a favor and pick this one up. I’m always telling people that there’s great new stuff out there and this is no exception. You’re doing yourself a disservice if you pass it up.
Speaking of original material, fuck you Warren Ellis. How the living hell do you manage to crank out so many titles in such short periods of time, and all of them be thoroughly entertaining? Where is your off month? When do I get to read something from you that sucks. That would be a surprise. I would actually be shocked if I picked up an Ellis book and didn’t like it. The man has such a vivid sense of world-building and setting that he could tell an infinite number of stories simply by interchanging the characters and plots from his different endeavors into each other’s locales. In this case, we get a pre-industrial revolution London in the time of the formation of the Metropolitan Police (aka the “Met”) and a mysterious steampunk villain(?) who fires electric bullets and cavorts around town in a flying airship.
Once again, fuck you Warren Ellis. You creative prick.
It pains me to say that reading this final issue of Ms. Marvel, I understand why it’s going away. When your grand finale is so astoundingly anti-climactic that it makes the reader’s chest hurt, you probably should thank your lucky stars that you made it to issue 50. Now, I’ve followed this title since # 1, and I’ve tried to get people on board, because I think that it’s been a really damn good title for the majority of the run. But I see the final arc as sort of a missed opportunity. It seemed…I guess rushed is as good a word as any. Like this is all Brian Reed could come up with because the weight of delivering a final issue was weighing on him so heavily.
The backup story is passable. I’m not a big Noh Varr fan, so it didn’t speak to me on any real level. But something tells me that what happened there will come into play whenever they decide to focus a little more on that character. At least when that happens I’ll be prepared.
Overall, this would have been a fine issue were it not the grand finale. In that sense, it feels like a bit of a misfire.
It’s an extended Power Girl cameo, how the hell do you think I felt about it?
And that’s it for this week, join us next time when I aim to be even more passive aggressive.
Ah hell, it’s that time again. Where I sit down and type out a bunch of snarky retorts to the weekly comic offerings I put money down for on a weekly basis. Unfortunately, a bulk of the week’s pull was in trade form and I can’t write up a timely review of collected stories so this column might be on the slim side this week. I’ll try to make for it in repetitive ramblings throughout the reviews.
The Pull List:
BLACKEST NIGHT WONDER WOMAN #3 (OF 3) 2.99
BOYS #39 2.99
BUFFY THE VAMPIRE SLAYER #32 TWILIGHT PT 1 (OF 5) 2.99
CINDERELLA FROM FABLETOWN WITH LOVE #4 (OF 6) 2.99
CONAN THE CIMMERIAN #18 2.99
CRIMINAL SINNERS #4 (MR) 3.5
DARK TOWER FALL OF GILEAD PREM HC 24.99
DEADPOOL TEAM-UP #896 2.99
FABLES TP VOL 13 THE GREAT FABLES CROSSOVER (MR) 17.99
GI JOE ORIGINS #12 3.99
INVINCIBLE IRON MAN #23 2.99
JUSTICE SOCIETY OF AMERICA ANNUAL #2 4.99
QUESTION #37 (BLACKEST NIGHT) 2.99
RED ROBIN #9 2.99
SIEGE #2 (OF 4) 3.99
SUPERMAN WORLD OF NEW KRYPTON #12 (OF 12) 2.99
WOLVERINE WEAPON X #10 3.99
The Boys # 39
Not a whole lot goes on here, traditionally speaking. There are maybe three plot movements in the entirety of the book, but this single issue does a great deal to set up the next major arc of the overal narrative because Butcher FINALLY finds out about Hughie banging a supe.
A great deal of the drama thus far has been the reader wondering what will happen when the Boys find out about who exactly Hughie is giving the high hard one to on a nightly basis, given that she’s a part of the group they are ACTIVELY seeking to bring down. And at this point in the issue we get a window into what is going to be coming down the pipe. Butcher reacts not with anger or a sense of betrayal but with a disappointment that he hadn’t been able to figure it out before this very moment. It’s a quiet moment that tells us even more about Butcher as a character. How will he handle the fallout? That remains to be seen. But reading the issue you can tell that Ennis put a great deal of thought into how he was going to handle this moment.
The majority of the issue is spent with Hughie and his girl Annie, exploring the boundaries of their relationship (“LET’S PURCHASE OUR HARDCORE PORN!!!”) and showing what kind of growth their coupling has forced upon them both fundimentally as characters. There is some hint that perhaps being in a relationship with Hughie has changed her in ways that might be driving a gap between them, just in the differences between what the need as far as intimacy and mutual interests. It could be read that Hughie feels a twinge of responsibility for Annie’s sudden personality shift. But, that’s just speculation on my part.
A great many people like to dump on Garth Ennis because his writing veers toward ultraviolence and sophmoric humor, but the man does character moments just as good as any other major writer, and better than some I could mention. The book also has the expressive art of Darick Robertson working in its favor.
I think I’m getting burnt out on Deadpool. And gee, with around six regular series and eighty appearances a month, who would have thought that would happen? This particular issue suffers from the same problems I mentioned in my review of Merc with a Mouth # 7, in that the humor is entirely forced and derivitive. It doesn’t have the voice of Deadpool, that casual zaniness that seems to compliment the character so well. Instead we get cheap trucker jokes and some talking raccoons. Sorry to say, while that would normally have me giddy in my seat, this one just seems to fall flat.
Two things made me pick up this issue; Marc Andreyko’s name in the credit list and that awesome cover. I have to admit that interior artist Ben Templesmith’s art styling is not my cup of tea, the issue itself is a pretty good standalone Baroness tale that gives us the new-canon origin of the character and a glimpse into what molded her morals and values before becoming the character as we’ve come to know her.
The issue hits all the right notes, and while the story is nothing we haven’t seen before, it’s a change of pace from where the book has gone previously and I felt I got my money’s worth out of it. Also, nice cover.
Okay, here’s the one people have been talking about. And it’s impossible to review without major spoilers so just turn back now if you don’t want to know who died and how and what I feel about it.
Okay, let’s go.
So Sentry rips Ares right in half. Yep, it’s Ares who was the “big death” Bendis was hyping. And while the fight leading up to it was pretty cool, it’s not all that impressive considering how many people we’ve seen ripped in half over the years, partiularly in Bendis-penned comics(Vision and Carnage, anyone?). Remember in my review of KICKASS where I said that Millar was the best hype man in the game? Bendis is kind of the opposite. Whereas we believe Millar every damned time despite the fact that we’ve been fooled by him before, everytime Bendis says something will be shocking or unexpected, we know that it’s just going to be one of his old tricks. At least this time he didn’t claim that the event would “rip the internet in half.”
Guys, is that Ares death supposed to be some kind of wink-wink joke? FUCK YOU BENDIS YOU SELF-CONSCIOUS WHORE!!!
That’s it for this week. I’m going to go punch a wall and calm down. *deep breath*
Dear loving God, I think I may have gone overboard on the books this week. I bought about double my usual pull and mostly because there were issues I figured would be good picks for review on this here blog.You should all feel so special.
The Pull List:
AMAZING SPIDER-MAN #619 GNTLT 2.99
AVENGERS INITIATIVE #32 SIEGE 2.99
BATMAN AND ROBIN #7 2.99
BLACKEST NIGHT JSA #2 (OF 3) 2.99
CAPTAIN AMERICA REBORN #6 (OF 6) 3.99
CHEW #8 (MR) 2.99
DAREDEVIL #504 2.99
DETECTIVE COMICS #861 3.99
FALL OF HULKS RED HULK #1 (OF 4) FOH 3.99
FANTASTIC FOUR #575 2.99
GOTHAM CITY SIRENS #8 2.99
GREEN LANTERN #50 (BLACKEST NIGHT) 3.99
HOUSE OF MYSTERY TP VOL 03 THE SPACE BETWEEN 14.99
JUSTICE LEAGUE OF AMERICA #41 3.99
JUSTICE SOCIETY OF AMERICA #35 2.99
KICK ASS #8 (MR) 2.99
MS MARVEL #49 2.99
NEW AVENGERS #61 SIEGE 3.99
PUNISHER #13 2.99
ROBOCOP #1 (MR) 3.5
SUPERGIRL #49 2.99
SUPERMAN #696 2.99
SUPERMAN SECRET ORIGIN #4 (OF 6) 3.99
THOR #606 2.99
ULTIMATE COMICS ENEMY #1 (OF 4) 3.99
WIZARD MAGAZINE #222 MARVEL SIEGE CVR (C: 0-1-2) 5.99
WONDER WOMAN #40 2.99
X-FACTOR #201 2.99
X-FORCE #23 XN 2.99
X-MEN LEGACY #232 XN 2.99
And here come the reviews:
AVENGERS INITIATIVE # 32
Taskmaster is an underated character. He’s really been getting his due in this book and this issue is no different. Initiative shows the POV of the ground level people going into the Siege on Asgard, particularly Taskmaster and Diamondback. We really get to see a clear defintion of why it is Taskmaster does what he does, something that I found refreshing in that it really fleshed his character out further than we’ve seen previously and hopefully it will generate some more interest in the character so that he sticks around after Initiative goes the way of the dodo in April.
BATMAN & ROBIN # 7
Long delayed and anticipated in ways I cannot possibly describe, the seventh issue of Grant Morrison’s flagship title for the Batman reborn storyline picks back up with a bang, not losing any of the kinetic energy that has made the book such a great read from it’s inception. The story begins in London with Batman racing against time through the streets trying to stop a runaway train brimming with explosives. The pacing of Batman’s movements through the city showcase all that artist Cameron Stewart is capable of and at the same time reminds us that Dick Grayson as Batman retains so much of the acrobatic skill that made him so formidible as Nightwing.
The book then escalates, delving into conspiracies regarding an old mine that may or may not have certain regenerative qualities. Sure enough, Batman and Robin show up and find a viable Lazarus Pit. With the themes already touched upon in the last few issues regarding Bruce’s death, one can easily see where this leads; but everything Grant Morrison does is always slightly off kilter, and I would wager that the final page of this issue is going to lead to something that defies expectation.
It should be noted that the issue has a really big lettering error, one which is devestatingly confusing. I know at least one person who assumed this was some sort of weird Morrisonian style choice, but it’s nothing so sinister. Just swap the speech bubbles and it makes perfect sense, and all will be well.E
DETECTIVE COMICS # 861
Following J.H. Williams on the art duty for Detective is pretty much like expecting a garage band to play the encore for Led Zeppelin. Artist JOCK does a great job on the title, bringing his signature look to the book an creating his own template for the action. Rucka does well balancing the dual stories, showcasing Batman and Batwoman’s investigation of the same case.
While I certainly miss the unparalleled art by Williams, this arc looks to be Rucka at the top of his game, and if that’s the case, it really doesn’t matter who is pulling the art chores.
RED HULK # 1
A book where the Red Hulk and Abomination team up to learn how M.O.D.O.K. repeatedly clones himself and harvests his own organs for future use. I’m a sucker for anything remotely involving M.O.D.O.K., so the fact that this book technically doesn’t need to exist in any way shape or form can be overlooked.
JUSTICE LEAGUE OF AMERICA # 41
I haven’t been reading Robinson’s JLA. I read the first issue of Cry for Justice and decided that no good could come from reading anything Justice League related from that particular author. Picking up this issue, I can honestly say that I was probably right. The narrative seems jumbled and the characterization stilted. I know from his run on STARMAN that Robinson can handle a diverse cast. The only explaination I can think of for his inability to craft a coherant JLA is that in STARMAN, he built his world from the ground up. Robinson seems to have issues playing in other people’s sandbox with JLA and it is visible on every page.
Which is disappointing because Mark Bagley is turning out some really nice work here, drawing a wide spectrum of characters with all his usual skill. The fact that one of the most competent artists on the DC roster is stuck drawing such a lackluster book is perhaps the biggest shame of all.
ROBOCOP # 1
I’m not sure where this fits into the movie continuity. It seems like it either takes place before the third film or ignores it entirely. I don’t so much care about the continuity, that stuff doesn’t really matter with a book like this. What bothers me most about this book is just how damned sloppy it is. It reads like tiresome fan-fiction, which is forgiveable considering that that essentially what it needs to be. What really drags the book down is the ham-fisted way they try to shoehorn blatant social commentary about our current financial dilemma into the narrative. And while the original film did a good job mixing action and subtext, this book doesn’t seem to know how to do it without coming off as forced and trite.
ULTIMATE COMICS ENEMY # 1
I have no f**king idea what happened in this issue. Ben Grimm hit on the Invisible Woman and then started shedding like a mangy dog, a building exploded with a purple blob thing, and Nick Fury has lunch. I’m pretty much willing to accept a lot but paying $3.99 for this makes me slightly angry.
WONDER WOMAN # 40
Gail Simone knows how to write Wonder Woman. This issue features creepy Childen of the Corn kids spreading hate-speech, racism, and fear and eventually Power Girl shows up. I love Power Girl, so this book is immediately awesome, but the character moments in the book are so strong that it didn’t even need her to win me over. Gail has organically been building this series in such a manner that in a few years it will likely be held up alongside Perez as the pinnacle in what can be achieved with the character.
And that’s it for this week. You’ll notice I actually reviewed more than one DC book this week. Aren’t I a generous soul?