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Posts tagged “Mark Millar

Weekly Comic Reviews

I Do Not Actually Look Like Jesse Custer

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.

Is That A Goth Cinderella?HACK/SLASH ANNUAL 2010

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.

EXPLOSION!!!!INVINCIBLE IRON MAN # 31

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.

 

 

'Ello Chaps!KNIGHT AND SQUIRE # 1

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*

 

 

 

 

Space MonkeysSUPERIOR # 1

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.

Nothing Witty, The Book SucksSUPERMAN # 703

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.

Wampum!TUROK # 1

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.

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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.

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Millar’s Nemesis Coming To The Screen

No, KickAss Made KickAss Look Like Shit...
So, not too long ago the news broke that Tony Scott, brother of Ridley Scott and maker of multiple films featuring Denzel Washington would be directing a feature film adaptation of Mark Millar’s latest magnum opus, Nemesis. I think most of you know how I feel about that book. It just doesn’t appeal to me. Frankly, I think it’s the laziest sort of comic writing. The more I think about it, the less redeeming value I see in it outside of Steve McNiven’s excellent artwork. Let’s not kid ourselves, that guy can draw and he can make the set pieces and action sequences that Millar concocts look breathtaking. But the book itself is pretty much a shallow husk. All of it seems like the sort of thing a kid playing in the sandbox would come up with, if that kid were Sid from Toy Story and he had been watching the Nightly News cover domestic terrorism four weeks in a row.

Now, as much as I dislike the book, and I do, I also hated KickAss in it’s initial print incarnation. I mean, it was trite and not very well written and Millar seemed to want to do eight different types of book at once and never really found his footing, which is why the overall tone of the book seems so shaky. But then, when that film was adapted to film by Matthew Vaughn I enjoyed the everloving hell out of it. The book remains a shaky modest attempt hindered by Millar’s ego and inability to sell his own product properly. The film seems to have a singular purpose and tone that helps keep the narrative moving and manages to fix a lot of the flaws in the book with the personalites of the people portraying their character. Case in point, Big Daddy. Nicholas Cage turned that character into something memorable while as a comic character he’s utterly forgettable. And let’s not even get started on HitGirl.

So can Tont Scott do the same thing? I would like to think so. I haven’t really enjoyed many of his last few films however. Pelham 123 did nothing for me, Domino was near unwatchable, and I could go on and on. But at the same time, Scott at least has a bit of depth and understands the internal motivations of any given character. He may be able to make these childish one-note characters come alive in a way that connects with me.

I’ll tell you all one thing, I will thank God every day for the rest of my life that this film didn’t end up in the hands of Michael Bay…


Weekly Comic Reviews

I Do Not Actually Look Like Jesse Custer

Man, this week has been intense. I’ve been working on some major renovations inside the store, trying to make room for all the cool new shipments of figures and statues and assorted awesomeness that’s set to be hitting the shelves within the next month or so, which has left my body sore and weak from the labor. I’m not sure if you know this, but comic books in bulk start to get heavy. Especially hardcover collections. I swear it felt like moving baby cows on my shoulder at some points. But it all was worth it for how great the new setups look and the fact that this week’s new books are pretty much the pinnacle of awesome.

ARRIVALS 6-9-2010
ASTONISHING X-MEN XENOGENESIS #2 (OF 5) 3.99
AVENGERS ACADEMY #1 HA 3.99
BATGIRL #11 2.99
BATMAN #700 (NOTE PRICE) 4.99
BOOSTER GOLD #33 2.99
CAPTAIN AMERICA #606 HA 3.99
CHRONICLES OF CONAN TP VOL 19 DEATHMARK  17.99
DAREDEVIL #507 2.99
DOOM PATROL WE WHO ARE ABOUT TO DIE TP 14.99
HACK SLASH MY FIRST MANIAC #1 (OF 4) CVR A (MR) 3.5
INVINCIBLE IRON MAN #27 HA 2.99
JUSTICE LEAGUE GENERATION LOST #3 (BRIGHTEST DAY) 2.99
NEMESIS #2 (OF 4) (MR) 2.99
PREDATORS #1 (OF 4) 2.99
PUNISHERMAX #8 (MR) 3.99
SECRET SIX #22 2.99
SHIELD #2 2.99
ULTIMATE COMICS AVENGERS 2 #3 3.99
ULTIMATE COMICS SPIDER-MAN #11 3.99
UNCANNY X-MEN #525 XSC 2.99
YOUNG ALLIES #1 HA 3.99

And as always, I will tell you why you should buy things.


AVENGERS ACADEMY # 1

Wasn’t initially going to get this one, but Christos Gage is one of those writers who has a tendency to churn out some amazing stuff out of concepts I initially hesitated on. He’s a solid writer who is well on his way to getting the name recognition he deserves. With Avengers Academy, he may have found that project.

If there is one flaw with the book it’s simply that, by nature, it’s sort of the black sheep of the Avengers family. The “heavy hitters” in the book as far as star power goes are Hank Pym, Justice and a newly reformed Speedball. Gage plays with this by saying that we’ll get some big names as “guest instructors” over the course of the book, to show that those characters care about the events transpiring in the book, so we should as well. LISTEN TO CAPTAIN AMERICA! HE’S ALWAYS RIGHT!

So yeah, the book has that hurdle to overcome in the mind of the financially conscious fanboy, who may not view the book as “essential reading.” But the book hits all the notes it aims for, and the new characters introduced in the book are all interesting and get a fair share of development in their debut. Reptil shows up, having gained some exposure through the Superhero Squad cartoon. Other members of the group seem to establish their niche right away, with Finesse and Hazmat being the darker foils to Reptil, Mettle and our primary protagonist Veil. Personally I think Mettle has the chance to grow into a really great character. He seems to echo the greatness that Rockslide projected back in New X-Men.

The reasoning behind using these characters, and why the program exists, parallels the Heroic Age’s overall theme of rectifying the wrongs of the Dark Reign era. It probably won’t be the theme for too long, as the status quo will likely shift again fairly soon, but it’s an excellent way to get the ball rolling and they’ve hooked me in for another one.

700 Issues
BATMAN # 700

Man, this one was epic. It’s not exactly a new-reader friendly jumping-on point as one would figure, as it hearkens back to Grant Morrison’s issue # 666 as well as the two-part Whatever Happened to the Caped Crusader arc and we even get a segment (albeit a short one) that jumps into the Batman Beyond universe. It’s a veritable garbage-bag cocktail where every last drop of alcohol at the party gets mixed together in the hopes of making a concoction that will give you a kicking buzz without making you go blind.

The story has time travel, the Joker acting bat-shit insane, an appearance from the Mutants that harkens back to The Dark Knight Returns, Two-Face 2 who may be the greatest idea for a new villain that won’t be able to recur due to where he made his debut, and an amazing pin-up art gallery at the back end featuring drawings by some of the greatest artists ever to draw the Dark Knight.

I wish this review could be longer, but honestly the book is one that you have to read for yourselves. I don’t think it is an issue that everyone will enjoy, but I think that it’s definitely a ballsy choice for an anniversary issue this large. If nothing else, it’s definitely worth a read just for the sake of seeing if you understand what the hell was going on.

606
CAPTAIN AMERICA # 606

Captain America has been firing on all cylinders for around five years now. Brubaker knows that book like the back of his hand and refuses to let up. This issue deals with the fallout from the last arc where Bucky had to put an end to an evil Steve Rogers clone with a bullet to the dome. It doesn’t sit well with Bucky, as you can imagine the boy has some issues when it comes to Captain America dying, real or not.

While all this is happening, Baron Zemo seems to be working some machinations, which makes me happy as I friggin’ love Baron Zemo. I hope to god he at least gets name dropped in the Cap movie, because I think he’s just one of the most awesome characters Marvel has. Don’t believe me? Go read some Thunderbolts before Warren Ellis turned it into some sort of twisted abomination from the depths of hell. Zemo is a multi-faceted villain who simply does not get his due nowadays and I’m glad that between this and the new Thunderbolts, he seems to be making a comeback.

My only squabble with this issue is the fact that I’ve not yet determined where the hell it fits in with what’s going on over in Thunderbolts. I’m sure they’ll work that out sooner or later, but for the moment I’m trying to place it myself. With all the time line jumping in the Cap book, it’s a chore for sure. But continuity isn’t as important as everyone makes it out to be, especially when the book is this good.

As for the Nomad backup, I’m certainly enjoying it. I like the world they’ve established there, I’m just tired of Nomad ending up in peril so often due to her own naivety. It’s repetitive. Luckily, she seems to not have that shortcoming over in Young Allies, which I’ve reviewed further down the page.


HACK/SLASH : MY FIRST MANIAC # 1

I’ve been looking forward to this one for a long time. Tim Seeley’s Hack/Slash is one of the more consistantly fun and entertaining books on the rack and when I heard it was moving over to Image, I thought “Oh thank the Lord, something good to read by that company that’s NOT written by Kirkman!” (All praise, be to the Kirkman)

With this mini-series, you get a fresh jumping on point if you’ve ever been interested in reading about Cassie’s exploits bashing the brains of creepy stalkery torture-killers with the aid of her hulking sidekick Vlad, who may currently be my favorite recurring comic character. He’s all kinds of awesome and unfortunately he doesn’t make an appearance in this first issue. He’s probably off in a corner reading Chippy Chipmunk at the moment.

The issue gives us a quick origin storry for Cassie that, while familiar to long-time readers, does not feel repetitive or dull. That was my main concern when the book was announced; that the mini-series would mostly be rehashed from prior events that we had already seen and therefore be of no consequence to those of us who have been onboard since the start.

And while I am certainly familiar with Cassie’s origin, the events presented here seem fresh and new even if parts of it do seem familiar. I like that Seeley is simply moving forward with the series rather than using this label-hop as an excuse to do a reboot. Because as we all know, reboots are all the rage in the horror genre right now. Because everybody wanted a remake of Nightmare on Elm Street, right? Whatever.

Get the book, hop on board now so that you can be like me and stand around telling everybody that they should have been reading this years ago. It’s a fun feeling. A nice boost to the ego. I love it.


YOUNG ALLIES # 1

I picked this one up out of my love for Nomad. I loved her mini-series, I love the backups over in Captain America, and I think that it’s amazing that a character who was borne out of such a horibble event (Heroes Reborn. *shudder*) could end up being such a great addition to the mainstream Marvel landscape. Teaming her up with Araña was a stroke of genius, because that girl, while an interesting concept, needs a foil to work to her fullest potential, as evidenced by her appearances in Ms. Marvel.

The book starts off somewhat dark, giving us the origin of a couple of kids who are ripped from their families and trained to be death soliders for some South American Generalisimo. If it were drawn by someone like Mike Deodato it’d be downright frightening and hard to bear, but artist David Baldeon has a light tone that doesn’t strive to be hyper-detailed or stylized, and so while the impact is effective, it does not make you want to rip out your own soul. This is a comic book after all.

The issue plays out much like New Avengers # 1 did a few years back, with the team being brought together by a single circumstance and a whole lot of coincidence. The formula works well this time around, because even the villains remark before they pul their caper that they’re looking for heroes to be in the area and expect them to show up. It’s a little touch that makes the book run a lot smoother.

Between this and Avengers Academy, Marvel seems to be doing all they can to get their readership invested in the next generation of Marvel heroes. Meanwhile, DC is probably trying to find a way to kill off Jaime Reyes. The butchers.

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So there you have it. Go out and buy those things. From my store if possible. That’d make me happy. I’ll give you a hug. (*hugs not available on days ending in “y”)

Serious Blogger Is Serious

Earlier today, I engaged in a debate about the merits of Old Man Logan on Twitter with Sex Food and Comic Books contributor and nerdress Satine Phoenix. It all began with a simple tweet:

To which, I responded:

Leading to:

All of which leads me to post this:

Please note that I’m only posting this because I’m incredibly bored and I think it’s funny. Satine is great and so is Joe,  her co-conspirator over at SFCB. They run an awesome site and though our tastes may run in different directions sometimes, it’s nice to have someone to discuss these things with.


Film Review – Kickass

I have this framed in my room....

A while back, I reviewed the entirety of Mark Millar’s Kick-Ass series, from issue 1 to the finale and I famously did not like it. I felt that it was fairly pedestrian and not at all exciting or innovative, which I think is more of a critique on the way Mark Millar hyped it to the fans than anything, but with a book like Kick-Ass, that hype is tied to the book in such a way that they feel like intertwined strands of DNA. I did however make one claim that I have been waiting to either see proven or disproven with the release of Matthew Vaughn’s film adaptation. I said; “All that having been said, everything that works against this book will work FOR it as a movie. Trust me on this one.” I honestly believed that. The concept was solid, the shock value was there. Mainstream audiences would eat this shit up. Was I right?

I believe I was.

The film version of Kick-Ass works infinitely better than its source material. The absurdity of it all leaps off the screen in ways that it never did on the page, and I think that the writers and especially director Matthew Vaughn understood what could be done with the concept presented in the original comic. One of the main gripes that the internet community had with the book was that it diverged from the original concept of “what if someone really became a street-level superhero” around the same time Hit-Girl showed up and went all Frank Miller on some bad guys. From then on out it was just another comic book, really. Once again, this is more of a gripe at Millar’s hyping of the concept than the book itself, as expectations were raised and then shut down with no regard to the actual quality of the book. In the film version that same divergent path is followed, with realism being thrown out the door headfirst. For the movie however, this doesn’t seem to be a problem, as all the marketing didn’t lead you to believe that this would be a serious look at real-world superheroes. When that first trailer hit and showed little Chloe Moretz jumping around like a spider-monkey wielding sharp pointy objects, people knew what to expect.
I think that’s what the movie boils down to in the long run; expectations.
Whereas the comic failed to deliver on the premise that Mark Millar sold us on in the promotional circuit, the film lives up to its promises in every possible way. It’s a violent fanservice film that fanboys should eat up if they don’t get caught up in the minutia of what was changed from panel to film. At the same time it’s a well made, and dare I say it, fun action film that general audiences should get a kick out of as well if they don’t get offended by all the swearing or violence.

Part of the reason why this film will resonate so well with people is that, I believe that n making the film, they were smart in casting people who didn’t look down on the script. Nicholas Cage is admittedly a huge nerd, so he has no reason not to hold back and I think I enjoyed him in this film more than anything since Raising Arizona. Our lead hero played by Aaron Johnson has that Michael Cera-esque everyman feel without being as annoying as Michael Cera. McLovin puts in a good turn as the Red Mist, almost making us forget he was McLovin for a little bit. And Mark Strong who could play every villain in every movie ever (not a stretch really, in a few weeks he’ll be the baddie in Russel Crowe’s Robin Hood flick) and I would never get tired of it. The cast just connects in this one, I don’t think anybody is going to argue that point.

But what everybody is going to talk about will be Hit-Girl. I read somewhere that she would be the “Hans Landa” of 2010. In terms of a breakout role, I absolutely agree. She may not win an academy award for it, but Chloe Moretz just became the go-to girl under fifteen for any role that requires any sort of heavy lifting whatsoever. After a film like this, anything else would be a cakewalk and I expect to see her have a great career ahead of her.
I really enjoyed this film. More than I thought I would. There had been some negative word of mouth coming my way from people who had checked out advance screenings and even a few from assholes who bootlegged it off the net, but I loved the hell out of this movie and will probably see it again in the theaters before all is said and done.

I won’t give it a perfect score, but I have to admit, it’s pretty close.


Weekly Comic Reviews

I Do Not Actually Look Like Jesse Custer

Oh my god! I actually managed to get these reviews up on time for once! Is that some sort of startling indicator of the end of times? I would normally think so, but the truth is that I just couldn’t sleep last night so I have a little extra time to spend reading instead of snoring heavily and dreaming about being the new cast member on “Community.” Yeah, it’s a great show and I think I could improve the dynamic. Plus I totally have the hots for Alison Brie. Now I’m just wasting time.

THE PULL LIST: 3-24-2010
AMAZING SPIDER-MAN #626 2.99
AVENGERS INITIATIVE #34 SIEGE 2.99
CAPTAIN AMERICA #604 3.99
DEADPOOL #21 2.99
FALL OF HULKS RED HULK #3 (OF 4) FOH 3.99
GREEN LANTERN #52 (BLACKEST NIGHT) 2.99
GUILD #1 3.50
JUSTICE LEAGUE THE RISE OF ARSENAL #1 (OF 4) 3.99
MIGHTY AVENGERS #35 SIEGE 2.99
NEMESIS #1 (OF 4) (MR) 2.99
NEW AVENGERS #63 SIEGE 3.99
POWER GIRL #10 2.99
PRELUDE TO DEADPOOL CORPS #4 (OF 5) 2.99
QUEEN SONJA #5 2.99
SHUDDERTOWN #1 (MR) 3.5
SUPERGOD #3 (OF 5) (MR) 3.99
SUPERMAN #698 2.99
THOR #608 SIEGE 2.99
UNCANNY X-MEN #522 3.99
X-FACTOR #203 2.99

And here’s your weekly dose of criticism:

AMAZING SPIDER-MAN # 626

Every time I read this book now it feels like I’m going on a date with someone with whom I had an abusive or otherwise temeritous relationship in the past. There’s definately a spark there, a lingering sign that the love that once existed between us is there but it stands obscured by the baggage of our prior relationship. In the case of ASM, it’s two solid issues of ripping complacency from characters who hadn’t had a chance to fully adjust to their new status quo in favor of tepid melodrama.

This issue manages not to incite any anger in me, and in fact I’m happy that the new Scorpion is getting some face time, as I thought she was an interesting character the last time I saw her, which I guess was around the time of World War Hulk, which as fast as comics move nowadays might as well have been a decade ago.

This issue sees Parker deciding he doesn’t like the vibe he gets off his roomate’s boyfriend and follows him to an abandoned construction yard (man, that has to be like the # 2 comic book set piece of all time, along with the sewers or a busy city street/bridge) where it turns out that the Hood is holding a boxing tournament to determine who will be the new Scorpion, or rather, win the old Scorpion’s suit and take up the mantle.

Of course the new Scorpion gal shows up, with a new tail that injects S.P.I.N. tech, which is a nice touch that I can get behind, as if you’re just going to use the tail as a club you might as well call yourself the Beaver. Form follows function, and all that.

Anyway, the issue is your generic fight with the goons and all that jazz, but the part that saved the issue for me is the way Peter finally mans up and deals with the situation left in the wake of the Chameleon putting the moves on his room-mate. That was never resolved to my satisfaction and it diminished Peter’s credibility as a stand-up guy which is not something you want lingering around if you’re supposed to be a hero.

So major points for a half-way decent issue. Sad that half-way decent is a step up after the last few weeks, but I’ll take what I can get.

DEADPOOL # 21

This Hitman Monkey storyline is absolutely ludicrous, but the fact that it gives us some wonderful Spider-man team up moments is enough to justify it’s existence. This issue concludes that little romp with a fun little trick on Deadpool’s part where he steal’s Spider-Man’s costume and tricks New York into thinking that the wall-crawler is dead. The subsequent chaos is quite entertaining and the issue, to me at least, hints at what Marvel wants to do with Deadpool in the near future. If they go down the path that is foreshadowed at the end of this book, maybe having mutliple Deadpool books every month wouldn’t be such an absurd idea, as there would be room for different interpretations in each book.

Who knows, I could be reading it the wrong way. I’ve done that before.

THE GUILD # 1

Ah, Felicia Day. *swoon*

Yes, I admit that I have a soft spot for that cuke like geektress. I admittedly have not watched all of the web-series that spawned this comic book, but luckily you don’t need to have any working knowlege of the series to enjoy the comic. It’s a nice little starter kit and the humor hits all the right marks. The in-game sequences reminded me of that WOW episode of South Park, which is never a bad thing.

Major kudos must be awarded for being able to make me care about the characters involved right off the bat. I think the fact that our lead character’s garage-band boyfriend is the kind of guy that most dude’s hate to see their lovely lady friends attached to is indicative that as a writer, Felicia Day understands her audience to the point where she’ll throw in those kind of empathetic elements without seeming overly pandering.

If you want something that’s all kinds of a fun, well drawn, and new-reader friendly, you could do a hell of a lot worse than this book but you’re not likely to find much better.

JUSTICE LEAGUE : RISE OF ARSENAL # 1

By now I’ve pretty much run my feelings about this whole Green Arrow saga into the ground. I know that what they’re doing with Ollie isn’t going to be a permenent shift and that I can be able to sit back and enjoy the ride for what it is, but with Arsenal I don’t know what will happen in any way shape or form. The fact that this issue surprised me with where it went is indicative of that. I’m going to say right now that I can’t really review this issue without giving out some major SPOILERS so if you don’t want to know some pretty integral plot elements, you might wanna skip along to the next review.

Still here? Okay, in this issue, writer J.T. Krul does something that I hadn’t even considered being an option, that being turning Roy back into a drug addict. This time around it’s not heroin, it appears to be pain killers, but the mindset and the implications of dependency are still there. I don’t really have as much a problem with this as you might think. Let’s be honest, DC has a tendency to regress their characters to points in their timeline that hit home with DC readers. The internet is always in a roar over DiDio’s apparent fetish for reverting things back to the way they were in the Silver Age. In the midst of all this, Roy Harper battling a drug addiciton seems like an obvious move. And given the events that have transpired, it’s not like it’s coming out of the blue.

What really matters is whether or not they find a logical conclusion to the arc. If the ending comes out of left field and makes zero sense to the readers, then they have failed. If they can get even a few people to agree with the reasoning, then they have done their job. Try as I might, I cannot honestly say that character history doesn’t lead me to believe that Ollie Queen wouldn’t murder the man behind destroying his entire city. Logic also tells me that someone with an addictive personality who loses a limb might get addicted to pain killers and regress a little bit. All that matters is how Krul handles the manner in which the stories are told, and I think he’s doing a fair job so far.

NEMESIS # 1

Mark Millar might have shot himself in the foot on this one. In his attempts to elevate the villain as the protagonist, much like he did back in Wanted he may have finally gone too far. With Nemesis, it’s obvious that Millar is trying to build the Batman of all villains. One who always wins and whose plans are elaborate and downright terrifying. We are supposed to be in awe of how well Nemesis’ plans work out, with buildings blown to smithereens, trains de-railed and police chiefs crushed under the aforementioned trains while tied to an office chair. It’s violent spectacle and Millar almost presents the story in a way that we are supposed to cheer for this son of a bitch, who is, let’s not kid ourselves, a fucking terrorist. Mark Millar thinks he’s such a good writer that he can make us applaud the acts of a terrorist. You don’t think that he wanted us to think that Nemesis shooting the pilots of Air Force One while riding the nose-cone isn’t cool? No, he obviously wants to inspire that adrenaline rush. That’s what makes this book feel so dirty. The visuals are astounding and the sheer one-upmanship of Nemesis’ actions beg the reader to be impressed and yet this is the villain. Contrast those actions with that of the “hero,” a DC police chief who swiftly and efficiently kills multiple armed robbers in the span of a few panels and is rewarded and applauded for his cowboy gunslinging.

Millar has created two characters who are obviously both people who garner the same sort of awe in the readership. I think your enjoyment of this title will come out of how far you can distance yourself from reality. I find that in a time where terrorism is such an everyday occurance, it’s hard to take myself out of a book where the title character crashes the president’s plane into the middle of a crowded city.

I haven’t made up my mind yet. So maybe Millar has done his job.

POWER GIRL # 10

Still Awesome, thanks for asking!

SHUDDERTOWN # 1

Seeing how I haven’t seen a new issue of Stumptown hit the shelves in a while and the last good noir book I’ve picked up since then was Last Days of American Crime back in December, Shuddertown should fill the noir-shaped hole in my pull list nicely. The art is dark and muddy, and the narration is full of overwraught metaphors. It’s everything you want in a crime book. Here we get a detective who is battling his own personal demons and trying to figure out if he’s the one mucking up his own investigations or if there’s something deeper.

The story could go in any direction, and I’m on board no matter which way that might be, because damnit I’m a sucker for this kind of stories. It’s my weakness.

******************

Another week, another group of reviews. Nothing really abysmal that I read this week, and for that I thank my lucky stars. Next week sees the end of Blackest Night, so expect a nice handy writeup about that. I’ll probably review the whole damn series as a whole just to get everything out in the open.

Until then, cheers.


Arc Review : KICKASS

KICKASS

The final issue of Kickass hit stands last week after a very long delay. I had let the last few issues pile up unread, not sure when the arc would ever conclude. I figured it would happen before the film hit theaters, but the specifics were pretty much unknown and so I put the book to the back of my mind and waited patiently for the climax to hit stands. So with the book finally complete, I decided it was time to read it from cover to cover, starting all the way at issue one.

I would like to begin this review by giving a little bit of my take on Mark Millar as a writer. I think that Mark Millar is a competant writer. He’s not a revolutionary, a visionary, or a sign of what comics should or will be. I have enjoyed his comics about as often as I have slapped myself in the face wondering what the hell he was thinking putting such schlock on the page. I think Civil War was a great idea tarnished by shoddy execution but The Ultimates is one of the best comic works of the last decade. Now, regardless of my opinions of the man as a writer, Mark Millar is most assuredly one of the best hype-men in the business. Even if half of what he says never comes to fruition (he once proclaimed that Kickass would be a modern day Watchmen), he can sell a project like no other in the game.

I think that Millar’s hyping of this particular project led to my eventual decision to forego reading it on a monthly basis and wait until it’s conclusion to read it in it’s entirety. He repeatedly described the story to be one thing and then delivered something that was basically 180 degrees off what was promised.

So, reading the book in it’s entirety, and putting aside what the writer intended the book to be and looking at it for what it is, the book seems oddly reminescent of one of Millar’s earlier works, that of WANTED. It has that same juvenile “fuck authority” attitude as well as an irreverant poke-in-the-eye outlook toward the comic industry itself. In Kickass, Millar makes little jokes at the expense of the books on the stands and the culture surrounding them, (fairly accurately, I might add. The message-board nerd fights are pretty much spot on) whereas he actively played with superhero/supervillain tropes in Wanted.

I am not going to say that Kickass isn’t a decent book, because it works on some level as pure fun and is content to stand tall in it’s own self-concious absurdity. It’s like if Kill Bill were written by Dane Cook. It certainly appeals to a certain audience on more than a few levels, but the book is flawed in one major way. Because it is so derivitive of other comic schemes and tropes, while it makes a tongue in cheek statement about such comics, it does nothing to elevate it above what it attempts to satirize.

And in the end, that is what the book is. A sort of “well, almost” approach to satirizing the over-the top, post-Frank Miller world of comics. The fact that the book LOOKS absolutely amazing, and has Romita Jr. drawing the sort of crap you’d normally never get the chance to see him draw, gives the book another notch in the postive column, but if the story had the panache of a more skilled writer, I wouldn’t be so down on it as a whole.

All that having been said, everything that works against this book will work FOR it as a movie. Trust me on this one.