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.
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…
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.
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.
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.
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.
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.
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.
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.
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:
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.
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.