Well, it’s time for me to rant and rave about comics again. It feels like it’s already later in the week than it really is so you’ll forgive me if everything feels a bit “off” today. I’m not sure why I feel so damned disoriented but I do. I spent Tuesday playing Red Dead Redemption, which I finally managed to complete and it was worth it because that game is all kinds of amazing right up to the very end. I want a sequel now. But games are more my brother’s department, so I’ll let him tell you about that if he ever decides to do another editorial for us, the lazy bastich.
AMAZING SPIDER-MAN #633 2.99
AMAZING SPIDER-MAN #634 GRIM 3.99
AMAZING SPIDER-MAN PRESENTS BLACK CAT #1 (OF 4) 3.99
BIRDS OF PREY #2 (BRIGHTEST DAY) 2.99
BLACK WIDOW #3 HA 2.99
BOYS #43 (MR) 3.99
DEADPOOL #24 2.99
DEADPOOL MERC WITH A MOUTH #12 (OF 13) 2.99
HER-OES #3 2.99
HERALDS #3 (OF 5) 2.99
INCREDIBLE HULK #610 WWHS 3.99
NEW AVENGERS #1 HA 3.99
NEW MUTANTS #14 XSC 2.99
ULTIMATE COMICS X #3 3.99
WITCHBLADE TP VOL 07 14.99
X-FACTOR FOREVER #4 3.99
So let’s hop to it. No sense in wasting time.
Two issues of Amazing Spider-Man hit the shelves this week. Three if you count the Black Cat mini-series. The finale of SHED was passable, but the overall quality of the arc is tainted for me by Bachalo’s artwork, which I find to be damn near incomprehensible. Seriously, I have no clue what in god’s blue balls is going on when that dude draws an issue. I’m not saying that he’s a bad artist, as there’s obviously talent there. I certainly can’t draw with any degree of his skill, his style simply aggrivates me and if Spidey weren’t a title I’d been collecting for around six years straight I would probably skip the story just so as to avoid looking at his clusterfuck linework.
Skip to the next issue however, and it looks like we’re in for a ride and a half. The Kraven saga is finally coming to a head, with the Kravinoff family hunting down members of the “Spider” family in some sort of scheme that I guess will either redeem Kraven’s honor in the family’s eyes or straight up resurrect him. I’m not sure. There seems to be a lot of misdirection on the part of the Kraven family. They were straight up trying to explode Arachne with a rocket launcher in the streets of New York while they had much more elaborate and detailed plans in their hunt for Mattie Franklin, the other, OTHER Spider-Woman who sometimes gets lost in the shuffle.
But honestly, the best part of the issue for me was seeing Kaine get his ass handed to him. I’m no fan of Kaine. He oozes 90’s psuedo-cool-lameness and seeing him get beat up and sliced to ribbons was just a treat for me. Like a free dessert at a restaraunt I was already enjoying.
I’m not gonna really review this issue, I just wanted to post a picture of Black Widow’s wicked awesome “Srsly?” face as drawn by Daniel Acuna.
Seriously. Epic bitchface.
You know what? This may be the single best issue of Hulk of the decade. It’s definitely the best to come out since the Planet Hulk saga ended. It feels like the Hulk should. It’s got all the melodramatic pathos, all the internal emotional struggle worked out through unrepentant violence. In short, it’s just a really amazing piece of Hulk. So much of what happens in this issue builds off of years and years of Hulk history, so much so that every event that happens in the pages of the issue carry an emotional weight that has been missing from the series for a while. I think that running parallel to Loeb’s overblown lunacy has caused the Incredible Hulk book to suffer by association. Pak has had to work within the confines of what Loeb has been building up to with the Red Hulk identity mystery and the introduction of gamma-radiated heroes, but he maneuvers in between the raindrops of insanity here to put out a classic Hulk issue that I think people will be talking about YEARS down the line as a perfect example of what makes The Hulk work as a character.
I will admit that the issue did have a bit of sensory overload. A lot of what happens happens very, very fast and there’s a lot of information to process. That having been said, it’s not so mindbogglingly convoluted that you can’t fully understand what’s going on. Compared to something like, let’s say, last week’s issue of SHIELD which just about made my brain crap itself. (Thanks Jonathan Hickman, you magnificant bastard)
In short, it may not be a great jumping on point if you’re unfamiliar with what’s been going on, but this issue should be a treat and a half for true died-in-the-wool Hulk fans who have been waiting for an issue like this for a long, long time.
If Avengers was Bendis doing the Avengers in a more classic mold, New Avengers certainly continues the work he did in the previous volume, with all the stuff that will make Bendis haters gnash their teeth and complain until they’re blue in the face while ignoring the fact that it’s still a damned fine book that is in no way inferior to what he’s doing over in the flagship title or anything any other Avengers writer has done before him. He even has the requisite Avengers trope of having everyone sitting around the table at the Avengers mansion and talking. Which happened ALL THE MOTHERFLIPPING TIME back in the old days, so it’s not as if his “overly talky” style is in any way counter to what the Avengers have done in the past. Plus we get some serious mystical mania with Hellstorm, Strange and the new sorcerer supreme, Dr. Voodoo.
Seriously, to prepare for this review I stalked message board topics about it. Just to see what other people were thinking and I have to say that the majority of comic book readers are a bunch of jaded cynics and hypocrits who really would only be happy with any given title that they claim to love if they were working on it with an artist of their choosing. Of course then only one person would be happy with the book and the rest of us would still be complaining. Lighten up fanboys, you guys are killing me.
Also, my new comic nerd-crush is Victoria Hand. In this issue she has a big gun. She’s won my heart.
Now I have to head back into the shop for a few hours on my day off to continue pulling books for subscribers. UPS lost another one of our boxes and so there’s a few things that we have to finish up today. I swear, in between Diamond Distribution and UPS, it’s a wonder we have any comic books to complain about on a weekly basis AT ALL.
This week was a monster. I mean, it’s been a while since I picked up this many books in a single week. I normally don’t go this heavy, and I’m trying to pull back on my subscriptions because money’s getting a little tight at this point. But this week I bit the bullet and plopped down a good chunk of change on some comics, so I might as well do an equally impressive review post.
PULL LIST 4-14-2010
ACTION COMICS #888 $3.99
ADVENTURE COMICS #10 $3.99
BATGIRL #9 $2.99
BATMAN #698 $2.99
BRIGHTEST DAY #0 $3.99
FLASH #1 $3.99
GREEN ARROW #32 $2.99
SECRET SIX #20 $2.99
UNWRITTEN #12 (MR) $2.99
CHEW #10 (MR) $2.99
BLACK WIDOW #1 HA $3.99
DAREDEVIL #506 $2.99
DEADPOOL TEAM-UP #894 $2.99
EXCALIBUR VISIONARIES WARREN ELLIS TP VOL 01 $19.99
IRON MAN LEGACY #1 $3.99
NEW MUTANTS #12 XSC $2.99
PUNISHERMAX #6 (MR) $3.99
SIEGE CAPTAIN AMERICA #1 $2.99
SIEGE LOKI #1 $2.99
SIEGE YOUNG AVENGERS #1 $2.99
WORLD WAR HULKS HULKED OUT HEROES #1 WWHS $3.99
X-FACTOR FOREVER #2 $3.99
HACK SLASH SERIES #31 A CVR SEELEY (MR) $3.50
Granted it’ll probably take me a week to ready everything I bought, I still have enough knocked out to bring you the following criticisms…
After an impressive debut arc for Tony Daniel on the mainline Batman book, now comes the part where we find out if he’s worth his salt or if he just got lucky that first time around. I was not a fan of Battle for the Cowl, so Daniel’s showing in the last few issues of Batman has been a nice little surprise. With this issue we don’t get his art to go along with his pencils, and I think that my point made in an earlier review that Daniel writes better when he knows he’ll be drawing the action himself is pretty much on the money, as this new artist, who really is only pedestrian at best, doesn’t really convey the action in the same manner that Daniel did. The story itself seems like filler, which the fill-in artists seems to back up.
I like just about any Batman comic featuring the Riddler, as I think this private detective revamp has made him into an especially viable character, but in this issue it is painfully obvious that he’s a better detective than Dick, which makes it hard for me to believe that nobody has caught on to him being an entirely different person under the mask. Gordon especially. And if he has noticed, you would think he of all people would be the first to tell the new Batman to bugger off if he can’t add anything helpful to the mix. And when the Riddler is constantly making you look like a schmuck in front of the police commissioner, you really have nothing helpful to add to the mix.
The return to happy-times in the DCU starts with a baby bird falling out of a tree and braining itself on a tombstone. Blood splatters and I’m sure a child somewhere weeps. Sure, a very much alive Deadman resurrects him with white power (Holy shit, white power? I need to find a better term.), but still, that little bit caught me off guard. This whole issue didn’t connect with me after that. I mean, we get Max Lord giving himself a nosebleed, a bunch of yammering with Hawkman and Hawkgirl, who I very much preferred to be left dead, and a scene where Aquaman is afraid to go into the water.
Aqauaman is afraid of the water.
It’s hard for me to defend my love for Aquaman as a character when scenes like that pop up. I mean, come on. I try to prove that he’s not the lamest character in existence and now Geoff Johns has essentially turned him from the brave king of the seas into a little boy who lost his floaties.
Brightest Day just goes to proove that Geoff Johns output for the GL universe outside of the book proper is probably not going to be my cup of tea, and as such you probably won’t be hearing much about it here unless he does something that truly shocks me, either positive or more likely negative.
And while Brightest day might have made me give up on Geoff Johns as a writer, Flash # 1 proves that he can still write the hell out of a monthly book. I have to admit that I’m not a big Barry Allen fan. I grew up with Wally. Wally is my Flash. I was going to give this book a pass but picked it up for the sake of doing a review. And I’m glad I did because this book moves at a mile a minute and hits every note that it needs to. Geoff Johns really has a grip on the Flash. This is no surprise given how great his last run was on the title, but that was years ago and that was Wally. He also seemed to care more about the Rogues than he did about the Flash, which gave the book a distinct sort of flair.
Here he is really more interested it seems in showing us how Barry is going to integrate himself back into society after having been gone for so long. He’s bringing back old characters and introducing Barry to a new generation at the same time. It’s sort of like a spin-off TV series in the way everything is set up. There is a striking familiarity but at the same time everything feels so shiny and new.
Honestly, I think this is going to be a book to watch, as I think this is something that Geoff wants to write while at the same time being a book that he needs to write in order to ground himself after spending so much of his talent writing mindless epic event books. I hope I’m right. Dear god, I hope I’m right.
Uh, wow. That was quick. You want to talk about a rushed issue? This would be it. Plots are resolved within the length of a page, what would normally take several issues is condensed down into a few panels, and the book ends with a major tease for the new # 1 issue.
I guess with the timeframe he was given JT Krul did the best he could to wrap everything up in a manner that didn’t completely collapse under its own weight, but jeez, an extra issue might have helped to pad this thing and make the narrative flow better. Ollie changes his mind about life-altering decisions in the span of half a panel. It’s so sudden and jarring that it can’t be described as anything other than a WTF moment.
Oh well, bring on the relaunch.
Here’s one I’ve been looking forward to. The Black Widow – Deadly Origin book stoked my interest for an ongoing Black Widow book and now it’s here. I can only say that Marjorie Liu does a bangup job with the character. Artfully taking from what writers like Ed Brubaker have done with her in the Captain America book and moved in the next logical direction.
This book is a lot like Deadly Origin, in that it has a great deal to do with the Widow’s past in setting up the narrative. And honestly, that’s one of the things that makes the Widow so interesting. She’s like the bizzaro Wolverine in that regard. Wolverine is (was) interesting because of the mystery of his past. The Widow however seems to work because we know how integrated with the Marvel Universe she is. That allows for her to organically interact with just about ANY character in the Marvel Universe without it seeming like a gratuitous cameo. Here we get Tony Stark, Wolverine, and Bucky, all of whom should appear in a book like this.
We don’t get that many books with female leads. We were lucky that Ms. Marvel lasted as long as she did and it’s a shame that She-Hulk isn’t around anymore. But between this and Bendis’ Spider-Woman, the ladies of the Marvel Universe are looking damn fine right about now.
I might as well just write a review that says “FUCK YEAH!” and leave it at that, because really that’s all I can say about this book. Matt Fraction has been knocking it out of the park over in Invincible Iron Man, but Fred Van Lente takes a look at Tony’s past and completely nails the character in ways every writer who’s ever handled Tony wishes they could.
I’m not gonna spend any more time on this book. I don’t need to. Go buy the damned thing. If you don’t, you hate being happy. And for that I am so so sorry.
I have to say, this crossover feels like an X-Men story. I maintain that the holding pattern that the x-books were staying in from Messiah Complex to this moment only heightened the intensity of the crossover and it’s making for some amazing storytelling. This issue is balls-to-the-wall action and it’s all done on such a scale that it can only be described as classic X-Men. I get the feeling this is gonna be one of those crossovers that we look back on with a fond memory, remembering just how awesome it truly is.
Jason Aaron writes a better Punisher than Garth Ennis.
There. I said it.
There is something about his run so far that really connects with me. I think a lot of it may be how he seems more willing to blatantly show that he has no regard for mainline continuity. Whereas we know that Ennis was writing in another universe, simply by proxy of using no existing characters, Aaron is more than happy to re-define existing Marvel characters like Kingpin and Bullseye with Ulitmate Universe style reckless abandon, and at the same time make it work and not alienate the fanbase.
Not only that, but he seems to get the Punisher in more than a cathartic sadist sort of way that Ennis did. Aaron’s Frank Castle is decidedly human, and we see this through the skillful mastery that Aaron brings to the people surrounding the Punisher. We get precious little insight from the Punisher himself instead getting more out of reactions from people like Kingpin, Bullseye, or an old army friend who comes by to patch up Frank’s wounds.
Jason Aaron is amazing, and so is this book.
Maybe I should just commit to doing these on Friday so they’ll technically be up on time. I doubt that’d work, as eventually I’d be moving to Saturday to force an adherance to the deadline and that would just be sad. So as it stands, these are a day late. So sue me, but don’t, because I’m broke.
ADVENTURE COMICS #9 3.99
AMAZING SPIDER-MAN #627 2.99
BLACKEST NIGHT #8 3.99
DARK WOLVERINE #84 SIEGE 2.99
DETECTIVE COMICS #863 3.99
FANTASTIC FOUR #577 2.99
GOTHAM CITY SIRENS #10 2.99
HACK SLASH SERIES #30 3.5
NEW MUTANTS #11 SIEGE 2.99
TRANSFORMERS ONGOING #5 3.99
WONDER WOMAN #42 2.99
X-MEN SECOND COMING #1 XSC 3.99
As you can see, it was kind of a short week, so I’m going to focus my energy on a select few titles, hoping to really drive my point home if possible.
Finally this mother-trucker comes to a conclusion. I haven’t been the biggest proponent of this title, as I think that trying to shoehorn it into the company wide crossover niche has destroyed any and all subtlety and nuance that could have been present were it done as a crossover event in the GL books the way Sinestro Corps War was done.
I’m sure those who have liked the book so far will go absolutely apeshit over this issue as well. I mean, it’s got everything that they expect out of the event in great quantity, so why wouldn’t they love it. For those of us who have been along for the ride wondering if the bizarre plot twists and deviations from established characterization would somehow make sense when the arc came to a close, unfortunately we get no such payoff.
I think that is my problem with this whole event. I know Geoff Johns can write the hell out of Green Lantern. The monthly title has consistently shown that from the very moment he relaunched it with that shiny # 1 a few years back. That much is not up for debate, he’ll be seen as the definitive Green Lantern writer of the last twenty-five years hands down, simply because he’s elevated the character to a place where he’s more of a flagship character than Superman, if you look at sales and interest.
The problem with Blackest Night is that it tries to use the elements that make Geoff Johns such a good writer but the end product is rushed and mangled due to the restraints of containing the bulk of the story to a single book. It’s the same problem that happened back with Infinite Crisis. If you read the collected edition of that book, nothing makes any sense because key bits are in other books. The same thing feels like it happened here. I feel like with a book like this, cohesion is key, and they could have either made GL and GLC official parts of the story, and allowed Geoff to weave the narrative across the mini-series as well as the two ongoings, thus giving the narrative some space to breathe and flow organically.
Unfortunately, that’s not the case. With this issue, I feel like everything was abrupt and oddly presented, and aside from the “wow factor” that comes with some amazing spash page and a few resurrected heroes, the final issue, much like the rest of the series, seems to fall just a little bit flat.
Time for another x-event. It’s been a while since Messiah Complex, but a lot has happened since then and it feels like it’s all been leading to this. I have to say that I wish it would have gotten here sooner because so much of the X-books in the last few years has felt like repeated filler. Like they were treading water getting ready for this event. Does it measure up?
I think my main problem with the book had to do with Finch’s art, which compared to his prior work on New Avengers and Moon Knight looks like it was just plain rushed. The conspiracy theorist in me thinks he made the art so shoddy as a middle finger to Marvel as he hopped on the bus over to DC, but I think most of it was honestly a stylistic choice, though one that I don’t agree with.
I’ve been reading the x-books up to this point and I still didn’t quite get parts of the book. I didn’t know who the hell the smiley faced mercenaries were, and the reveal at the end didn’t seem like much of a shocker having read the X-Force series.
Maybe it’s just off to a slow start, as I wasn’t impressed, but things need to pick up soon if this is going to measure up to Messiah Complex, as I straight up loved that crossover.
That’s it for this week. Next week should be a bigger week, and I’ll hopefully have the reviews up on an actual Thursday this time around. Until then…
I’m back. Though I’m completely sore and drained after an amazing concert last night at the House of Blues, I have found it in my heart to post up this week’s reviews in a manner that vaguely resembles professional.
The Pull List 2-10-2010
ACTION COMICS #886 3.99
ADVENTURE COMICS WITH BLACK LANTERN SUPERBOY #7 3.99
AMAZING SPIDER-MAN #620 GNTLT 2.99
BATGIRL #7 2.99
BATMAN AND ROBIN #8 2.99
BOOSTER GOLD #29 3.99
COLT NOBLE AND MEGALORDS (ONE SHOT) 5.99
GREEN ARROW BLACK CANARY #29 3.99
HAUNT #5 2.99
JSA ALL STARS #3 3.99
NEW MUTANTS #10 2.99
PUNISHERMAX #4 (MR) 3.99
QUEEN SONJA #4 2.99
SCIENCE FICTION & FANTASY ILLUSTRATED #1 4.99
SECRET SIX #18 (BLACKEST NIGHT) 2.99
SUPERGIRL #49 2.99
SWORD #4 (MARVEL) 2.99
TITANS #22 2.99
ULTIMATE COMICS SPIDER-MAN #7 3.99
And now, on with the show…
Amazing Spider-Man has become a freight train style juggernaut that moves along at seemingly breakneck speed without any signs of slowing down. The 3x a month format allows for a cacophony of plot development in a VERY short span of time. What amounts to the third arc of the Gauntlet storyline has come to a close. Were this a traditional Spider-man story, played out once a month, it would have taken 3/4 of a year to get where we are.
Thus far the story has been like the beginnings of a chess game, with pieces being carefully put into position in ways that we can see that an endgame is approaching but don’t yet know how it will truly play out. In this week’s issue, we get a classic Spider-Man throwdown between the webslinger and Mysterio, who constantly plays mindgames with Spidey and the reader, keeping us guessing as to whether he truly is Quentin Beck come back from the dead. Ambiguity breeds interest, and this arc certainy has it in spades.
And, I must once again take a moment to praise the art of this particular story, as it reminds me very much of the 70’s styled Spider-Man stories that I enjoyed so much, with none of the hyper-realistic definition that seems to have plagued the book in the wake of McFarlane in the 90’s. The art is a key componant here in making the story feel like classic Spidey.
MINDLESS ZOMBIE BATMAN!
I am an unabashed lover of Hack/Slash and its creator Tim Seeley, who writes stuff that will never be considered high art but could definately be called high concept. His sense of comedic timing is a wonder to behold and his latest venture, a sci-fi/fantasy romp with a sarcastic comedic flair tossed in to make things interesting is truly worth a read.
Now, at 5.99 it’s a bit pricey. But let me tell you this, the issue had more damned story and content than the majority of the books on the rack this week. Compared with Zenoscopes Sci-Fi Illustrated (Which I will get to in a moment…) which held a pricetag of 4.99 with about 1/4 the content, you cannot argue that you’re not getting a good value.
And honestly, you’re getting more than a good value. One of my major complaints with the comic book industry and its followers today is an overwhelming tendency toward constant negativity and adherence to canon/continuity. Fans tend to feel like everything must be kept in strict order and the line must be towed at every turn. For example, take a look at the fanboys who got worked up into a sweat about how Dick Grayson could have POSSIBLY had Batman’s body at the point in the timeline where Batman & Robin # 7 took place when it was contradicted by Blackest Night. Those questions were answered in # 8 but some fans got so worked up in the specifics that they COMPLETELY sucked all of their own enjoyment out of the issue in question.
Books like Colt Noble and the Megalords are a breath of fresh air. In an industry that seems to be trying so hard to be looked upon as a mature art form, where genuine fun is tossed aside for stern-faced seriousness, Seeley presents us with a book that does exactly what a comic book should; entertain. Look, I get it. There are comics out there that are just as legitimate as certian works of prose fiction and should be regarded as such. Whatever. Don’t act like it all has to be like that. For every “Pride and Prejudice” there is a whole rack of novels that don’t aspire to be “art” or “literature.”
Colt Noble is like the dirty girl you take home from the bar and do things that the Bible expressly forbids. You know that you liked it but you’re not gonna go mouthing off about it to your parents in polite company.
The cover has Magog getting punched in the face. Of course I bought it!
The book has Power Girl beating the snot out of Magog. I think I want to make out with Matt Sturges.
Look folks, you remember how I went on a rant about how comic books don’t have to be serious? Yeah, I stand by that. But that doesn’t mean that comic books get a free pass for being utter crap. And they certainly throw away any right to critical fairness when they charge you $4.99 for such crap.
Science Fiction Illustrated is like bad fanwank to classic Twlight Zone and Outer Limit episodes, spliced with the worst heavy-handed pseudo Skinimax artwork one could possibly lay their hands on. It panders to the comic geek who can’t get a girl with a story about buying a perfect robotic woman that then spends spash pages dressed in various naughty outfits cooking and cleaning for the protaganist schlub.
I love me some smut, but let’s be honest, and I mean brutally honest, if I so chose, I could download multiple terabyte hard-drives full of the most disgusting pornography on the planet for free with a click of a mouse. Why would I pay $4.99 for cheaply and crudely drawn comic book girls if not for a compelling story to go along with it. Remember Boogie Nights where Burt Reynolds got all pissed off about porn without a plot. THIS IS WHAT HE WAS TALKING ABOUT!
There is no fathomable way anyone could read this and say they got their money’s worth. That’s just the plain truth.
Gail Simone is awesome. This issue has explosions and zombies and twisty endings and whatnot. It’s part of a crossover and it didn’t suck. Gail Simone obviously made a pact with the devil. That devil might be John Ostrander. Just sayin’.
And that’s it for this week. Join me next time when hopefully I don’t rant quite so much*.
(*totally not gonna happen)