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Posts tagged “Peter Parker

Comic Review Double-Shot

I Do Not Actually Look Like Jesse Custer

I haven’t done day-and-date reviews for individual comics in a while. I get my books mail-0rder nowadays for financial and convenience reasons and I only rarely will pick up a book off of the rack. Usually it’s when I have some spare cash laying around and want to give something different a chance. Today I got some issues that I initially passed on because I didn’t have the cash for them in my budget at the time.

AVENGING SPIDER-MAN # 9
STORY BY Kelly Sue DeConnick
ART BY Terry Dodson, Rachel Dodson
COLORS BY Edgar Delgado
LETTERS BY VC – Joe Caramagna
COVER BY Terry Dodson, Rachel Dodson
PUBLISHER Marvel Comics
COVER PRICE:$3.99

Next week sees the first issue of Carol Danvers’ turn as Captain Marvel. This week gives us a sort of primer as she teams up with Spider-Man in a fun little issue written by Kelly Sue DeConnick, who will be handling the ongoing series as well. I have said that while I don’t consider myself one of those “shipper” fans, I would totally support Peter Parker and Carol Danvers as a couple. Their banter and flirtations are often a delight to read, especially if they’re written by someone who gets the voice of those characters individually.  Kelly Sue does. She’s one of the writers at Marvel who can seemingly write any character with ease and put them into a story that is fun and breezy in a more classic tradition that eschews the post Bendis style that seems to find its way into every book no matter who is actually penning it.

Avenging Spider-Man # 9 feels like a classic issue of Marvel Team-Up in all the right ways. The story centers around Peter and Carol going for a flight in Carol’s new junker of a plane when they find themselves caught in a dispute between a young lady who has had a brush with the law and a private security firm trying to bring her in. It is a fun read and a welcome change from what I’ve been reading from Marvel at the moment. I’m hoping that trend continues with the ongoing series. Kelly Sue has set the stage for something that could easily be just as good or better than the last volume of Ms. Marvel which I enjoyed from end-to-end.

REVIVAL # 1
STORY BY Tim Seeley
ART BY Mike Norton
COVER BY Jenny Frison, Craig Thompson
PUBLISHER Image Comics
COVER PRICE:$2.99
SYNOPSIS: For one day in rural central Wisconsin, the dead came back to life. Now it’s up to Officer Dana Cypress to deal with the media scrutiny, religious zealots, and government quarantine that has come with them. In a town where the living have to learn to deal with those who are supposed to be dead, Officer Cypress must solve a brutal murder, and everyone, alive or undead, is a suspect. A beautiful “farm noir” that puts a new twist on the zombie genre, created by NYT Bestselling author TIM SEELEY and acclaimed artist MIKE NORTON. 

Tim Seeley has made a name for himself on Hack/Slash and I bought this based off of that reputation alone. I haven’t been following his run on Witchblade, but this seemed more up my alley. Revival seems like it fits more into the mold of Image comics like The Walking Dead in that there is definitely a lot of world building being done but the core of the series is going to be centered around the interactions of our main characters. The danger with something like that is that you have to give people something to like. I wouldn’t say that Seeley’s character work is the best thing about Hack/Slash. The characters there are somewhat thin but the reader is still able to connect. In this series, Seeley has severely stepped up his game. Right off the bat we are given small looks at Dana and her personal life that make her immediately relate-able. She has family issues aplenty as well as personal issues relating to her own personal successes. This is one of the best first issues of a new comic I have read since Chew with regards to getting a sense of character.

Revival is definitely worth a look. It isn’t just another zombie book. To even use that term in association with it is somewhat misleading. This is a horror book, to be sure. I’ll even admit that parts gave me goosebumps. It’s been a while since I’ve read something that did that. Aside from the character work, Seeley has done a great job setting the mood here. Mike Norton’s illustration of the gore really hammers it home as well. I think this one could very well be one of the best things to come out of Image in a good long while.

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So there you are. Go buy those things. You won’t regret it.

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The Spider-Man Wedding : A Treatise on the Dynamic Nature of the Ever-Shifting Comic Book Status Quo and the Reactions It Produces

Last night I watched my friend get married. Today I feel compelled to write about the demolition of Spider-Man’s marriage by the One More Day storyline. I know it’s been a long time since that particular story arc actually occurred, and that in the two and half years since it transpired we’ve had about five years worth of Spider-Man stories condensed down on us in the Brand New Day format. The fact that we have had so much happen in the Spider-Man universe since the deal with Mephesto ended his marriage is one of the factors that has helped Marvel quietly settle it’s readership into the new status quo. We as readers have mostly adapted to the point where Mary Jane no longer being a regular part of Peter’s life doesn’t register on our radar unless explicitly shoved in our face, ie. whenever Mary Jane shows up and makes cryptic references to the past that never was.

My feelings on the dissolution of the Spider-Marriage are fairly simple. I think that in the context of the story, it was poorly executed, but in the realm of comic-books, where fluidity is the name of the game, I cannot condemn it any more than I can condemn the death of Captain America or the Heroes Reborn debacle, or the Clone Saga for that matter. In the end, the events of One More Day are only as permenant as the popular writers of the day choose to make it. If tomorrow Geoff Johns jumped ship to Marvel with a plan to reunite Mary Jane and Peter, you bet Quesada would bow to his whims because he knows it would garner massive media attention and sales. That’s what it all boils down to, commerce. While comic books are an art form, they are also a business. Joe Quesada made a business decision based off of personal preference. There was no malice intended ot the fans in his action, simply a desire to run the creative side of the Spider-Man franchise that was more in line with what he envisioned as an Editor-In-Chief.

I think that the main reason for the uproar over the end of Peter’s marriage, aside from the qualms with the manner in which it happened, is that the majority of readers for Spider-Man grew up with Peter Parker and Mary Jane interlocked and inseparable. To them, Peter without Mary Jane seems like an incomplete machine, a muscle car without an engine.  I’m sure anyone who picks up a Spider-Man book in the aftermath of the One More Day storyline would argue that Mary Jane has no more right to be the definitive Peter Parker significant other than Carlie or any of the other new characters introduced after the end of the marriage at the hands of Mephesto.

I think this all boils down to how in the world of comics, due to the fluidity and ever-shifting organic nature of the medium as a whole, events that add an edge of finality are basically a timebomb. Graduation from High School for teenaged heroes, marriages, deaths, children, etc. These elements serve the purpose of allowing the character to grow, but at the same time put up roadblocks that will eventually have to be dealt with. It’s a paradox in every concievable way.

I think this is why I, along with many other readers, are being drawn to series that have a finite run, with a clear beginning and end. You don’t have to worry about important developments being reversed in a series like The Boys, or The Walking Dead because their nature will not allow for it. Superhero comics do not seem to have that advantage. For long-running serialized characters, there will be change after change and then reversion. For every step gained there will inevitably be two steps back. This isn’t to say that serialized superhero comics are somehow inferior to limited-run series, but the fandom associated with the DC/Marvel superheroes will always encourage this sort of behavior.

My overall contention with all this is that there seems to be an overwhelming negativity when it comes to any change made to a mainstream character. I am simply saying that instead of grousing about it for two and a half years, enjoy the progression of the story that comes in its wake and patiently wait for the eventual return of the status quo that you enjoyed so much. And if you simply can’t handle the things being done to the character in between, find another title that doesn’t cause you so much mental anguish.

After all, comics are supposed to be fun.


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.

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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.