I learned something this week. Comic books are not an easy habit to downgrade. While last week I remarked that due to my financial situation, comic books would have to be scaled back for a little while alongside other things like blu-ray movies and steak dinners in order to help me build up a little extra cash in the bank, this week I found out that I can’t seem to stop myself from throwing stuff on the pile. Let me just say that while I still am going to try to restrain myself, hard as it may be because there is so much good stuff out there that I really want to read, I’m not going to hamstring myself either. If you can’t enjoy your hobbies the way you want, they sorta cease to be hobbies in my opinion.
ACTION COMICS #889 3.99
AMAZING SPIDER-MAN #629 2.99
CAPTAIN AMERICA #605 3.99
DEADPOOL #22 2.99
DETECTIVE COMICS #864 3.99
FALL OF HULKS RED HULK #4 (OF 4) 3.99
FANTASTIC FOUR #578 2.99
GOTHAM CITY SIRENS #11 2.99
HACK SLASH SERIES #32 A CVR SEELEY (MR) 3.5
INVINCIBLE IRON MAN #25 HA 3.99
JLA DELUXE EDITION HC VOL 03 29.99
JUSTICE SOCIETY OF AMERICA #38 2.99
LAST DAYS OF AMERICAN CRIME #2 (OF 3) A CVR MALEEV (MR) 4.99
MIGHTY AVENGERS #36 SIEGE 2.99
NEW AVENGERS #64 SIEGE 3.99
PREVIEWS #260 MAY 2010 (NET) 2.7
PUNISHER #16 2.99
RANDOM ACTS OF VIOLENCE GN (MR) 6.99
SHUDDERTOWN #2 (MR) 3.5
SUPERMAN #699 2.99
SUPERMAN LAST STAND OF NEW KRYPTON #3 (OF 3) 3.99
THOR #609 SIEGE 2.99
TRANSFORMERS ONGOING #6 3.99
ULTIMATE COMICS AVENGERS 2 #1 3.99
X-FORCE #26 XSC 2.99
And now, your weekly biased opinions.
I love a good one-off Deadpool story in which all kinds of ludicrous wackiness ensues. When you try to go epic with this particular character you can either get some amazing results like the Cable/cult stuff in Cable & Deadpool or you can get something like Deadpool Corps which doesn’t have quite the same *oomph*. This story has Deadpool being Deadpool somewhere in Georgia and wreaking vengea-justice against some corrupt backwoods hillbilly cops. It’s not high art in any way shape or form, but it feels like Deadpool, moreso than any universe-hopping counterpart he may have in another book.
In all fairness, this is the only Deadpool book on my list now. I cut off DPC and Team-Up because I wasn’t caring for them at all. They felt empty and bloated at the same time and didn’t give me anything that I was looking for in the character. Merc With A Mouth is still mostly excellent but it ends in three issues, so it might as well be gone already. I’m going to hold off on the upcoming Wade Wilson’s War mini-series, despite my immense love for Duane Sweircantspellhislastnameski because I’m pretty sure they’re gonna make an oversized hardcover for it that will look nice next to my Suicide Kings hardcover. What can I say? I’m a sucker for the aesthetic of a bookshelf brimming with Marvel hardcovers.
My point is that the main Deadpool book is actually better than it gets credit for, and that I find it interesting that writers at Marvel, like the fanbase, have such wide and varying ideas of what a Deadpool book should be like, given that a few short years ago, Deadpool was one of the simplest characters to write. But exposure has forced multiple interpretations and I’m glad that I found the one that works for me. Maybe Deadpool Corps is the one that works for you. I can’t say. I barely made it through the first issue without vomiting in revulsion.
This issue featured maybe one of the most horrible and obvious plays on words that I’ve ever read in a comic book. I mean, it was too easy and it was telegraphed a mile away and I can’t believe that Paul Dini wrote it. The rest of the comic was pretty damned good. But I keep going back to that one cringe-worthy panel, which I would totally scan if my machine weren’t on the fritz. (Yeah, that’s why the panel of the week segment got cut, because I spend too much money on comics to afford a new scanner. I have no shame.)
The majority of this issue centers around Selina and Harley searching for a lost dog while Poison Ivy makes a first impression at her new job. I will say I was surprised by how that little section of this issue turned out. It looks like they’re not going with the secret identity idea for Poison Ivy as a long-term idea, which I was interested in seeing play out over the course of a few issues.
I think this is a good book. I really do. But this issue is a definate drop in quality from the last arc with Riddler. But then again, that could be on account of my epic Riddler-positive bias. I truly do love the Riddler, I think he’s underappreciated and misunderstood. Thankfully, Dini gets the Riddler better than just about anybody and I think he’s got plans for him down the road.
The heroic age is here. Kind of odd that Siege still technically hasn’t ended and we’re already moving on to the aftermath. Better than holding up all the books while we wait but still a bit odd. This issue is just about everything you could want in an Iron Man comic. Matt Fraction might be God, I’ll have to ask his wife if their new baby was immaculately conceived in order to prove my hypothosis. (Congrats to the both of them on that, by the way)
One thing I think that is immediately noticeable about this book is the timing. A week before the new film drops and we get a comic featuring the return of Hammer Industries, the company founded by Justin Hammer, a prominently featured character in the new movie. Coincidence? I doubt it. Just as when this book launched in the wake of the first film with a story featuring Ezekiel Stane, Fraction has organically found a way to grab the interest of any new readers who might jump on board following the release of the new movie.
The tone of the book has reverted to the same sort that it had around it’s launch. Whereas the last arc was very hyper-real with a good chunk taking place in Tony’s mind, we’re now back to the corporate warfare and industrial terrorism actioner vibe that started in The Five Nightmares. It’s a tone that really works for Iron Man, and even with all the changes Stark is going through, he seems to fit into the puzzle with ease. This truly is some of the best Iron Man writing in ages.
Here’s one of the books that proves my point about the inevitability of my comic collecting nature. I didn’t know this book was coming out this week. I completely overlooked it. But when presented with it, I took one look at the cover, saw Palmiotti and Gray’s name on the credits and tossed it on the pile. If there ever were a dream-team of comic writers, those two are it. Right up there with Brubaker/Rucka as far as I’m concerned. I mean, have you read Jonah Hex? Power Girl? Those guys are amazing.
This book utilizes what they know about the comic book business and builds an effective meta-textual story that comments on the world of comics from the inside and out. From publishing to the fans that read the product, to the media that capitilizes on its burdgeoning popularity. At the same time they manage to make a statement about the current state of the horror genre, both in the world of film and in the graphic literature medium. It’s a mixed message that they put out, I’ll admit, but then again that mirrors the content that they’re deconstructing here. Honestly, the book feels very cinematic. It has a very clear first, second, and third act and is illustrated in such a way that I felt like I was reading an adaptation of a mini-series on HBO.
I’m not going to say that this is their best work, but it is an interesting read. My only real complaints stem from the fact that due to the nature of the book, which seems to be a deconstruction of the modern horror story, the plot turns seem telegraphed and predictible. A problem that seems to plague a great deal of horror movies/novels/comics nowadays. Aside from maybe The Walking Dead, I can’t recall being shocked by a horror title in a long time. Crossed came close, but Garth Ennis can’t stop himself from being Garth Ennis, so a good deal of that book felt predictable as well, sad to say.
However, in the case of Random Acts of Violence, I can say that for the price tag, you get your money’s worth and then some. It’s a very meaty book, it feels full and complete without the need for decompression or rushed…anything. It’s simply a well put together book with a few slight snags applied due to the nature of the beast.
Optimus Prime gets dropped out of a helicopter onto Swindle. Of course I fucking liked it.
See you next week….maybe. I’m taking a trip to Louisiana that weekend and I might space out between the middle of next week and the following Monday.
Did you miss me? I bet you did. How would you know what comics to buy if I didn’t tell you what was good or not? Surely you would be lost and you would have to find a new hobby. Like knitting. I’m sure you could do that on your own. Can you tell I’m completely rambling right now? Sorry. I went to a Dropkick Murphys concert last night and didn’t get any sleep afterward. Oh yeah, comics!
THE PULL LIST:
ADVENTURE COMICS #8 3.99
AMAZING SPIDER-MAN #623 2.99
BOYS #40 (MR) 2.99
BUFFY THE VAMPIRE SLAYER #33 TWILIGHT PT 2 (OF 5) 2.99
CHEW #9 (MR) 2.99
CONAN THE CIMMERIAN #19 2.99
DEADPOOL TEAM-UP #895 2.99
DETECTIVE COMICS #862 3.99
FALL OF HULKS SAVAGE SHE-HULKS #1 (OF 3) FOH 3.99
FIRST WAVE #1 (OF 6) 3.99
GIRL COMICS #1 (OF 3) 4.99
GREEN HORNET # 1 3.99
INVINCIBLE IRON MAN #24 2.99
JSA ALL STARS #4 3.99
MIGHTY AVENGERS #34 2.99
PRELUDE TO DEADPOOL CORPS #1 (OF 5) 3.99
PUNISHER MAX BUTTERFLY #1 (MR) 4.99
ULTIMATE COMICS AVENGERS #5 3.99
ULTIMATE COMICS NEW ULTIMATES #1 3.99
WOLVERINE WEAPON X #11 3.99
And now, my humble opinions…
I’ll start off by saying that, yes, the art has taken a bit of a nosedive for this issue. The art isn’t horrible. It’s a bit muddy, but it’s not indecipherable and it clears up in scenes set in daylight. However, I believe that any art will look lackluster when following Michael Lark. Because, c’mon, it’s Lark.
The story however is right up my alley. We finally get a little background on this new Vulture and we get some throwback to JJJ’s involvement in crafting the original Scorpion. There’s a lot to love for Spider-Man purists here, while being modern enough to appeal to people who think that the old Lee/Ditko Spidey stories were too cheeseball.
One thing I would like to point out is that we once again get some acknowledgment of the daughter of Kraven’s existence. She’s been on the periphery for a while now but hasn’t been directly involved in the proceedings, it looks like we’re finally getting to the crux of the story, and I’m anxious to see how things play out.
First of all, how weird is it that this book has reached issue forty? It doesn’t feel like I’ve been reading it for that long. And yet, it’s been on shelves for over three years, and chugging along like a juggernaut each and every month.
This issue sees the fallout from the last issue, which I reviewed HERE starting to shape up. It plays with the common storytelling trope where the reader knows everything but the parties involved know only pieces of the puzzle, thus creating a sizeable bit of tension and drama. Here, Butcher has drawn his own conclusions upon finding out about Hughie’s relationship with a known supe. Hughie is unaware of Butcher’s knowlege and we start to see a bit of a breakdown within the group. As readers we’ve come to really like Hughie and hate to see him put in such a position, and we hope that nothing bad happens as a result of Butcher’s rash and brash nature, but this being a Garth Ennis book, we have a sinking feeling in our gut that something REALLY bad is going to happen soon, and so we are forced to keep reading with mindless zeal.
Batman does not appear in this book. Unless he was stealthily hiding in the shadows or something. I just feel like I should point out that this intro issue is definately a showcase for Doc Savage and the Question, providing the new readers with an insight into the diversity of their crime-fighting styles. Throwing Batman in there might have muddied the waters, I suppose. Still, I’m never going to say that something should have less Batman. I mean, wouldn’t Avatar have been even more awesome if there were some Batman in it? I just imagined There Will Be Blood with a Batman cameo. That would rock.
As far as the issue goes, they do a good job of setting up the story. It’s full of classic noiry intrigue. The kind that Brian Azzarello does so well. And the art by Rags Morales is quite effective. Remember that book called Identity Crisis (aka Mindwipe & Rape : A Musical Revue)? That was a detective story at its core, albeit a shoddy one. But the art was very well done. Morales knows how to capture the tone of a pulp/noir/detective environment and here it most definately shows.
But the next issue better have some Batman or I’m gonna start wrecking shit.
In the same comic we get a cute little comic about Venus trying to prove her worth to the male gods of the pantheon by working at a fashion magazine and a story where the Punisher goes all Chris Hanson to the nth degree on a pedophile at an amusement park.
Kind of a striking dichotomy no?
Everything about this felt…wrong. It was too modern and too keen on being hip to feel like The Green Hornet. The voices of the characters seemed off. I know that characters are open to different interpretations and that no one embodiment can be considered definate because it could always be replaced down the line. I mean, c’mon, look at Batman. But in this instance it just seems like it doesn’t fit anything previously established with the character. Like, if Superman started saying “Yo, man. Stop the crime, dude.”
I spent an entire review praising Kevin Smith’s work on Cop Out, but I cannot do the same here. It just doesn’t feel right. It just didn’t click with me. I hope it clicked with someone because Dynamite put out EIGHTEEN variant covers for this issue, and that’s a lot of effort gone to waste if everyone felt like I did about this particular issue.
The ending of the Tony Stark : Dissassembled arc hits home with a fairly anti-climactic final issue. I think that attempting to balance a fight with Ghost against the cerebral surrealism inside Tony Stark’s head led to a contrast of intent and could only really be resolved in a manner that felt overly simple in the end.
What the book has going for it however, is the last few pages which really drive home how much has changed for Tony Stark. During Civil War someone commented that they wished Tony Stark from years back could see his actions during that crisis, and here we sorta get that but with none of the satisfaction. It’s more of a shallow pity and it does a great deal toward redeeming Stark as a character. Which needs to happen considering he’s just as recognizable as Spider-Man in the public eye now.
The issue begins with a panel of Lady Deadpool seen from behind where her leg tapers off into something that looks like a suction cup. It’s supposed to be her foot.
Did I just start this review with the statement that Rob Liefield can’t draw feet? A fact that is pretty much abject fact at this point? Yes I did. And do you know why? Because it doesn’t get any better from there. The book is one long rambling fight sequence, then Deadpool shows up and drafts Lady DP into some mission and the issue ends.
There is NO substance here. And for a character where razor-sharp wit is the defining characteristic, this issue is filled with some of the dullest humor and sloppiest attempt at witty writing this side of a Dane Cook special.
My fears have been realized. Deadpool is no longer infallible in my eyes. Excuse me while I weep.
I think this book simply proves my point that the Punisher is only as interesting as the people he kills. Garth Ennis knew this. Jason Aaron knows this. And Valerie D’Orazio knows this.
If you don’t know Valerie’s story, and believe me it is a long surreal tale unlike any you’re likely to hear in the world of comics again, you might want to take the time to give her pseudo-memoir/blog “Goodbye to Comics” a look-see. It’s not a short read by any means, but it is something that begs to be read. For a quicker bio, you can click HERE.
There are two ways to read the book. You can read it knowing Valerie’s story or going in blind. If you’ve read Goodbye to Comics you can get an inkling of how cathartic writing this book must have been for her. There are themes that are definitely derived from her experiences in the publishing world and it helps to make the book feel genuine. If you know nothing about the writer, you’ll either bitch that there’s not enough Punisher in the book or you’ll comment on how the best Punisher stories of the last few years seem to use the actual character of Frank Castle sparingly. Like the shark in JAWS.
Jeph Loeb didn’t make me want to kill myself while I read his latest offering to the Ultimate universe. You may remember how I called Ultimatum one of the worst books of 2009. I stand by that. UCNU (because typing out that long ass title every time would make me want to kill myself) is about as middle of the road as you can get. It is not excellent nor is it bad. It simply is. I like where Loeb hs put Tony Stark. I like that we got to see Frank Cho draw Hela undressing herself seductively in an attempt to get Thor to “raise his hammer.” I like that nobody was eaten alive.
It’s like when Homer Simpson invented the Flaming Homer; “It passed the first test…I didn’t go blind.”
Wolverine celebrates the resurrection of Steve Rogers by having Nightcrawler fly them around the world to different bars where they get drunk and form a nice little bromance. Also there are multiple Deathloks going all Terminator on the progenetors of the next generation of heroes.
Yeah. I dug it.
So I’ve been battling a cold that’s primary affliction to my system has been a severe sense of apathy. I don’t think I’ve ever moved slower on a Wednesday than I did at work yesterday, but when the fever broke in the night I realized that I had a blog to update, and thus I started work on this week’s reviews, which will begin momentarily.
THE PULL LIST: 2-17-2010
AMAZING SPIDER-MAN #621 GNTLT 2.99
BATMAN #696 2.99
BATMAN STREETS OF GOTHAM #9 3.99
BLACK WIDOW AND MARVEL GIRLS #4 (OF 4) 2.99
BLACK WIDOW DEADLY ORIGIN #4 (OF 4) 3.99
CAPTAIN AMERICA #603 3.99
CHASE VARIANT ONE SHOT IS ALL I NEED (ONE SHOT) 3.99
DAREDEVIL #505 2.99
DARK AVENGERS #14 SIEGE 3.99
DEADPOOL #19 2.99
DEADPOOL MERC WITH A MOUTH #8 2.99
DOOMWAR #1 (OF 6) 3.99
GREEN LANTERN #51 (BLACKEST NIGHT) 2.99
GREEN LANTERN CORPS #45 (BLACKEST NIGHT) 2.99
HULK #20 FOH 3.99
IGNITION CITY TP 19.99
INCORRUPTIBLE #3 3.99
INCREDIBLE HULK #607 FOH 3.99
JOE THE BARBARIAN #2 2.99
JUSTICE LEAGUE OF AMERICA #42 3.99
POWER GIRL #9 2.99
PSYLOCKE #4 (OF 4) 3.99
PUNISHER #14 2.99
SPIDER-WOMAN #6 2.99
STARMAN OMNIBUS VOL. 4 49.99
SUPERGIRL #50 (NOTE PRICE) 4.99
THOR BY DAN JURGENS & JOHN ROMITA JR TP VOL 02 24.99
UNCANNY X-MEN #521 2.99
And so, I begin:
AMAZING SPIDER-MAN # 621
I feel like I’ve heaped sufficient praise on this book over the course of it’s “Gauntlet” storyline. This issue is worth picking up for Michael Lark’s art alone. That man could draw Daredevil making a sandwich for 32 pages and I’d buy two copies. (Grilled cheese variant?)
This issue catered to me in numerous ways. It had Black Cat, who I effing love. It had Mr. Negative, who I honestly believe is one of the better additions to Spidey’s rogues gallery that we’ve seen in the last few years. Honestly, it was just a good Spider-Man comic. And while the previous few issues have felt decisively like old-school Spidey, this one feels frighteningly modern, and I think alot of that comes from Michael Lark’s artwork. While not overly realistic, the tones are muddied and contrasting as opposed to the clean cut-and-dry work of the last few issues. I like both styles, and the art definately worked for this story, but the change is a litle jarring when held up to what had come before. The saving grace comes in the form of the writing, which doesn’t shift tone nearly as radically and keeps the story on course.
Again, I really only have good things to say about this series at this point, and if you’re not picking it up I think you’re probably just still bitter over the One More Day angle. We get it, you feel slighted, but at this point you’re just denying yourself some quality entertainment with a character you claimed to love.
Rich Johnston is basically what would happen if I went around shouting a bunch of stuff I heard and considered it hard journalism. I won’t deny that the man gets his shit right every so often, as the man does have some sweet hookups and his site is a go-to for many people. I consider him and people like him to be the reason that Wizard has lost it’s relevance to the comic community and that in itself sort of makes him relevant.
Does any of that qualify him to write a comic book?
I don’t know. If it does, I’m hoping someone at Image calls me because I’ve got a great pitch about a Texas ranger who fights ronin-Samurai in a post-apocalyptic California with the help of a cat named Asshole. (Seriously, call me.)
I don’t know if he’s ever written anything outside of an editorial before this book, but if he’s a newbie he didn’t do too bad for his opening shot. If nothing else, the book has a pretty cool framing device, with unseen hands dealing magic-style dueling cards that shape the flow of the narrative. Such a framing device would be especially interesting in an ongoing series, where it could be explained in detail, but as it is not an ongoing and simply a one-and-done sort of deal, part of me wonders what their purpose was. Though that’s just me contemplating what could be or should have been and not what is.
As far as what the book is, I would say that Chase Variant is decent but it feels like an anachronism. A sort of throwback to the 90’s Image that I never really got into. There’s no character development or plot that runs beyond a few lines of dialogue, but there is some well-developed imagery and the potential for impressive worldbuilding. Environment and aesthetic over true content, honestly.
That doesn’t mean that it’s rubbish, because at least the book feels like it moves forward given it’s limited frame of existence. It’s not like it treads water trying to stay afloat. The book may not be the best thing ever written, but none of the effort was phoned in and it feels genuine, which is more than can be said for some books.
I’ve gotta nominate this one for turnaround book of the month, because the last issue to hit stands was downright atrocious. I was literally floored by how asinine that book was. This issue on the other hand seems to work well to regain focus and present a singular path for the book that I hope isn’t lost next month for some reason nobody can explain to me.
Instead of disjointed mini-sodes with a hodge-podge of different artists breaking up the flow, we get Deadpool and co. sucked into the Marvel Zombies universe where Deadpool goes all Tom Savini on a bunch of undead superheroes. The art is clean, crisp, and fits the tone preented by the writing and the jokes don’t completely suck the life out of the book.
Thank god, I was afraid I was going to have to drop this book. And how damned ironic would it be if after clinging to Cable and Deadpool because I didn’t want to see DP’s only book get cancelled would it be for me to be able to drop a Deadpool book and not be concerned because he has two other books I could read? I’d love to go back to the 90’s and drop that bombshell on someone. The look on their face would be priceless.
SUPERGIRL # 50
I’m glad that we have a Supergirl book that isn’t a horrible trainwreck. The current team has been doing a bang up job with the character, and though I’m not a big fan of the huge line-wide crossovers the Superman family seems to be enduring until the end of time, this book has been doing the best with what it’s been given from the get-go. The character development they’ve been working with Kara and Lana is refreshing, as both of them have drastically needed to be refocused for quite some time.
This issue feels like a good old fashioned Superman story to me. I mean, replace Supergirl with Clark and you would swear that this story belonged in one of those Black and White SHOWCASE books. Giant wasps? Lazer beams! GANGBUSTER?!?!?!
The backup story is short and essentially unnecessary, but the tone was on the money and I’m sure putting Helen Slater’s name on the book bumped sales by a fair margin, though what size that margin is could be anybody’s guess. Either way, the total package was worth the extra dollar on the price tag.
If all they had printed in this book was that final page, I still would have loved it. I won’t spoil it, but they made me a very happy nerd.
Very very happy nerd.
And I’m done for this week. Check back next time, when maybe I’ll review a comic that totally sucks. It’s kind of odd when I don’t read anything that makes me wanna hurl.
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)
Dear loving God, I think I may have gone overboard on the books this week. I bought about double my usual pull and mostly because there were issues I figured would be good picks for review on this here blog.You should all feel so special.
The Pull List:
AMAZING SPIDER-MAN #619 GNTLT 2.99
AVENGERS INITIATIVE #32 SIEGE 2.99
BATMAN AND ROBIN #7 2.99
BLACKEST NIGHT JSA #2 (OF 3) 2.99
CAPTAIN AMERICA REBORN #6 (OF 6) 3.99
CHEW #8 (MR) 2.99
DAREDEVIL #504 2.99
DETECTIVE COMICS #861 3.99
FALL OF HULKS RED HULK #1 (OF 4) FOH 3.99
FANTASTIC FOUR #575 2.99
GOTHAM CITY SIRENS #8 2.99
GREEN LANTERN #50 (BLACKEST NIGHT) 3.99
HOUSE OF MYSTERY TP VOL 03 THE SPACE BETWEEN 14.99
JUSTICE LEAGUE OF AMERICA #41 3.99
JUSTICE SOCIETY OF AMERICA #35 2.99
KICK ASS #8 (MR) 2.99
MS MARVEL #49 2.99
NEW AVENGERS #61 SIEGE 3.99
PUNISHER #13 2.99
ROBOCOP #1 (MR) 3.5
SUPERGIRL #49 2.99
SUPERMAN #696 2.99
SUPERMAN SECRET ORIGIN #4 (OF 6) 3.99
THOR #606 2.99
ULTIMATE COMICS ENEMY #1 (OF 4) 3.99
WIZARD MAGAZINE #222 MARVEL SIEGE CVR (C: 0-1-2) 5.99
WONDER WOMAN #40 2.99
X-FACTOR #201 2.99
X-FORCE #23 XN 2.99
X-MEN LEGACY #232 XN 2.99
And here come the reviews:
AVENGERS INITIATIVE # 32
Taskmaster is an underated character. He’s really been getting his due in this book and this issue is no different. Initiative shows the POV of the ground level people going into the Siege on Asgard, particularly Taskmaster and Diamondback. We really get to see a clear defintion of why it is Taskmaster does what he does, something that I found refreshing in that it really fleshed his character out further than we’ve seen previously and hopefully it will generate some more interest in the character so that he sticks around after Initiative goes the way of the dodo in April.
BATMAN & ROBIN # 7
Long delayed and anticipated in ways I cannot possibly describe, the seventh issue of Grant Morrison’s flagship title for the Batman reborn storyline picks back up with a bang, not losing any of the kinetic energy that has made the book such a great read from it’s inception. The story begins in London with Batman racing against time through the streets trying to stop a runaway train brimming with explosives. The pacing of Batman’s movements through the city showcase all that artist Cameron Stewart is capable of and at the same time reminds us that Dick Grayson as Batman retains so much of the acrobatic skill that made him so formidible as Nightwing.
The book then escalates, delving into conspiracies regarding an old mine that may or may not have certain regenerative qualities. Sure enough, Batman and Robin show up and find a viable Lazarus Pit. With the themes already touched upon in the last few issues regarding Bruce’s death, one can easily see where this leads; but everything Grant Morrison does is always slightly off kilter, and I would wager that the final page of this issue is going to lead to something that defies expectation.
It should be noted that the issue has a really big lettering error, one which is devestatingly confusing. I know at least one person who assumed this was some sort of weird Morrisonian style choice, but it’s nothing so sinister. Just swap the speech bubbles and it makes perfect sense, and all will be well.E
DETECTIVE COMICS # 861
Following J.H. Williams on the art duty for Detective is pretty much like expecting a garage band to play the encore for Led Zeppelin. Artist JOCK does a great job on the title, bringing his signature look to the book an creating his own template for the action. Rucka does well balancing the dual stories, showcasing Batman and Batwoman’s investigation of the same case.
While I certainly miss the unparalleled art by Williams, this arc looks to be Rucka at the top of his game, and if that’s the case, it really doesn’t matter who is pulling the art chores.
RED HULK # 1
A book where the Red Hulk and Abomination team up to learn how M.O.D.O.K. repeatedly clones himself and harvests his own organs for future use. I’m a sucker for anything remotely involving M.O.D.O.K., so the fact that this book technically doesn’t need to exist in any way shape or form can be overlooked.
JUSTICE LEAGUE OF AMERICA # 41
I haven’t been reading Robinson’s JLA. I read the first issue of Cry for Justice and decided that no good could come from reading anything Justice League related from that particular author. Picking up this issue, I can honestly say that I was probably right. The narrative seems jumbled and the characterization stilted. I know from his run on STARMAN that Robinson can handle a diverse cast. The only explaination I can think of for his inability to craft a coherant JLA is that in STARMAN, he built his world from the ground up. Robinson seems to have issues playing in other people’s sandbox with JLA and it is visible on every page.
Which is disappointing because Mark Bagley is turning out some really nice work here, drawing a wide spectrum of characters with all his usual skill. The fact that one of the most competent artists on the DC roster is stuck drawing such a lackluster book is perhaps the biggest shame of all.
ROBOCOP # 1
I’m not sure where this fits into the movie continuity. It seems like it either takes place before the third film or ignores it entirely. I don’t so much care about the continuity, that stuff doesn’t really matter with a book like this. What bothers me most about this book is just how damned sloppy it is. It reads like tiresome fan-fiction, which is forgiveable considering that that essentially what it needs to be. What really drags the book down is the ham-fisted way they try to shoehorn blatant social commentary about our current financial dilemma into the narrative. And while the original film did a good job mixing action and subtext, this book doesn’t seem to know how to do it without coming off as forced and trite.
ULTIMATE COMICS ENEMY # 1
I have no f**king idea what happened in this issue. Ben Grimm hit on the Invisible Woman and then started shedding like a mangy dog, a building exploded with a purple blob thing, and Nick Fury has lunch. I’m pretty much willing to accept a lot but paying $3.99 for this makes me slightly angry.
WONDER WOMAN # 40
Gail Simone knows how to write Wonder Woman. This issue features creepy Childen of the Corn kids spreading hate-speech, racism, and fear and eventually Power Girl shows up. I love Power Girl, so this book is immediately awesome, but the character moments in the book are so strong that it didn’t even need her to win me over. Gail has organically been building this series in such a manner that in a few years it will likely be held up alongside Perez as the pinnacle in what can be achieved with the character.
And that’s it for this week. You’ll notice I actually reviewed more than one DC book this week. Aren’t I a generous soul?
Every week I plan to bring you my personal reviews of the week’s releases, hopefully in a timely manner. This would be easier if Marvel and DC still sent out those preview copies a week ahead of time but those are a distant memory, like good hip-hop.
THE PULL LIST:
ACTION COMICS #885 3.99
ADVENTURE COMICS #6 3.99
AMAZING SPIDER-MAN #617 3.99
ANGEL #29 3.99
AVP THREE WORLD WAR #1 (OF 6) 3.50
BATGIRL #6 2.99
BATMAN #695 2.99
BLACK WIDOW DEADLY ORIGIN #3 (OF 4) 3.99
BOOSTER GOLD #28 3.99
BUFFY THE VAMPIRE SLAYER #31 2.99
CATWOMAN #83 (BLACKEST NIGHT) 2.99
CONAN THE CIMMERIAN WEIGHT OF CROWN ONE SHOT 3.50
DIE HARD YEAR ONE #4 3.99
FEARLESS DAWN #2 (OF 4) 2.95
GREEN ARROW BLACK CANARY #28 3.99
INVINCIBLE IRON MAN #22 2.99
MARVELS PROJECT #5 (OF 8 ) 3.99
NATION X #2 (OF 4) 3.99
PSYLOCKE #3 (OF 4) 3.99
PUNISHERMAX #3 (MR) 3.99
RED HERRING #6 (OF 6) 2.99
SECRET SIX (BLACKEST NIGHT) #17 2.99
SWORD (MARVEL) #3 2.99
TITANS #21 2.99
TRANSFORMERS ONGOING #3 3.99
UNWRITTEN #9 (MR) 2.9
Here begins another chapter in the “Gauntlet” arc of Amazing Spider-Man, detailing one of the viallians who I felt should have been included in the film series somewhow (and hopefully will be when this reboot gets going), the Rhino. Why do I like the Rhino? Because he’s got that classic element of emotional scarring through physical trauma that I like my villains to have. (See also Two-Face, Killer Croc, etc.)
Here we see Rhino doing the whole “I’m a good guy because I found a woman” routine and we’re introduced to a new character taking up the Rhino moniker. How many of the original Spider-Man rogues are actually the people they were when they debuted nowdays? Kraven and Scorpion have been replaced by younger more female-type persons, the new Vulture spits acid blood or something like that, now the Rhino is getting an overhaul. I’m not complaining, though. When it comes to the stories presented, if you’d been beaten up by Spider-Man for years you would likely abdicate your cirminal moniker too. The old guard fading away is a big part of what makes certain stories work. By progessing the villains, you progress your hero by proxy. It works.
The main story here is a bit hollow, aside from the fun interplay between Peter and Norah, there’s not much meat to the story. It’s clearly a setup for what will follow in subsequent issues. Even the advancement of Rhino as a character isn’t truly fleshed out until a very well done backup story after the main meat n’ potatoes of the lead-in.
Again, I seem to like where all this is going, and I attribute that mostly to Joe Kelly who is an underappreciated writer in many ways, but I think my feelings toward this issue will be altered one way or the other by how it is followed up down the line.
I’m going to try not to review books, such as this one, that are in the middle of an ongoing arc if I can avoid it. That having been said, I think this issue finally revealed what I’ve been feeling about the “Dick as Bats” experiment and made me grasp what had only been an inkling until reading a few panels presented here; I forgot that Bruce was gone.
Tony Daniel has been doing something that seems to counter-act what Morrison has been doing in “Batman & Robin.” Whereas that book works off of the relation between Damien and Dick and how both are coming to terms with Bruce Wayne’s absence, the main Bat book goes long stretches where Batman is doing his thing and the inner voice of the character is 100% identical to Bruce, generally speaking. It feels as if Daniel is writing Bruce Wayne as Batman and then out of nowhere we are reminded that it’s not Bruce.
Part of me thinks it’s written this way to make the reader accept Dick as the subsitute, leaving the reader in a comfort zone and not changing the tone of the character in any major way. Another part of me thinks that Daniel is not as experienced a writer as he is an artist, and therefore has trouble writing discernable voices for multiple characters. He doesn’t write Dick in the suit, he writes the suit, so to speak.
The book itself feels like a book out of the 80’s or 90’s. It’s very self contained to it’s own universe and almost a slave to it’s own past. The art is solid, which I attribute to Daniel basically writing to his own strengths, seeing how he’s handling the art along with the scripting. It’s refreshing to read a fairly straight-forward Batman narrative again, even if we know that it’s techically just filler until Morrison pulls Bruce out of the past and re-inserts him into the now.
Why are you not reading this? It’s such a great book. I know a few people must have been suckered in during that Blackest Night crossover, but that’s just not enough. This book craves attention. Just like Booster himself, this book is constantly seeking validation. It shouldn’t, because it’s just plain good and that should stand for itself, but everyone should read this book at least once.
This issue is a great place to start. It’s a good jumping on point, with Booster and his sister delivering a nicely done exposition dump and getting everyone back up to speed. The story centers around the “if you travel to the past you can’t change anything” device and takes a look at how, if given the opportunity, such things might play out in the DCU. In this case, it’s trying to avoid the Cyborg Superman Coast City disaster. With time travel being a regular staple of the DC universe, it’s suprising that we don’t see more stories centered around the government or certain heroes trying to go back and reverse history. I mean, Superman flew around the world so fast he turned back time in the original Superman film, so it’s not like it hasn’t been thought of, but Booster Gold seems to be the only series that bothers to look at certain angles of the time-travel element.
I think that’s what I’ve been liking so much about this book. Aside from the Blackest Night tie-in, the book completely covers its own little niche of the DCU that nobody else tramples on and the book acknowleges and presents a reasoning for occupying that very same niche. It’s clever writing at its best and the fact that it makes logical sense is refreshing, especially given what goes on in certain parts of the DC publishing web.
I think out of all the resurrected titles that came about because of Blackest Night, Catwoman was the one I was most looking forward to. I was terribly disapointed when they cancelled the book in the first place. Seriously, it was a solid book and it didn’t need to go away. I love Gotham City Sirens, and that has helped to lessen the blow but crowding the book with three leads makes it hard to really focus on any one character’s needed arcs. It’s almost as if that book was meant to introduce a new status quo in a manner that we all slowly forget what came before and only focus on the current developments.
Resurrecting the Catwoman title proper, allowed the reader to get a little closure in regard to the Black Mask murder storyline that pretty much dangled after the cancellation of Selina’s title. This book puts the endpiece on that particular storyline and organically presents a followup that can be built upon in “Sirens” down the line.
While the Blackest Night banner seems to indicate a quick cash-grab in bringing books like Catwoman back, the content and the fact that it is used to further the development of the character and put old business to bed justifies their existence.
There are Nazis. And I don’t really understand much else. Part of me wants to peg this book as a sort of T&A throwaway book but, there’s not actually much T&A on display. It’s really just an oddball fun book that isn’t too deep or well constructed, but it’s a fun read in the end and considering I only picked up the first issue because the cover looked interesting and I’ll buy anything with Nazi’s as the villain (see also Hellboy) I can’t complain too heavily about what’s presented between the covers.
I recently named Fraction’s “World’s Most Wanted” arc one of my favorites of 2009. He’s still continuing that with the “Stark Disassembled” arc here, but I can’t help but have flashbacks to that season of The Sopranos where Tony was in a coma and we spent so much time in a dream world that interest soon started to dwindle.
That isn’t a problem here, because now Doctor Strange is here and Doctor Strange is awesome.
I predict that the end of this arc will make me do a little fanboy squeal but if I do I won’t tell you about it because I’d like to retain some of my objective dignity, of which I have very little.
Jubilee. That is all you need to know.
Holy fuckshit Jason Aaron is impressing me left and right. His Weapon X book is the best Wolverine in years and now we get a Punisher story that lives up to the legacy that Garth Ennis left with “Welcome Back Frank” without completely aping everything that Ennis did with the character.
The smartest thing Aaron has done is focus more on the Kingpin than on Frank Castle. We’ve seen everything in Frank’s arsenal, honestly. But this new Kingpin is an unknown entity. By establishing this new character and framing the development through the lens of the Punisher and the thugs on the street, we are left wondering if this Kingpin is going to wind up like the rest of the Punisher’s rogues and be dead by the end of the arc or if we’ll finally get another recurring villain worth getting excited over. Ennis gave us Barracuda and The Russian, it seems like Aaron is trying to do the same thing with the Kingpin, and give us a new recurring foe who isn’t named Jigsaw.
This book is everything you could wan’t in a Punisher story. It also has saggy old lady tits, though I’m not sure if that counts for the book or against it.
Ultra Magnus is a dick and a half. Seriously, the guy is so oblivious to his own dickishness that he makes Silver-Age Superman look like a cognitive genius. I’m not exactly sure what continuity this book follows, considering that I haven’t read a Transformers comic in ages, but if there’s one thing that all of them share it is that Ultra Magnus is a total douchebag and he doesn’t even know it. Also Hot Rod.
This book is frustating for me in that I feel as if nothing seems to happen in any of the issues until the final page. It’s like 31 pages of filler and then shocking cliffhanger. It is already getting tiresome. That having been said, I like the angle they’re playing where the Autobots and Decepticons put aside their differences out of a shared sense of nihilistic apathy/exhaustion. It’s basically as if both camps said “screw it,what else is on TV?” It’s different, at least to me, and story structure aside, I want to see where it leads.
And that wraps it up for this week’s reviews. I would like to finish the post with something witty but I really want to finish watching LOST on bluray, so that isn’t gonna be happening.