I’ve been a Deadpool fan for a long time. Long enough that the current Deadpool craze kind of fascinates and infuriates me. I remember telling anyone I knew who read comics at the time that they needed to be reading Cable & Deadpool because it was one of the best books on the stands and that by passing it by they were really missing out. And now that series is regarded as somewhat of a modern classic, with the issues being a little bit more expensive to pick up even before the Deadpool popularity boom and the original trade paperbacks damned near impossible to track down, at least down here in my neck of the woods. While that book was coming out, I was one of its biggest champions, espousing its virtue to every comic fan I knew. But the pervasive culture of comic collecting that centers itself around the importance of continuity and the so-called “big picture” left that book mostly ignored by the general readership of Marvel Comics.
Fast forward to today and that series is getting re-collected into trades, this time with Deadpool’s name taking top billing over Cable and the merc with a mouth has three monthly series going on at once, with one or two mini-series going on at the same time as well. When one ends another starts, so that might as well be another monthly as well. The point is that Marvel is definitely putting some effort into the Wade Wilson division of their publishing. The flagship eponymous title is pretty consistent. In many ways it feels like a spiritual parallel to the series from the nineties. Don’t believe me? Read a couple issues of the old series and then a few of the new series. There are striking similarities, and I’m not going to slam the book for not breaking new ground because it is still constantly entertaining which is the one thing I really look for in a Deadpool book. Deadpool TeamUp is the definition of hit or miss. The quality of that particular book is entirely dependent on both the writer and the guest star of the moment not completely sucking, and getting both to match up seems to be a bit of a problem. Usually only one or the other is on their game.
Then there’s Deadpool Corps, which turned me off before it even launched through the Prelude title which I thought was pretty much unreadable. I don’t know what it was that turned me off, aside from the fact that it just didn’t feel like Deadpool in my opinion. The tone seemed off and something about it left me feeling like the entire mini-series was a misstep. So I initially decided not to read the title that it spawned. I like Vic Gischler’s work, mostly. I don’t think he’s written much that I didn’t like, so I was sad that I didn’t get hooked in with DPC. I didn’t give it much thought after that, because I haven’t given any real thought to any book Rob Liefeld has been on since…well, I guess New Mutants. I know it’s easy to bag on Rob, but I won’t because some people think he’s a great artist. Some people dig his style. He’s supposedly a nice guy. All I know is that his art doesn’t speak to me on any level, and unlike his peers at the time he really hasn’t grown as an artist at all in the time since he rose to prominence. Just about everybody else who founded Image went on to improve leaps and bounds. Except Rob. Rob just stayed Rob. And if he can still move books, I suppose that’s fine. I still think that part of what sealed the deal for me not to pick up the book when it hit stands was his art. The mediocre lead-in was the crux of it, but the thought of forcing myself to stare at his artwork sure as hell didn’t help. If they’d had the art team from Merc With A Mouth or something, I might have been more easily persuaded to give it a try.
So cut to a few months later, I’m at Half Price Books over in Rice Village and I found the issues in the cheap-o bin and picked them up with the sole purpose of forcing myself to read through it and review it for the blog. I hesitated at first because I didn’t think I’d be able to really make any comments beyond the artwork. The thing is, I don’t have much to say about the artwork beyond the fact that it’s everything you would predict it would be. It’s not like you’re going to be surprised by anything anymore when it comes to Rob’s artwork. It simply exists. Do you want me to make a joke about feet? Too bad, it’s all been done and I’d rather focus on something else. I might point out that it looks like everybody’s facial skin has been stretched out around the skull and is slowly being pulled back toward a black hole where the nose should be, but there’s no joke there. Just a consistant oddity to the facial expressions of every character in the book.
But what about the story? What about the book on a whole? There’s more than just pictures to comic books, ya know. When it comes down to it, the book is mostly forgettable. There are some amusing gags here and there, like Lady Deadpool’s instistance that they name the unnamed galactic enemy they’re facing down “Frank” after an ex who she deemed equally destructive. Or the crew’s constant shuffling off of the Lobo-analog champion who keeps hounding them. But these are momentary diversions from the fact that the book is actually pretty dull for a bunch of Deadpools in space. Everything feels generic and uninspired. I feel like Gischler needs a harder edge to make his Deadpool work, as this has none of the gutteral power of Merc with a Mouth. I think that in trying to reach a more general audience and appeal to all the new folks who have latched onto Deadpool as their own, Gischler lost the edge that Deadpool needs.
It’s not the worst Deadpool book on the market. (I couldn’t stomach Wade Wilson’s War) but it doesn’t need to exist. Let Gischler write an arc on DeadpoolMAX where he can really work to his more twisted talent level, with an artist who can make those scenes come alive in vivid detail. Basically go back to what made Merc with a Mouth so damned funny. Because Deadpool needs to be hilarious or it’s just not Deadpool. I think sharing the spotlight among several Deadpools might be the problem. When it comes to Wade, you just need to remember one thing; There can be only one!
This weekend I was working a booth at the 3rd Annual COMICPALOOZA event down here in Houston. Our store was sharing a booth with the guys from ANGEL COMICS and I was on the ground floor wheeling and dealing. Luckily I had some time to sneak away and enjoy the convention a little bit, getting some face time with Humberto Ramos, Ben Templesmith, and J.H. Williams III.
I’m not going to bore you with anecdotes from the con, but I will say that everyone there went out of their way to be friendly and receptive. Templesmith, who I admittedly isn’t one of my favorite artists, as his style doesn’t really grab me, showed off some commission pieces that blew me away and straight up made me a fan. I was almost salivating over J.H. Williams’ original art pages for Detective Comics, and watching Ramos draw Impulse from memory is something to behold.
The long and short of this post is basically just to say that it’s nice to have a successful comic convention in my home town. A place that REALLY needs one with the number of fans we have in the area. I can only imagine what next year will be like.
(And yes, I did have Liefeld sign my Deadpool comics, but I gave him the evil eye. *_* )
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.
I kicked the blog off with a rundown of 2009’s best storyarcs, an entry that was hard as hell to write because honestly there were tons of good books last year and while I wanted to showcase only a chosen few, I didn’t want to leave out anything that needed to be showcased. On the other side of the coin, we have today’s entry, a look at 2009’s most abysmal outings. My criteria for this list is not quite as exclusive as the “best of” list, because sometimes you don’t need a story to be finished to realize it’s a piece of shit. Usually if it’s three issues in and you’d still rather pluck out your own pubic hairs with a rusty pair of tweezers, it won’t change by the end of the arc.
So here we go!
It started in ’08 but it ran through the first chunk of ’09 and as far as I can tell, I swear to God, Jeph Loeb is a sleeper agent, placed in the Marvel offices by DC to destroy their publishing lineup from the inside. It’s like a retarded 24 plot played out in slow motion so every mind-numbing detail can be drawn in until the mind can’t handle it anymore.
I’m not going to go after the book for being dumb. I mean, it’s an event book and nobody can make an event book NOT dumb. (I’m looking at you Geoff Johns.) My main problem with the book is that it is so sloppily written, and so disjointed that as a reader you sometimes don’t even know how bad it truly is until you go back and re-read the pages over again trying to figure out exactly what the hell you missed that led you to be so confused.
Also, the Blob eats the Wasp. That’s just wrong.
I’m probably gonna catch flak for this one but people, this shit was sub-par and the publishing delays only made it worse. The fact that the “epic conclusion” was a veritible anti-climactic letdown is all you really need to look at in order to see what a throwaway piece of tripe this storyline really is. Aside from some nice art, this whole thing was a wash, no matter what the sales say. People buy dumb shit all the time. Don’t believe me? Go talk to the guy who invented the “Snuggee.”
The truly sad thing is, everybody ate this thing up like it was the best thing since sliced bread when Jason Aaron’s excellent Weapon X book doesn’t get nearly the credit it deserves. That book utilizes the continuity of Wolverine without being confusing, moves at a breakneck pace and is worth every penny while still managing to come out on a monthly basis. Old Man Logan was an uninspired and unoriginal idea that people went nuts over for a reason that eludes me entirely.
Let’s take everything that drove me away from comics in the 90’s and put it in a single book. That’ll work right? *facepalm*
I would say that my hatred of the Twilight phenomenon is completely rational. After all, how any sane person would look at the success of such a lazy and contrived series and still manage to think that our society hasn’t sunk into an irrepairable cavern of stupidity that is only 15 degrees off “Idiocracy” is completely beyond me. The fact that someone decided it would be a good idea to publish a comic book biography of the woman responsible for this crime against humanity simply edges me toward clawing my own brain out with an olive fork.
The fact that the book exists is enough to qualify it on sheer “WTF-factor” alone, but the book having art so bad that it borders on the laughable earns it a legitimate spot on the list. Not to mention that Stephanie Meyer is essentially the most boring person this side of John Kerry and thus the book itself is nothing short of a chore to read even if you never look at the art.
Comics Alliance basically said everything I ever could in the review they posted back when the book was released on shelves. The only difference is they still have the energy to mock the book whereas I can only shake my head and try not to vomit.
This should have been excellent, but then I remembered that Chris Claremont hasn’t written anything of any quality since the 80’s and by then it was too late. I had already added the book to my pull and was damned to read what may be one of the most effortlessly tired books in the Marvel publishing line.
The problem with the book is that it wants us to get all nostalgic for the days of Claremont and Byrne but the Claremont we all fell in love with is gone and what remains is a madman who is following up on his own work in such a manner that it’s hard to tell that the same person who wrote all those classic stories is able to give us such a winded and uninteresting take on the X-Men.
This one takes the coveted biggest disappointment award for 2009. Such a tragedy.
Like X-Men Forever, this one makes the list out of disappointment. Larry Hama writing a GI Joe origin story from scratch? Yes please! Wait… What the hell is going on here? What am I reading? MAKE IT STOP! WHY LARRY?!?! WHY?!?!
Yes, the former master of the Joes has turned in one of the sloppiest and mind-boggling Joe stories of all time. Considering that Hama is the man who made GI Joe what it is today, for him to do such a disservice to the franchise by delivering such a bland and cliche outing in the Origins book, it’s like watching your childhood hero bang a tranny hooker on the hood of your car. You’re willing to put up with a lot, given that he’s your hero and all, but this is JUST. GOING. TOO. FAR!
And there are others; Green Arrow/Black Canary continued the downward spiral for both characters, Superman didn’t even have Superman and seemed like the title had died but continued on only out of habit, Justice League of America languished in mediocrity, and there are others that fit the bill just as badly. The above are the ones that really stand out as the losers of ’09.