Guys, this week was a killer. Probably the most major comic release date in a while. You have no idea how many people have been coming in asking about Batman Incorporated over the last few weeks. That final panel in Batman & Robin sold people in a way that I can’t really describe and I for one am thrilled that so many people are realizing how awesome Grant Morrison’s take on the Dark Knight truly is. The man knows what he’s doing. In Morrison we trust.
AVENGERS #7 3.99
BATMAN #704 2.99
BATMAN INCORPORATED #1 3.99
BATMAN THE RETURN #1 4.99
DEADPOOLMAX #2 (MR) 3.99
GREEN LANTERN #59 (BRIGHTEST DAY) 2.99
OSBORN #1 BIG (OF 4) 3.99
POWER GIRL #18 2.99
SIXTH GUN #6 3.99
SPIDER-GIRL #1 BIG 3.99
SUPERGIRL #58 2.99
SUPERIOR #2 (OF 6) (MR) 2.99
SUPERMAN #705 2.99
THUNDERBOLTS #150 4.99
X-23 #3 2.99
X-MEN #5 3.99
Now after a good long day of writing about prostitution in the middle ages for a history paper, I can tell you about how awesome a few of these books are.
The weakest of the new Batman releases is the core title, which sadly seems like a middle of the road affair by Tony Daniel when compared to the amazing work done by Morrison and Finch in the other books released this week. Not to say that the book is horrible, it’s better than it has been recently, especially Daniel’s art which looks less rushed than I’m used to, but unfortunately the entirety of the book seems rather pedestrian when placed alongside the nearly pitch-perfect Batman Incorporated title. I think my main gripe with this title comes from the fact that it reads like a throwaway title from the late nineties or early two-thousands in it’s pacing, its art, and its choice of villainry.
The book suffers from feeling all too familiar to stories we already read but with minor tweaks. Unfortunately, the books that this seems derivitive of aren’t the best parts of Batman lore. I think that the book could stand to take a few more risks rather than settle into a comfort zone that’s so blatantly par for the course.
Then again, when Tony Daniel takes risks we get Catgirl, a character that I almost want to like out of the sheer absurdity of her existence. But then again, my tastes differ in certain areas from the general public so I won’t take a stand on that character until she’s had the chance to mature under another team of writers.
This book is everything you should want in a Batman title. Morrison manages to find the right balance of tone between the ridiculous, the macabre, the adventurous, and the outright fun. The book essentially turns into a globetrotting Bruce and Selina super-happy-fun action hour where Batman and Catwoman fly to Japan to begin preparations for that branch of the Batman Inc. plan to be put into motion but are sidetracked by a murder mystery and a cult of ninja assassins. There’s even some tentacle rape hentai jokes that seem all too appropriate coming from the mind of Grant Morrison.
The artwork on display here is robust and amazing. They really could not have found a better fit. Paquette’s Selina is as sexy as she’s ever been and the subtle touches he uses to portray Batman are astounding. It’s one of the best looking Batman books in a long time, rivaled only by Finch’s work in The Return which I’ll be discussing shortly.
If you pass on this one you will regret it later. This one is a home run in every sense of the damn word. Buy this book now!
I was wary of this particular title. That apprehension faded after the first few pages where Grant Morrison gives us what equates to graphic poetry, telling the story from the perspective of the bat that crashed into Bruce’s life when he needed to find his avatar. David Finch’s artwork guided the narrative with masterful flow and tone, showing off some of his most brilliantly stylized work to date.
That the art is this good is not surprising, given the subject matter and how much Finch loves to work with shadows and the darkness, but the complexities of the narrative were surprising considering that this is essentially the jumping-on point for new readers and Morrison made no attempt to censor his sensibilities and gave us intricate mysterious plot threads as well as hyper-neo-noir technological action adventure with jetpacks and robotics intertwined with some nitty gritty fight scenes.
If you’re planning on reading any of this week’s bat titles I highly recommend that you start off with this one as it outlines the new status quo for Batman quite handily and works to assure us that the people working on every title are going to be working as a cohesive unit to tell what seems like a hell of a story and if this one-shot is any indication, they’ll be bringing their a-game every step of the way.
From Marvel we get the newly minted 616 version of Spider-Girl, formerly Arana, in her first solo title. The whole Young Allies thing didn’t seem to work out so well so I’m pensive about this title, but hopefully they’ll let it go long enough to deter fans from yelling at them for cancelling what amounts to their only major female-driven solo title. (Scarlet doesn’t count, guys.)
It’s off to a good start. Establishing the cast of characters and letting the new readers get to know Arana in case they haven’t followed her from her humble beginnings in the revamped Amazing Fantasy from a few years back. The storytelling style is sound and concise, but from someone like Tobin who has a pretty firm grasp on narrative technique this isn’t really a surprise. The plotline seems familiar, as most superhero books are bound to borrow from each other a bit, but the expression, through a “twitter”-esque thought balloon parade seems fresh enough to distinguish it from other similar go-arounds.
I’m hoping it will stick around long enough to take off, because the character really is an interesting one. I especially liked her when she was in Ms. Marvel, another title that I sorely miss.
And now I go back to writing about whores. I guess this is what Frank Miller feels like all the time. A-ZING!!!!
I feel like these won’t be up to snuff. I’ve been off my game for the last few days, more focused on my novel than the content of the site, sad to say. I know it’s horribly short-sighted of me considering that the novel is in no way a sure thing whereas this site seems to have a dedicated audience if our recent web-numbers mean anything at all. (Hint, they don’t)
So here we go.
AMAZING SPIDER-MAN #635 GRIM 3.99
AVENGERS #2 HA 3.99
BATMAN RETURN OF BRUCE WAYNE #3 (OF 6) 3.99
COVER RUN THE DC COMICS ART OF ADAM HUGHES HC 39.99
DETECTIVE COMICS #866 3.99
FANTASTIC FOUR #580 HA 2.99
FRANKEN-CASTLE #18 2.99
GREEN ARROW #1 (BRIGHTEST DAY) 3.99
HERALDS #4 (OF 5) 2.99
HULK #23 WWHS 4.99
IRON MAN LEGACY #3 2.99
JURASSIC PARK REDEMPTION #1 3.99
JUSTICE LEAGUE GENERATION LOST #4 (BRIGHTEST DAY) 2.99
POWER GIRL #13 2.99
SEA BEAR & GRIZZLY SHARK #1 4.99
SUPERGIRL #53 2.99
SUPERMAN #700 (NOTE PRICE) 4.99
THUNDERBOLTS #145 HA 2.99
ULTIMATE COMICS AVENGERS 2 #4 3.99
WOLVERINE WEAPON X #14 3.99
X-FACTOR #206 XSC 2.99
X-MEN LEGACY #237 XSC 2.99
ZATANNA #2 2.99
I was so wary when I bought this title. I got the distinct feeling that it was going to be just downright abysmal. It had every indicator that it would be. In the wake of what’s going down with Arsenal, which may be the absolute worst storyline/title that DC has published in years, I expected to be equally disappointed in the new Green Arrow title. Despite the fact that I have every issue of Green Arrow from the moment Mike Grell took over the character to the end of the last series, I was seriously considering skipping it this time around because I didn’t have much faith that I would get my money’s worth.
The first issue was largely an exercise in getting people caught up, with Green Arrow telling a would-be victim everything the reader needs to know in order to jump aboard. It feels a little bit like a drag considering that I have been following Green Arrow for a while, but I suppose DC figured this new direction would hook a couple of new readers and they’d need the recap. Still, it could have been done a lot better without seeming like we were being led by the nose.
The new villain who takes control of Ollie’s old company is actually a pretty cool looking figure, she has a graceful mystery to her presence that makes her seem like less of a throwaway villain than other new arrivals, and thank god she’s not another archer (that we know of) because that’s just getting old.
The teaser reel at the end of the book that shows us where the book is headed helps to keep me interested, because it promises a few interesting possibilities. I’m not likely to drop the book as I’m a completist when it comes to Ollie, but I won’t regret my decision to stick around if things stay mostly as they are here.
Man, this thing is a mess. The story is bland and overly familiar, and the art looks like amateur hour. Nostalgia aside, there is no reason for this book to exist because there is nothing to salvage it when it comes to quality. I imagine some people who are really die hard fans of the franchise will stick around to see its completion, but I would have to be handed this book for free the next go-around to read issue two. I really wish I could say more about the book, but it was so mediocre that while reading it, nothing sunk in except how much I disliked it. I even like the second and third films, so it’s not like I’m holding it to any high standard. It’s just not a very good book, and it really could have been. I don’t think anyone will dispute that. It’s just a mess of an issue that turned me off nearly immediately.
Everyone here is probably well acquainted with my eternal love for Power Girl. I think she’s an underrated character who gets shoehorned into a stereotype because of the size of her bazongas. Everyone knows the story where she was supposedly drawn with bigger knockers every month back when she first debuted just to see how far they could go with it before someone noticed.
The thing is, as Jimmy Palmiotti (friend of the site, natch), Justin Gray and Amanda Conner can attest, you can squeeze some great stories out of her if you’re willing to think outside of the box and go places that aren’t readily visited by the majority of the characters in the mainstream. Power Girl operated for twelve months as the most legitimately fun book on the stands with some of the best expressive artwork this side of Kevin Maguire. It was earnest and endearing and I never wanted it to end.
Unfortunately it had to.
Now Judd Winick has taken over the writing duties while new artist Sami Basri has the unenviable task of following Amanda Conner. How do they do? I would put their efforts at “admirable.” Judd Winick does a good job of handling the tone set down by the previous team, but has to work in the events of Generation Lost, so things take a turn toward the more standard superhero fare. It feels kind of like a mash-up of the previous issues of Power Girl with a hint of Sterling Gates’ Supergirl work during the big crossover.
I think that Winick would have done better if he’d kept Generation Lost separate from the Power Girl ongoing, just as the previous team kept Power Girl separate from her interactions with the JSA. I understand the reasoning behind the move, but from a storytelling standpoint it feels like it’s trying too hard to fit into an overall continuity and not concerned with growing organically.
As far as the art is concerned, Basri does a good job but there are instances where it seems like there are three different renditions of Power Girl throughout the book where she doesn’t look like the same person. I think when the artist gets a better grasp of the character, those little nitpicks will slip away.
I just hope that Winick can manage writing the book without fretting over making the character “integral” to the overall scheme of the DCU, because crossovers kill interesting titles. It becomes less about the character and more about the universe and frankly I don’t want that to happen here.
Uh, yeah. I don’t know what to think about this one. Well, I know what I think about it. I just don’t know what to think about my liking it. There is no setup, it’s just a dive-in and go with the flow sort of book. Like it’s an issue of a series that already has four issues on the rack and this is just the next one in the series. There is no rational explaination or origin given for these characters, and nothing makes any real sense but the artwork is genuinely amazing and I don’t think I’ve cough-laughed the way I did with this book in a long time. I mean, a lot of this book caught me off guard and I didn’t know what to think. I can’t really recommend it for general audiences but if you’re looking for dumb violent “WTF” style stuff, this is definitely worth a look.
There has been a lot said about Stracynski’s arrival to the Superman title. Everyone by now knows the premise that Superman will be walking across America trying to reconnect with the people he’s supposed to protect. What I’m wondering is if this little pseudo-art vanity project will end up like Brian Azzarello’s run from a few years back that everyone dismisses as pretentious garbage. I suppose it would be worse if it were happening in Action comics, because I don’t know how much Action you can get out of a brisk jog, but considering that it’s been a while since Superman even appeared in his own book, I don’t know if Superman going through a pseudo Kung Fu “walk the earth” trek is really what we need right now.
I think that the War of the Supermen story was really well done and it had the sort of epic edge-of-your-seat stakes that I require from a Superman story. I doubt I’m going to get that in Stracynski’s run. I don’t doubt that it will be well written, because when he’s not hamstrung by editorial mandate, JMS can crank out some good stories. He knows how to write characters to thei strength and I don’t doubt that we’ll get some interesting moments out of this story arc. What I’m afraid of is when it fails to generate interest and gets cut short because editorial wants to see a bump in numbers but modern comic readers don’t have the patience for a slow burn anymore.
All I’m saying is that it’s off to a decent start, and it has a good chance to be something really great, but I’ll be damned if it doesn’t seem like it’s not going to end well. No matter what happens.
So there you go. Next week I’ll try to have these up in a more timely fashion. But, I’ve said that before and you get where I’m going with this.
This week begins a drastic reduction in the amount of money I put forward toward weekly books. I’ve come to the point where storage space is becoming a problem, and honestly I just can’t justify spending around $200 per month on comics anymore. I’m trying to cut back to a absolute maximum of $30 per week. I’d prefer to stay around $25 but that’s probably a pipe dream. This week I was JUST over my self-imposed limit, but still better than my usual 45-50 dollar pull.
Unfortunately this means that the reviews will vary from week to week, as there may not be a whole lot worth reviewing in my stack. On new series I’ll always try to pick up the number one just to see if it’s something I might want to continue with while another book gets bumped off, but there will be a lot of trial and error in the coming weeks.
AMAZING SPIDER-MAN #628 3.99
DEADPOOL MERC WITH A MOUTH #10 (OF 13) 2.99
FALL OF HULKS SAVAGE SHE-HULKS #2 (OF 3) 3.99
FEARLESS DAWN #3 (OF 4) (C: 1-0-0) 2.95
GREEN LANTERN #53 (BRIGHTEST DAY) 2.99
HER-OES #1 2.99
POWER GIRL #11 2.99
SPIRIT #1 3.99
SUPERGIRL #52 2.99
ULTIMATE COMICS AVENGERS #6 3.99
X-FACTOR #204 XSC 2.99
X-MEN LEGACY #235 XSC 2.99
Like I said, a shorter week than usual. But I’ve still got some things to say about ’em, so let’s go for it.
I was very close to dropping this particular title in the cull of my pull-list. I’ve been very vocal of how much I didn’t like Blackest Night, and I already dropped Brightest Day after a single issue. Logic would dictate that this title would follow suit and end up as a casualty of my reading list dissection. But I’ve generally enjoyed the ongoing series of Green Lantern since it’s inception and I felt it deserved a shot, so I gave this issue a chance to keep me on board.
The problem with this issue is simply that it’s 95% setup for something else. That might not be a problem if the setup were for plots to be fleshed out in this book, but the ending sets up the forthcoming stories in the new Guy Gardner lantern book and Green Lantern Corps, both titles that I will not be picking up.
I suppose that if someone were picking up all the GL books right now, this wouldn’t be as bothersome. But to me, it’s a little frustrating. It’s the same issue plaguing the Superman books right now, where the reader is essentially forced to read all the titles if they want to understand anything. How is that a good thing for someone on a budget who just wants to read a single Superman book? I feel like the same effect is radiating off of the lantern books right now.
Luckily, it doesn’t look like the books cross over in the sense that one chapter begins in one book and you have to pick it up in another, like the aforementioned Superman titles. So hopefully now that the setup has been fleshed out, the main title can remain independent of the other books. Or at least, such is my hope, as I will not be defacto coerced into buying more monthly GL books. I’d sooner drop the main title and be done with it. Which is not something I want to do, because complaints about the nature of the issue aside, I actually enjoyed the book. Mahnke’s art is a great fit for Green Lantern and Johns gets in some decent character moments with Hal and Carol. If the book didn’t sidetrack itself trying to pimp the side-series, I don’t think I would have had much bad at all to say about the issue.
I think my contention that Johns is an excellent writer when applied to the right kind of series stands with this issue. Last week, his Flash proved this as well. He’s much better suited for monthly titles where he can work his magic over a longer period. Mini-series where he has to go straight to the finish line in the span of a few months seem to undercut his ability to build his characters and his story. Then again, if he has too much time to play with we get “Thy Kingdom Come” which ran for about six issues too long.
Johns needs to settle back in to the healthy middle.
This kind of reminds me of Spider-Man loves Mary Jane, but slightly off kilter. It deals with established female superheroes transplanted into the world of high school and centers around Janet Van Dyne aka the Wasp, who really always felt like she was a high school stereotype most of the time ayway.
The book is interesting in the way things are revealed, as we know that Janet can become the wasp and hints of teenage Jen Walters being able to turn into the She-Hulk are dropped, but we don’t get any explaination as to how these girls have their powers at this point in their life. I think that’s a little refreshing that establishing a continuity for this universe doesn’t seem to be a major concern and that more time is spent establishing the characters in the book. Janet puts on a bold face but never follows through with her boasts, all the while taking on the role of the fringe set outsider, a position that some readers of the book will most assuredly be able to connect with.
All in all, it’s a harmless little book that’s gotten too much crap dumped on it because of the title. Yeah, it’s a dumb pun and it’ll probably put some people off buying it. But it’s also a fun read, which I find myself drawn to more and more these days in the wake of my favorite heroes being ripped in half by my least favorite heroes and melodramatic schlock where Aquaman won’t even get in the water.
This reads more like Frank Miller’s take on the Spirit than it should. The brooding narration, the dark and moody Central City, the fact that the Octopus isn’t hidden in the shadows like he damned well should be…
Honestly, I don’t think the Spirit needs to be published anymore. Without Will Eisner to take the reins, anybody doing the book will be doing the character and his creator a grand disservice. The only person who even came close was Darwyn Cooke, but then again Darwyn Cooke might be some sort of wizard. I’m not sure. It’s only conjecture at this point. But this “First Wave” incarnation of the Spirit seems to be slightly wrong. There’s no warmth to this book. I think that might be because he doesn’t have a little Ebony White driving him around and cracking wise. Darwyn Cooke pretty much prooved that you can make the character work without seeming hokey and/or racist, so why leave him out? He’s a big part of what makes the Spirit feel like the Spirit, and this Spirit doesn’t feel like the Spirit.
This issue makes me wish that Azzarello were doing the book. In First Wave # 1 we got a little bit more of a classic take on the Spirit. A guy who relied on his wits to keep him sane in a world where you would have to be insane to do the things the Spirit does. The Spirit in that book had the warmth and (groan) spirit that the character should have. Maybe things will shift around in issue two, but I can’t bank on that.
Is there anything better than hot chicks dressed up as Supergirl? I mean, I suppose hot chicks dressed up like Catwoman or something like that. But for the purposes of this post we’re just going to have to agree that hot girls in miniskirts rock pretty darn hard.
Why am I making this post? It’s not because I’m lazy and have no content prepared, because I’d tell you if that were the case. Remember Batman on the elephant? Yeah, search for it. I’m doing this because for the last week 50% of my traffic has come from google searches about “cosplay” or “hot cosplay chicks” and damnit who am I to not cater to that portion of my readership?
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)