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!!!!
This week I had more than a few papers due in more than a few classes so the reviews weren’t the first thing on my mind. I’m trying to better myself through education and whatnot. Anyhow, I did read quite a few books and some of them surprised me so I figured it’d be a waste not to get something posted.
AMAZING SPIDER-MAN #645 2.99
AMAZING SPIDER-MAN PRESENTS BLACK CAT #4 (OF 4) 3.99
BATMAN RETURN OF BRUCE WAYNE #5 (OF 6) 3.99
BOOSTER GOLD #37 2.99
DAKEN DARK WOLVERINE #2 2.99
GREEN LANTERN #58 (BRIGHTEST DAY) 2.99
HACK SLASH ANNUAL 2010 MURDER MESSIAH #1 CVR A (MR) 5.99
INCREDIBLE HULKS #614 3.99
INVINCIBLE IRON MAN #31 2.99
JONAH HEX #60 2.99
KNIGHT & SQUIRE #1 (OF 6) 2.99
NEW AVENGERS #5 3.99
SECRET SIX #26 2.99
SHADOWLAND #4 (OF 5) SL 3.99
SHADOWLAND BLOOD ON STREETS #3 (OF 4) SL 3.99
SICKNESS IN THE FAMILY HC (MR) 19.99
SUPERIOR #1 (OF 6) (MR) 2.99
SUPERMAN #703 2.99
THOR #616 3.99
THOR MIGHTY AVENGER #5 2.99
TUROK # 1 3.50
X-MEN #4 3.99
Now let’s do this thing.
Tim Seeley has me hooked on Hack/Slash. It’s a great book that is easily accessible if you’re willing to deal with the content and manages the kind of self-referential tone that a lot of books try to reach but can’t because they don’t know how to handle it. With this Annual, we get the bridge between the old Devil’s Due series and the new relaunch coming around at Image. It’s got a definite middle ground feeling to it, where I’m sure new readers could catch what was going on while long-time fans like myself are happy to see plot threads start to re-align after a four month mini-series that felt a little too much like wheel-spinning.
I seriously cannot wait for the upcoming relaunch. I hope that people will take a chance on the book and hop on when the new #1 issue comes out because Hack/Slash is one of those books that understands that comic books can be fun. It’s not a full on comedy book, and it’s not always serious. Which makes me happy because a lot of books nowadays cannot balance tone at all. It’s an art and Seeley should give lectures.
Also, whoever had the idea to have Six Sixx wear a Fastway shirt in the opening part of the book is my hero, because I freaking unabashedly love that band.
Matt Fraction is writing the definitive run of Iron Man for the modern age. The world he is creating for Tony Stark here is one that builds not only off of Marvel’s rich history but off of the technological and political history of our own world. Fraction is saying something about technology and society that others have tried to in the book before but never found the right tone to make the story click. Here we’re getting an Iron Man that works on multiple levels. Stark’s unending quest for personal worth through altruism and progressive thought that has become the defining characteristic that pushes the narrative forward and it feels genuine. Tony Stark has truly become a multi-layered character in the last decade and Fraction is doing a good job of building Tony as a character while at the same time giving us the kind of story that we expect to read in an Iron Man comic.
I’m just not British enough to like this book. I love me some Doctor Who and I thought Blackadder was hilarious, but even still, Cornell’s first issue of this mini-series went over my head like nobody’s business. I think that it could possibly be a great series for those who understand what happened. But that’s not me. I’m admitting this up front so that you know I can’t accurately criticise the book. It’s just the truth. I’m sorry.
The art was pretty though. So there’s always that. *sheepish grin*
I’ve been a massive detractor when it comes to Mark Millar. I really haven’t enjoyed anything he’s written since Ultimates 2 or thereabouts. He’s obviously capable of writing some amazing stuff, as I loved Red Son and his work on The Authority but his recent output hasn’t been in any way intriguing to me. Kickass was a solid concept made better when translated to film, Old Man Logan was inconsequential and Nemesis just doesn’t work for me.
With Superior, Millar finds his once impeccable knack for dialog and pathos that was so prevalent in his Red Son days. The story works with established superhero tropes but doesn’t seek to subvert them the way that Kickass or Nemesis do. Instead he shows that an interesting story can be told out of tried and true ideas and still feel fresh if you have a story worth telling. I didn’t think Millar had it in him to create sympathetic characters, or characters that didn’t feel paper thin for that matter. His recent work certainly wouldn’t indicate that as being the case. However he downright surprised me here.
I think this could be the strongest work he’s turned in for quite some time, though I doubt it will be his most popular because so far it’s a solid book but lacks the hyped up sensationalism that makes Millar’s books fanboy-bait. I hope people will look past the fact that there’s no forced incest or pre-pubescent female murderers and pick the book up knowing that it’s a glowing testament to the superhero genre.
It’s hard for me to say this, as a Superman fan, but the current run of the title is just about the worst Superman stuff I’ve ever read. No middle ground to this anymore, it’s just steadily headed toward absolute horrendousness since the second JMS took over the title. And like 90% of bad Superman stories it comes from the writer just not getting what makes Superman work. Superman is not a thug who holds a stalker hundreds of feet in the air and threatens to drop him if the man doesn’t change his ways. That’s kind of what Batman does, but not Superman. Superman would talk to the guy and the mere experience of meeting Superman would cause him to re-evaluate his life and that person would go on to do great things.
Superman also doesn’t lecture Batman about saving ordinary folk. I’m sorry. I know Superman is on some sort of self-reflection kick, but he cannot reshape his entire worldview in three issues to the point where he can lecture Dick Grayson about staying grounded to reality.
I get that some people don’t like the fact that Superman isn’t edgy. But JMS doesn’t need to try to “fix” all of Superman’s percieved problems. He needs to take what works with the character and go from there, not write a character that barely resembles him in any way shape or form. For the love of God, let this little expirement wrap up soon so we can get back to the title just being mediocre instead of nearly unreadable garbage.
My only experience with Turok comes from wasting several hours playing the N64 game back in the late nineties. That’s about it. I never read any of the classic comics or anything of that nature. I picked up the new series wondering what it was like and it felt fairly generic and tepid, so far as I could tell. It feels about the same as the other relaunched-through-Dark Horse properties like Magnus or Doctor Solar. There’s obviously some effort put into making a modern feel to a classic character but the story progression feels choppy and though I’ve never read Turok before in my life, a lot of this felt like a rehash of something I’d read before.
The series has potential to grow, obviously, as the character wouldn’t have warranted a relaunch if there wasn’t something worth exploring with the property. I just hope that the flow of the book gets a little smoother because it certainly felt rough around the edges throughout the course of the first issue.
The End. I’m gonna go have a sandwich and watch all the crap I’ve DVR’d this week but haven’t had a chance to watch.