Fear not, helpless masses! I am returned! After delays and setbacks and general stuff happening in life that doesn’t have much to do with comic books, I’m back to tell you about the weekly pull and what it has to offer. This week was pretty darned massive. It was a tough choice figuring out what to review, because there’s not a much of a point in reviewing part three of a given series, you’ve largely made up your mind by then. I’m more of a startup/wrapup sorta guy. I like to review the beginning or the end, thus chronicling the entirety of the story. Luckily I was able to find some criticism fodder in the pile this week.
AMAZING SPIDER-MAN #639 3.99
AVENGERS PRIME #2 (OF 5) 3.99
BATMAN ODYSSEY #2 (OF 6) 3.99
BOYS #45 (MR) 3.99
CAPTAIN AMERICA #608 3.99
DEADPOOL #1000 4.99
GI JOE A REAL AMERICAN HERO #157 3.99
IRON MAN LEGACY #5 2.99
IZOMBIE #4 (MR) 2.99
JONAH HEX #58 2.99
JSA ALL STARS #9 3.99
LOSERS TP BOOK 02 (MR) 24.99
SECRET SIX #24 2.99
SHADOWLAND #2 (OF 5) SL 3.99
SHADOWLAND BULLSEYE #1 SL 3.99
SUPERGOD #4 (OF 5) WRAP CVR (MR) 3.99
ULTIMATE COMICS AVENGERS 2 #6 (OF 6) 3.99
YOUNG ALLIES #3 2.99
And let’s hope I can remember how to do this!
Let’s get this out of the way right now, this book didn’t need to exist. As such, it fits in well with the majority of the Deadpool books being published right now. The only difference, as far as I can tell, is that this one is actually pretty damned good. Unlike that 900 fiasco, which was largely hit and miss. Every segment in this issue was darned entertaining. Especially the Blackest Night parody which I feel was written just for me to warm the cockles of my still-beating black heart! Also of note is the Canada-man segment, which was downright hilarious.
I have to say that for the 4.99 price, you get a hell of a lot for your dollar. I mean, yeah there’s a superflous catalog of artwork showcasing Deadpool comprised of mostly covers from the Deadpool variant month that does nothing but add heft to the book and could have been tossed aside. But then again, this entire book is technically superflous as it adds nothing to Deadpool’s ongoing arc and is simply a showcase of Marvel talent having a go at the merc with a mouth.
One thing that stood out for me when reading this particular issue, is that it’s been so long since I saw Deadpool kill anyone that it was actually kind of shocking how much actual killing he does in this issue. I know it’s odd to say that, but it’s the truth, at least for me. It’s not a bad thing, it’s just kind of an interesting look at what Deadpool has become as opposed to what he began as. Something to ponder…
I need to reiterate that Jonah Hex is probably the one book I would keep reading if I dropped everything else altogether. Or possibly Secret Six, but we’ll get to that later. With this issue, we get what is essentially a poem about the nature of a bullet’s reason for existence juxtaposed against the wild west backdrop of Jonah Hex’s world. The issue deals with a revolving door of people with revolvers and the intent to use them and the consequences of their decision to cock the hammer.
It’s just the sort of thing that works for this book. It’s probably the most oblique type of subtlety you can get. You know there’s a message but with the shades of grey that our characters occupy, the reader can take the message in all sorts of directions. There’s been a lot of good literature written about the toll that the soul takes when confronted with the realities of vengeance and the guilt of taking a life. My next novel touches on just such subjects. Jonah Hex isn’t high literature, but it’s not schlock either. It’s almost the perfect venue to air such a debate. The book is as unflinching as the impact of a bullet.
Also, for no reason, here’s a picture of Jimmy Palmiotti as Watchmen‘s the Comedian taken from Dave Gibbons’ twitter:
Yeah, that’s about right…
After a brief guest writer spot, Gail Simone returns to write the six again in a weird little story that sees the group transplanted into the old west. It’s an interesting little what-if story that confused the hell out of me for a while because I spent more time than I did reading the issue trying to understand its implications. Were they in some sort of virtual reality? Were they transplanted through time? Is Gail Simone a timelord? Is this a one-shot or a full arc? Will we ever get another tub-sex scene as awesome as the one in this issue?
Seriously, it’s a perplexing issue. It’s interesting, just like the entirety of the series has been so far, but it’s jarring as all hell. There’s no segue into the issue, it just hits you and tosses you into this alternate reality with no regard for your brain’s safety. You just have to roll with it. Listen to Ragdoll’s little puppet show and shut your mouth, there is no refuge for you here.
Also, I totes have a crush on Cowgirl Scandal now.
I was going to pass on ALL the Shadowland spinoffs. I was just gonna get Daredevil and the main mini-series and wouldn’t allow myself to get suckered down the long and winding road of books that I don’t normally read. That plan was torpedoed however when I noticed that this particular issue was written by John Layman, him of Chew fame. And so with full faith in the authorship I put the book in my stack, because I figured I’d regret it later if I didn’t.
I was right.
The issue concerns itself with members of the criminal underworld hosting a funeral for the recently perforated Bullseye in the middle of Hell’s Kitchen Park with a kidnapped Ben Urich there to cover the story. The principle character in the narrative is a fellow who can supposedly commune with the dead, and the dead person currently on his telepathic telephone is Bullseye, constantly screwing with his head the whole of the issue.
I would say that this issue acts as an excellent sort of #1.5 interlude between issues one and two. It feels like a story that needed to be told. The underworld’s reaction to Bullseye’s death isn’t something that needs to mentioned in periphery, it’s an important detail and it deserved a full issue. We get the heroes’ reaction in Shadowland 2, but this presented a different perspective that I think readers will definitely enjoy.
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.