The internet let out a collective roar today as it was announced that Wonder Woman would indeed play a role in the upcoming Superman sequel. That roar intensified when it was announced that Gal Gadot, formerly of the Fast and Furious franchise would be stepping in to fill Diana’s bracelets. Speculation as to whether or not Wonder Woman would be in the film had been running rampant recently but today rumor gave way to a press release and now fanboys can start arguing whether Ms Gadot will be any good in the film sight unseen.
There is still plenty up in the air at this point though; how big a part is she playing? What sort of angle are they going for with the origin? What is the costume going to look like? Are they going to try to shoehorn a love triangle with her vs. Bruce and Clark?
At this point all we can do is really wait and see.
I have been more than a little harsh towards DC lately. I feel like they just don’t know how to communicate with their audience in a way that doesn’t come off as condescending anymore. Their PR campaigns and their outreach to the folks that buy, read, and love their books leave a lot to be desired. The publicity for Superman/Wonder Woman for example, just seemed off message from the get-go, as if DC didn’t understand what audience they were reaching to with this one. DiDio’s comparison of trying to appeal to the Twilight audience angered many of DC’s loyal fans, a great example of how out of touch the company is with most of its publications. I think that the books should speak for themselves in most cases, but part of the publishing game is talking up your product and that is one of DC’s recent failings. They just aren’t very good at being their own hype-man.
This is unfortunate considering that Superman/Wonder Woman is a surprisingly well-written, beautifully drawn book. I did not have high hopes for the first issue because the DC hype machine made me feel that I wasn’t in the target audience and that the writing would likely not be in line with what the characters are experiencing in their own titles. I am happy to say that I was proven wrong. Writer Charles Soule, who has been making a name for himself in recent months, gives Diana and Clark some real depth here. Obviously the crux of the story is their relationship, and he uses that coupling as an excuse to better explore the character traits of each of the heroes as individuals. Like a mathmatic equation, we get to see the individual parts that comprise the eventual answer that is their relationship. It isn’t melodrama in the way I was expecting. I am quite impressed with how well everything gels together. The bouncing back and forth between Clark and Diana in their civilian lives and in the midst of a crisis gives the reader varied perspectives that also make the narrative flow smoothly.
Let me also state for the record that this is probably Tony Daniel’s finest work. His pencils are clean and strong with the ink and color work making every panel pop in a way that I haven’t seen from his artwork thus far. I may have been dismissive of him at times, which I now regret because if this is his A-game it is easy to see why he has become a top-tier artist.
Simply put, this is a major home run for DC. One they desperately needed.
It would appear that since this article was published NBC decided not to pick up the series after all. Which actually makes more sense considering the negative buzz coming out of the screenings of the pilot. I’m not all too bummed about this because it gives a frame of reference for what the producers were doing that fans were not enjoying and they can fix those when they decide it might be easier just to do a standalone film. Thor opening big might make them realize that mythology based heroes can work on the big screen as long as they handle the material correctly.
We can only hope…
In a move that allowed Wonder Woman fans to breathe a sigh of relief following news that the pilot was not tracking all too well for a fall pick up by NBC, the news was released today that David E. Kelley’s Harry’s Law would be renewed for a second season and Wonder Woman had indeed been picked up for a series as well. This comes on the heels of news that Fox had cancelled their own comic-adaptation series of Human Target and failed to give the green light to an adaptation of Locke and Key which by all accounts was damn brilliant and fans are praying to whatever deity that will listen to have some other network pick it up.
With Smallville ending this week I am hoping that Wonder Woman can pick up the slack in the laughibly ludicrous TV comic book adaptation genre. Everything I’ve seen has me thinking that it’s going to be entertaining on a “what the?” level due to the conflicting tone and overall silliness that is going on in the scripts. I could be wrong but having honed my ability to avoid trainwrecks simply by the cut of their trailer I do not anticipate Wonder Woman being something I will enjoy on any sort of straightforward level. Ironically? Perhaps. But I don’t want to be accused of being a hipster.
Anybody who knows me probably knows how I feel about Wonder Woman as a property. I believe that it is one of the most damaged brands in the comics world as it stands right now and it’s mostly the fault of the fans.
There, I said it.
Never has there been a fanbase, that I can think of anyway, that is so divided and prone to bickering as with Wonder Woman. That’s saying something considering the sort of esteem I hold Batman fans in. Those guys are sane and reasonable compared to fans of Ms. Prince. The problem is that seemingly every fan of Wonder Woman became a fan at a different point in her development, thereby attaching themselves to a depiction of the character as it was at one point and then getting offended with every subsequent change to her convoluted continuity. This happens every other month it seems.
I am a fan of Wonder Woman in theory. I think she has the potential for amazing stories, as evidenced by the fact that there are some amazing runs on her title that are prime examples of what can be done with a strong female character in the comics medium. Greg Rucka is probably my favorite Wonder Woman writer (all due respect to Gail Simone and George Perez) and I know there are people who agree with me. There are also people who refuse to accept anything not written by George Perez. There are also people who would probably spit in JMS’ face for what he did during his stint. The different factions tend to be at odds over Wonder Woman’s character on a base level. It’s a testament to the character that such detailed discussion can be held on a level that allows for such dissection of the essence of what defines her beyond costume or continuity. It’s a far cry from the discussions of Batman where people mostly seem to argue over whether or not he needs a yellow oval. Batman draws from a very basic premise for his establishment; the death of his parents. Wonder Woman has the Greek mythology aspect as well as the American diplomat angle among others and nobody can quite agree what defines Wonder Woman at her core.
So now we come to the new TV show where we get the costume pictured to the left. It’s not horrible. It looks a little cheap, like it was bought from a Halloween costume shop for a theme party, but it’s recognizable as a Wonder Woman costume. The only nitpick I have is that the boots need to be red to break up the color scheme a bit.
Adrianne Palicki looks a bit awkward in the suit but from what I’ve gathered that may because it’s a photoshop manipulation of a prototype. The shots of her in civilian clothes have her looking far more comfortable and at ease, whereas here she looks a bit stiff and unsure of what sort of look she needs to project. That and the red lipstick is a bit overpowering.
My point here is to appeal to Wonder Woman fans by saying that this new version may very well be the definitive version for some young fan who is introduced to the character through the show. Don’t cut it down because it doesn’t fit your mold. Be glad that they’re getting anything right at all, as it’s more than can be said for some comic adaptations and at least with TV there’s a lot more room for evolution than if it were a standalone film. There will be growing pains, but all TV shows grow if they expect to survive. I think this one will, if only because Smallville has lasted ten seasons and that show is more offensive to continuity than anything I’ve seen for this project. That’s enough for me.
So we have a Wonder Woman. Adrianne Palicki (which is a last name sure to invite nerd-drooling innuendo for the foreseeable future) has been reportedly cast as the Amazonian princess in David Kelley’s adaptation of Wonder Woman set to air on NBC. Palicki stands at 5’11” and has the build necessary to pull off the character believably though she’s going to have to spend some time with a dye pack to get her hair to the jet-black sheen we’re used to seeing with Wonder Woman. All that truly is in question right now is how well she will be able to portray the character. I do not have any real idea of how well she can play the part as I honestly haven’t seen her in anything live-action, my only experience with her in any form is from her voice work in bits on Robot Chicken and Titan Maximum. Apparently she was in an episode of Smallville once upon a time but nothing about that show really left much of an impression on me other than how badly I want to make out with Allison Mack, because let’s face it, that woman is amazing.
So now we have our Wonder Woman, and the vocal Wondy fans will likely spend the next few months complaining about it as I’ve learned that Wonder Woman fans are 90% psychotic. Their obsession with the minutia of her character is unparalleled and this is equally insane due to the fact that Wonder Woman has to be the least consistent character in the DC universe, paling only in comparison to Donna Troy who herself is part of the Wonder Woman continuity clusterfuck. I’m not saying I don’t like the character, as I’ve got a pretty much a full run of her issues from the moment George Perez took over following the first Crisis through Rucka’s run up through Simone’s and even currently through this current JMS debacle but I’ll be damned if I ever met a Wonder Woman fan who didn’t make me raise my eyebrows and inch for the door just ever so slightly.
According to the official DCU newsblog, JMS will be taking his leave from the Superman and Wonder Woman monthly titles citing a need to prioritize the release of the next Earth One graphic novel as well as his recent healthy issues as the reasons for his early departure. Those concerned about whether or not the current storylines will be left dangling will be happy to hear that oncoming Superman writer Chris Roberson (of iZombie and Cinderella fame) as well as new Wonder Woman scribe Phil Hester will both be working off of Stracynski’s plot outlines. Those of you hoping that the storylines would be abandoned are out of luck. I would argue that the premeses behind the current direction of both books were sound and interesting, simply not being taken in the right direction due to Stracynski’s understanding of the characters being deeply flawed.
I’m sure some overzealous fanboys will be quick to theorize that this has something to do with the critical reaction to the series but the truth is JMS got mainstream exposure for the title, so whether or not the faithful drank his kool-aid was not a concern of the people publishing the books. He isn’t being forced off because of his failures, if anything it seems like they want to replicate the amazing success of Earth One as soon as possible considering the buzz on the first installment seems to be mostly positive.
The thing to take away from this is that both new writers for Superman and Wonder Woman are ASTOUNDING talents who I personally cannot wait to see tackle the characters. Especially Phil Hester. I have a sketch of Green Arrow he drew for me hanging framed in my office. He’s awesome. You should share my enthusiasm. I have enough to go around.
It’s Friday. Time for the final installment of the costume showcase theme. I’ve saved…whatever I had left for last.
Costume showcase continues today. I wish I had something more witty to throw up here as a lead-in but unfortunately I’ve exhausted most of my brainpower just trying to find the pictures.
I’ve been doing this blog for 9 months now. If this were a baby, it’s gestation period would be up and it’d be slowly draining my bank account and keeping me awake at night by now. I didn’t set out for this to be a comedy blog, nor did I set out for it to be a serious one. But I did hope to gain some sort of recognition for the effort I’ve put into this site. Since starting the site I’ve had my reviews quoted at Comic Book Resources and my opinions have seen publication in Wizard magazine’s Shop Talk feature.
Early last week I was interviewed by Examiner.com about the recent changes to Superman and Wonder Woman and today the article went live over on that site. So basically, this is all just a big roundabout way of saying that you should listen to my opinions because someone other than myself thinks they’re valid. So, there you go.
Anyhow, go READ THE ARTICLE so that my ego can continue to grow.
After another brief hiatus the reviews have returned, and I’m sure you were all so worried that I’d never get back to the weekly review schedule. Well, here I am. I can’t say much for this week’s crop of books because it was a light week all around. Picking what to review was actually the hardest part of this little endeavor because everything I picked up is in the middle of an arc and if you haven’t made up your mind on a book by part four I doubt my little review is gonna sway you either way. If you do get to part four then read my review and go “well I’m not picking that up!” maybe I need to consider a career as a hostage negotiator.
ACTION COMICS #892 3.99
ASTONISHING X-MEN #35 2.99
AVENGERS #4 3.99
BATMAN #702 2.99
BLACK WIDOW #5 2.99
CAPTAIN AMERICA #609 3.99
FANTASTIC FOUR #582 2.99
GOTHAM CITY SIRENS #15 2.99
GREEN ARROW #3 (BRIGHTEST DAY) 2.99
SHADOWLAND MOON KNIGHT #1 (OF 3) SL 3.99
SUPERMAN SECRET ORIGIN #6 (OF 6) 3.99
THOR #613 3.99
WONDER WOMAN #602 2.99
X-MEN LEGACY #239 2.99
Now let’s get this over with.
I praised the first issue of Avengers as a return to the classic feel of the title with a little bit of Bendis’ trademark style. Four issues in, I still get the classic vibe but I don’t so much think that Bendis’ Bendis-ey tendencies (that’s an odd rhyme) are all that suited for this sort of book. Contrast this with New Avengers where he’s really feeling his groove and hasn’t lost a beat since the last volume and you can see where he feels more comfortable. Bendis likes to do epic on a small scale. Epic as it pertains to the individual or a group of individuals. In New Avengers, it’s really Bendis’ statement on how Cage has grown as a leader and Doctor Strange’s role in the world of magic. You can boil the importance of the arc down to two characters, in essence. With Avengers it’s a little harder to do that. And while it’s still a good book and an interesting read, I’m not sure if it has Bendis’ singular focus. However, Bendis does get major brownie points with me for his use of Killraven. I mean, when was the last time we saw that guy? All I know is that its cool that he’s getting a little face time because I think he’s a great character.
Where I’m sure I’m going to lose alot of you is my feelings on the artwork. Now, I like JRJR, I think he’s a great talent and he’s practically synonymous with Marvel. That having been said, his work here looks rushed. I don’t doubt that he was rushed. But this is the Avengers we’re talking about. The Avengers should have the best art in the damned company as far as I’m concerned. New Avengers looks amazing. Avengers looks like a sketchbook that’s been colored in. There’s none of the finished nuance of his work on Amazing Spider-Man or KickAss (though Kickass took like three years to finish eight issues, so he probably wasn’t as rushed.) But all the same I would rather the book come out every five weeks to give the man some extra time than have an Avengers book that looks like it was drawn by someone with shaky hands and blurry eyes.
The book is still strong, it’s just weakened by Bendis being out of his comfort zone and Romita’s art running at about 50% his usual standard. But it’s good to have the real Avengers doing stuff that the real Avengers would do. Thor smashes a martian spacecraft in this issue. That’s the Avengers I love.
Marjorie Liu finishes the first arc on Black Widow as well as her tenure on the title with the fifth issue here. Next month Duane Swiercanspellhislastnameski takes over and crosses the title over with Hawkeye and Mockingbird. I don’t know what the tone shift between the two writers will be like but I’m pretty sure it’ll be minimal. This issue basically serves as a 32 page “exhibit A” as to why Black Widow is a badass. She does a lot of ass kicking here, and proves that in addition to being a spy and an Avenger she’s also a pretty good nude bondage model. (Yeah, I’ll scan that panel later, I promise.)
They’ve done a good job with this book. Black Widow isn’t the most amazing character in the world. She’s essentially a female Jason Bourne at this point. Effecient, badass, and portrayed by an A-List actor on film. As far as the writing on the book is concerned, Marjorie Liu is able to pull together the personal narrative with the spy action well enough that you’re left wondering why Black Widow hasn’t had a monthly title for so long. If there’s one thing that she does right with Natasha it’s that she makes her an organic and viable character that has room for years worth of stories based just off of the work in this introductory arc. Whatever comes next, it won’t feel like they’re trying to cash in on the character because of her appearance in Iron Man 2 but instead because there are stories that need to be told based off of what has been established.
I’m not sure what Duane is going to bring to the book, but he has big shoes to fill. Actually, I don’t know what size shoes Marjorie Liu wears. He’s got a lot to live up to that’s for sure. I expect at least one more equally awesome cold-storage bondage moment out of him before I think he’s anywhere near Liu’s level.
When I first picked up Shadowland I promised myself I wasn’t going to get the tie-ins. I was going to give Marvel the finger when it came to the side-books that had no real bearing on the actual story. Now we’re about two months in and I’ve gotten every tie-in they’ve released so far. Congrats Marvel, you’ve got your hooks so far into my hide that I can feel it in my colon. Anyhow, it’s not a bad thing because every tie-in book thus far has been worth the money. I haven’t been let down by anything in the Shadowland pantheon as of yet. I picked up this one because I was hoping to figure out where Moon Knight plays into the whole thing and how he wound up in the underground prison in the main series.
While the book does address those issues it also seems to focus on the themes presented in the Vengeance of Moon Knight book with Moony becoming a less violent hero and Khonshu taking it the wrong way, seeing as how he lives off of the blood that his avatar delivers to him through acts of vigilantism. I assume I’m getting that right, Moon Knight can be confusing sometimes. So Khonshu is haunting Moon Knight in his dreams and his waking hours in the visage of a gigantic chicken (I know he’s not really a chicken, but he looks like one and I find that funny) and another nutjob is running around as the “Shadow Knight” giving Khonshu the blood he wants and making Moon Knight feel all guilty. It’s a damned odd book but the way they weave it through the Shadowland tapestry makes it worth picking up.
Also, I guess Quesada pulled the stick out of his ass about the smoking edict because one of the characters is perpetually puffing away in this issue and that kind of made me chuckle.
Well, that’s it for this week. I’ll be back next week with more unless I get another superflu of some sort. If that happens I swear I’ll never leave the house again.
I’m not even gonna lie, folks. Yesterday I was on the verge of lashing out at anybody who looked at me the wrong way. Some people said some things that I felt were highly disrespectful, and then they followed up on that by asking me to go out of my way to do something that I am not actually able to do without significant time spent doing so. Why would I do this when I don’t get treated with any measure of respect in the course of my regular comings and goings? All I can say is that luckily the day was salvaged by a date with a beautiful girl and a stack of mostly excellent comics.
Yesterday was really the kind of day that comics were invented for. I was in a foul mood, the rain outside was just nasty, nothing was on TV; it was just a day meant to be ended laying on the couch reading about super powered people in bright costumes punching bad guys in the face. Honestly, yesterday would have been almost a total down note if it weren’t for my weekly pull.
ACTION COMICS #890 3.99
ASTONISHING X-MEN #34 2.99
BATMAN BEYOND #1 (OF 6) 2.99
CAPTAIN AMERICA #607 HA 3.99
DEADPOOL TEAM-UP #892 2.99
DEATH OF DRACULA ONE-SHOT 3.99
FLASH #3 (BRIGHTEST DAY) 2.99
GOTHAM CITY SIRENS #13 2.99
HERALDS #5 (OF 5) 2.99
INVINCIBLE IRON MAN ANNUAL #1 4.99
JUSTICE LEAGUE OF AMERICA #46 (BRIGHTEST DAY) 3.99
JUSTICE SOCIETY OF AMERICA #40 2.99
SECRET AVENGERS #2 HA 3.99
THOR #611 HA 3.99
WONDER WOMAN #600 (NOTE PRICE) 4.99
And now that my personal bitching is out of the way, let’s do this shit.
Lex Luthor takes over the protagonist duties on Action Comics this week, with former Captain Britain and Doctor Who writer Paul Cornell taking the reigns and bringing us a story that spills directly out of Blackest Night, which most of my readers will recall me as christening a “steaming pile of Geoff John’s diaretic feces” or something similar. And while my feelings on that particularly shoddy mini-series haven’t changed, the fallout here with Luthor, whose power hungry ego was out of control before he got ahold of an orange ring, is actually intriguing and well plotted. I attribute this mostly to the fact that Luthor is one of the better multi-faceted villains DC has at their disposal. I mean, the Joker has a lot of different degrees of crazy he can go in, but he’s still going to be the Joker. With Lex we can get mad scientist Lex or evil industrialist Lex or actually-not-evil Lex, his lack of true definition isn’t a fault of the writers it’s a byproduct of his psyche as a character. Luthor truly does not know what he wants to be. Really, he just doesn’t want to be Superman, despite what Geoff Johns would have you believe.
This particular issue knocks it out of the park as far as I’m concerned. The story is obvious setup, where we learn of Luthor’s plan to quest for the rings (which sounds a little more Tolkien-esque than I thought when I typed that out). But while it’s definitely an issue meant to catch up readers who may be jumping on board as well as giving us a clear direction for where the title is headed, we also get Cornell’s Luthor clearly defined in the span of one issue. We know which Luthor we’re going to be getting. Cornell writes a very compelling Luthor, with his actions making complete sense in the context of who we’re dealing with. The way he treats Lois in this issue (probably my favorite aspect of the series thus far) is probably as good a gauge of character as we’ll ever see.
Oh, and the surprise reveal of the villain at the end made me squee, because he’s a personal favorite and I’ve been waiting for him to pop back up for a while now. But that’s just personal bias.
I only vaguely remember Batman Beyond as a show. I mean, I watched it because I was young and there wasn’t much else on but I didn’t latch onto it the way that I did with Batman The Animated Series. Chris Sims over at ComicsAlliance said that he enjoyed the show because it was basically Batman meshed with Spider-Man but set in the future. I agree wholeheartedly with that assessment. The character is more Spidey than Bats most of the time, and I think that’s an interesting dynamic but it was never something that hooked me. I mean, if I want to watch Spider-Man I’ll go watch Spider-Man. Batman has a specific style and tone that I identify with and Batman Beyond didn’t really hit that note for me.
That having been said, I felt compelled to pick up the first issue of the mini-series because I’ll be damned if I’m not going to at least give it a fair shake to make me a convert. I won’t say that it has, but I think that is because a lot of what did make the show work in terms of style was lost when translated with it’s adaptation to a different medium. I think that regular fans will enjoy it more than I did because they’ll just be happy to see Terry McGinnis back in some form.
I will say that Beechen gets kudos for surprising me with the villain, if they do in fact go where they suggest at the end of the issue. He’s not my favorite villain by any means, in fact I hate the living hell out of the story that introduced him while a lot of people hold it up as some paragon of Batman lore, but given that this is an alternate reality maybe they can fix him in some small degree, although any progress made won’t resonate in the regular titles and so I’ll likely end up dissapointed either way. As you can tell, I am still harboring some residual pessimissm left over from yesterday.
Spoiler Alert – Dracula dies in this issue. Yeah, I know some people will actually complain that I mention that. Despite having the central premise of the book right there in the title. Though Marvel has thrown swerveballs at us in regards to titles and events and covers that bely my point, but this is my blog so deal with it.
Anyhow, all I have to say about this issue is that it is a damn fine little vampire story that follows the logic and style I prefer in my vampire fiction. I was hoping for a Blade cameo, but no such luck, this one is all about the fanged dudes. The clear definition that Gischler gives to the vampire sects is refreshing rather than having a catch-all group of undead with no real regard to locale or backstory. I particularly liked the hot dominatrix female vampire sect. (The fact that I almost typed that as “Sext” seals the deal. Hot vampires for the win. Good job Gisch!)
I have to appreciate Marvel’s recent revival of their vampire community. The upcoming trade reprints of Tomb of Dracula have me positively giddy as I can finally replace my Essentials. Cornell’s Vampire State arc of Captain Britain was phenomenal and every time I see a copy at the shop I get really angry that the book got cancelled because it truly was a gem. But luckily Marvel has good, talented writers like Gischler handling their vampires because they seem to understand what makes them work. Vampires are supposed to be creatures of horror. There is a lamentation in the book that humans don’t fear vampires the way they should, despite being creatures of fear by nature. And that’s the crux of this. There is a regal fearsomeness to the vampires presented in this issue. I want to thank Vic Gischler for righting the wrongs brought on by vampires like this:
Yeah, seriously. Read Death of Dracula. It’s not lame.
First, let me state how awesome it is that Matt Fraction was able to throw in a nod to Immortal Iron Fist in this annual. I think that was wicked awesome, especially for those of us who loved that book unconditionally. I will say that for the five bucks I paid to pick up this book, I got about as much content as your average trade paperback. Fraction knows how to give his readers bang for their buck, and here we got an interesting look at the life story of the Mandarin through the eyes of the director he shanghai’d to film his biopic. It’s filled with fabrications and lies mixed with fact. Kind of like a White House press conference (BA-ZING!).
It’s a hefty book, with a sprawling story that weaves itself around Iron Man without ever being about him. Which is both a good and a bad thing I suppose. I did like how Fraction essentially updated Tony’s origin to mirror the one in the film, with the terror sect from the first movie being utilized and the escape sequence recreated almost identically. We knew it was going to happen eventually, I’m just glad it was done in a way that was organic and didn’t feel forced. Like some stupid mini-series launched simply to cash in on the movie. I get tired of that. Quickly.
This annual has a lot going for it the way that Action Comics did. We get a character who is well known but not defined in any real manner. Fraction plays with that a bit to create a character who is defined by the smokescreen created by his own illusionary presence. The Mandarin is a villain who needed an issue like this to give us a reason to care about his existence. I can’t wait to see what Fraction does with the character in the pages of the book proper.
Christ on a cracker, Robinson. You’re killing me here.
JLA has turned into a solid gold turd. I mean, it started off pretty bad with Meltzer, and McDuffie’s run was a mediocre bore, but now it’s just a walking joke. Bagley’s pencils are great and all but they cannot salvage this dreck. It’s poorly written, poorly plotted, and doesn’t feel like a JLA book at all to me. There’s none of the gravitas of Morrison or Waid’s run, and none of the fun that was so prevalant in the cartoon. JLA is supposed to be big and bombastic, it’s supposed to be all that’s great about the DC characters in one book but instead I find myself reading this issue and wondering how anyone could enjoy it. It’s full of faux importance but everything rings hollow. If it weren’t crossing over with JSA, which I’m loving, I never would have put money down on this title. It’s sad to see how far Robinson has fallen since Starman, it really is.
All anyone is talking about is that damned costume redesign. Which basically confirms my suspicions that Wonder Woman is more an image than a catalyst for stories. She’s a fetishized figure that hearkens to teenage masturbatory fantasies whose value as a character is largely ignored. I personally liked every little story in the book, with my favorite of course being the one by Amanda Conner, who may be the most talented working artist around. I mean, come on. You have Power Girl and Wonder Woman teaming up to punch a giant walking egg. Don’t tell me that’s not great!
But all the coverage of this milestone issue has been about the damned costume. It only appears for one of the five stories in the issue and that seems to be the only thing that every article I’ve read since the beginning of this week has focused on. Not the fact that Gail Simone teamed up with George Perez to tell a Wonder Woman story that builds on years of Diana’s legacy for a truly genuine story. One that demonstrates how just about every other female character in the DCU is beholden to Wonder Woman in some way, shape or form. Whether in the context of their existence in the mainstream DCU or in a meta-textual manner that references the way Diana trailblazed female heroes, that story spoke volumes. And it made the message while she was wearing the classic costume. If there is anything wrong with that costume it’s simply that George Perez can’t draw every issue of Wonder Woman as well as her every appearance in every DC book. Between Gail and George’s enormous talent, their worst work would be better than the best work of some other talented creators. I stand by that firmly.
Of the Trinity’s anniversary issues, this one was probably the strongest. There was a respect to the character that was lacking in Superman’s, like the point of Superman 700 was to expose the flaws of Superman and somehow right them. Which felt a little like arrogance on the part of Stracynski. With Wonder Woman, he’s also trying to revise her and bring her some place new. But he didn’t do it at the expense of saying “your personality is wrong, this shall be fixed.”
Still not sold on him as the ongoing writer, but this issue was solid. I just wish people could see the reason why.
So, Jim Lee apparently designed this new look for Wonder Woman, which is essentially a cross between 90’s Superboy, Black Canary and Wonder Girl. I will say that Wonder Woman has been needing a redesign for a long, LONG time, but I’m not sure if adding a leather jacket and a choker is the sort of thing I had in mind. I mean, isn’t she supposed to be a princess from a mythical island paradise? Does leather jacket and choker scream royalty to anyone? It’s like they wanted to replace “your highness” with “yes, mistress.” Which, as anyone who has seen my multiple bondage-themed posts knows I wouldn’t have a problem with, especially given Diana’s s&m filled background, however there seems to be a tone clash with what I know about the modern Wonder Woman and her place in the DCU versus her essentially looking here like Black Canary switched places with Diana. Dinanah Prance is what I will call her. Because I can mash up words with the best of them.
This simply reminds me of a friend who always referred to the Catwoman redesign from a few years back that he claimed to be under the direction of Jim Lee. In reality that was a Darwyn Cooke design. I informed him that Jim Lee, capable artist that he may be, couldn’t have come up with such an effective, utilitarian costume if he’d had a Liefeld gun to his head. The way the whip wrapped around her waistline to double as a belt was a tiny stylistic touch that seemed like something that had real-world value. Jim Lee designs are all about flair and style. Hence, leather jacket + choker.
At least they gave her some pants. I mean, come on. You know she’s been wanting to wear pants since she passed a pair of blue jeans in a window the first day she got off of the island.
It was a hectic week at the shop. UPS lost one of the shipment boxes, and it happened to be the one that contained the packing list in it. Not gonna lie, UPS is about as competent as a brain-damaged snail when it comes to the handling and delivery of packages. When that’s your entire purpose for existing and your that bad at it, perhaps you don’t deserve to be in business. Just saying. Actually, I’m not really saying anything as much as I’m venting. There’s a subtle difference and most of it has to do with the tone of voice I hear inside my head while I type this, which is probably not conveyed very well as text over the internet.
AMAZING SPIDER-MAN #632 2.99
BATMAN RETURN OF BRUCE WAYNE #2 OF(6) 3.99
CHOKER #3 (OF 6) (MR) 3.99
DAZZLER #1 3.99
DEADPOOL MERC WITH A MOUTH #11 (OF 13) 2.99
DETECTIVE COMICS #865 3.99
EARP SAINTS FOR SINNERS #0 1
FALL OF HULKS SAVAGE SHE-HULKS #3 (OF 3) 3.99
FANTASTIC FOUR #579 HA 2.99
FORTUNE & GLORY A TRUE HOLLYWOOD COMIC BOOK GN HC 19.99
GOTHAM CITY SIRENS #12 2.99
GREEN LANTERN #54 (BRIGHTEST DAY) 2.99
JUSTICE LEAGUE GENERATION LOST #2 (BRIGHTEST DAY) 2.99
POWER GIRL #12 2.99
PREVIEWS #261 JUNE 2010 (NET) 2.7
SECRET AVENGERS #1 HA 3.99
THOR #610 SIEGE EPILOGUE 2.99
THUNDERBOLTS #144 HA 2.99
WOLVERINE WEAPON X #13 3.99
WONDER WOMAN #44 2.99
X-FORCE #27 XSC 2.99
X-MEN ORIGINS EMMA FROST #1 (MR) 3.99
And because I have access to the internet, now come my opinions:
DAZZLER # 1
I freaking love Dazzler. If ever there was a character who deserved more respect, it’d be her. She pre-dates Jubilee and has enough of a sob-story background to appeal to the angst-happy comic reader of the modern generation. It would be a dream come true for me to write a team book led by Dazzler and Boom-Boom that goes off and fixes all the problems that the A-Listers can’t because they’re too busy dealing with a crossover or something.
The issue picks up on the threads left in the Necrosha crossover following Dazzler’s run-in with her sister, a mutant who can kill with a single touch. She and Rogue should have a pow-wow. Anywho, Dazzler’s feeling all misdirected and shaken up after the events of Necrosha and then has to deal with Arcade kidnapping her and dropping her into Murderworld, which honestly needs a new name as I’m not sure anyone has ever been killed in Murderworld. It sounds all ominous and scary but Arcade is probably the least successful X-Villain with the best ideas for marketing.
Here’s the sad thing about this issue; it’s really good. But not a whole lot of people are going to pick it up because Dazzler has essentially been reduced to a one-note joke and nobody realizes the potential there is for good stories with her in the lead. I’d rather read a story with Dazzler than Cyclops, honestly. But then again, that’s just me I guess.
EARP : SAINTS FOR SINNERS # 0
I love proto-futuristic, psuedo-apocalyptic stories. The environment presented in those types of books usually do it for me. They just suck me in and I don’t want to leave. Earp has the added bonus of transplanting famous historical gunslingers from the past of the American west and dropping them into the future. Is there any reason why they couldn’t have told this same story with new and original characters? From what is presented in the pages of this zero issue, the answer is pretty much a solid no. There’s not any real impedus given for the characters relation to historical figures, it just works with the story they’re trying to tell.
Radical publishing is hit and miss with me. I love Last Days of American Crime but I never quite got on board for FVZD or Hercules. This book seems to fall within my sensibilities. I think that’s why I added it to my pull sheet when I saw the ad for it in Previews. It takes a lot to get me to jump onboard a series nowadays, so it’s high praise when I say that something will keep me around for the next issue, which is the case here with Earp.
POWER GIRL # 12
This issue was darn near perfect. It was a great send off issue for the creative team that has kept me onboard for the last year and made me punch a wall when I heard they were leaving. This issue we get all the major players from the series coming back and tying up the loose ends so that anybody who doesn’t want to stick around can feel like they had closure. I’m still not sure if I’ll be sticking with the book when Winick comes on. I feel like I have to because I don’t want DC to think that the demand for Power Girl isn’t there.
But seriously, if you can find the issues still on shelves, pick them up. Or barring that, be sure to pick up the trades. Because this run was seriously some of the best anything that DC put out in the last year. For sure.
SECRET AVENGERS # 1
Ed Brubaker. That guy is something. I feel like if GI Joe had never left the Marvel umbrella all those years ago, this would resemble his take on that particular property. Brubaker knows how to utilize characters to their fullest extent, and here he meticulously points out how every member of the new covert ops Avengers team fits into the mold and makes sense in their appearance in the book.
I also get the feeling that he’s gearing up to write something that has the same scope and over-arching intricacy of his Captain America or Iron Fist runs. It’s easy to see that he’s hitting the ground running a little faster than Bendis is over in the flagship title, where by the end of the first issue we’ve already seen the team operating on multiple levels and we have an idea of what kind of foe they’ll be up against.
I won’t argue which of the two writers is better, as they’re working in two entirely different arenas, that having been said I do believe that Secret Avengers sucked me in a little better than Bendis’ mainline book, simply because of who they have on the team and the manner in which they were utilized. With Nova’s book off the market, this seems to be where I’m going to get my fix and I like the way Brubaker handled him in the overall context of the group.
This is going to be a series to keep your eyes on.
X-MEN ORIGINS : EMMA FROST # 1
I almost didn’t pick this up. I’m not going to lie. I’ve mostly ignored the other installments in this little expirement, but I like Emma Frost as a character. I think that she has the most potential for interesting stories out of any of the high tier X-people on the roster right now, with the possible exception of Rogue, who has been proving her value in X-Men Legacy for the last few years.
Having read the issue, I would like to say that with all the books that came out this week, only two inspired real gutteral emotional responses from me. One was War of the Supermen, where (***SPOILER***)Krypto took a kryptonite knife to the spleen to protect his master (***END SPOILER***) and the other was this issue, where Emma’s struggle to deal with her father twisted my stomach into a pretzel. I think that we all have a sort of undying need to please our parents, but the extremes presented here with Emma’s dad exemplify the sort of worst-case-scenario that every child fears. Emma’s father is presented as the physical embodiment of the no-win scenario, and the manner in which she deals with his abuse, and let’s face it, whether his intentions were pure or otherwise, such treatment of any child is abuse, forms Emma into the character she is today.
Most of the best X-Men stories revolve around family. The X-teams are essentially the family that most of the members never had. This issue ties into that by showing how important family is to the development of certain characters. Emma has a family in the beginning that offers no solace and she drifts from the Hellfire Club to the X-Men later in life, all in the search of the acceptance her father never gave her. Such a story could have come off as overwrought or melodramatic, but this particular issue handles the situation well and seems organic to what we know about Emma overall, which is the true test of validity for a story like this.
I’m done for now. Have to get some rest before the weekend, as it looks like it’ll be a long and tiring road ahead of me. Cheers.
And that’s how he convinces Lois it’s not cheating…
Maybe I should just commit to doing these on Friday so they’ll technically be up on time. I doubt that’d work, as eventually I’d be moving to Saturday to force an adherance to the deadline and that would just be sad. So as it stands, these are a day late. So sue me, but don’t, because I’m broke.
ADVENTURE COMICS #9 3.99
AMAZING SPIDER-MAN #627 2.99
BLACKEST NIGHT #8 3.99
DARK WOLVERINE #84 SIEGE 2.99
DETECTIVE COMICS #863 3.99
FANTASTIC FOUR #577 2.99
GOTHAM CITY SIRENS #10 2.99
HACK SLASH SERIES #30 3.5
NEW MUTANTS #11 SIEGE 2.99
TRANSFORMERS ONGOING #5 3.99
WONDER WOMAN #42 2.99
X-MEN SECOND COMING #1 XSC 3.99
As you can see, it was kind of a short week, so I’m going to focus my energy on a select few titles, hoping to really drive my point home if possible.
Finally this mother-trucker comes to a conclusion. I haven’t been the biggest proponent of this title, as I think that trying to shoehorn it into the company wide crossover niche has destroyed any and all subtlety and nuance that could have been present were it done as a crossover event in the GL books the way Sinestro Corps War was done.
I’m sure those who have liked the book so far will go absolutely apeshit over this issue as well. I mean, it’s got everything that they expect out of the event in great quantity, so why wouldn’t they love it. For those of us who have been along for the ride wondering if the bizarre plot twists and deviations from established characterization would somehow make sense when the arc came to a close, unfortunately we get no such payoff.
I think that is my problem with this whole event. I know Geoff Johns can write the hell out of Green Lantern. The monthly title has consistently shown that from the very moment he relaunched it with that shiny # 1 a few years back. That much is not up for debate, he’ll be seen as the definitive Green Lantern writer of the last twenty-five years hands down, simply because he’s elevated the character to a place where he’s more of a flagship character than Superman, if you look at sales and interest.
The problem with Blackest Night is that it tries to use the elements that make Geoff Johns such a good writer but the end product is rushed and mangled due to the restraints of containing the bulk of the story to a single book. It’s the same problem that happened back with Infinite Crisis. If you read the collected edition of that book, nothing makes any sense because key bits are in other books. The same thing feels like it happened here. I feel like with a book like this, cohesion is key, and they could have either made GL and GLC official parts of the story, and allowed Geoff to weave the narrative across the mini-series as well as the two ongoings, thus giving the narrative some space to breathe and flow organically.
Unfortunately, that’s not the case. With this issue, I feel like everything was abrupt and oddly presented, and aside from the “wow factor” that comes with some amazing spash page and a few resurrected heroes, the final issue, much like the rest of the series, seems to fall just a little bit flat.
Time for another x-event. It’s been a while since Messiah Complex, but a lot has happened since then and it feels like it’s all been leading to this. I have to say that I wish it would have gotten here sooner because so much of the X-books in the last few years has felt like repeated filler. Like they were treading water getting ready for this event. Does it measure up?
I think my main problem with the book had to do with Finch’s art, which compared to his prior work on New Avengers and Moon Knight looks like it was just plain rushed. The conspiracy theorist in me thinks he made the art so shoddy as a middle finger to Marvel as he hopped on the bus over to DC, but I think most of it was honestly a stylistic choice, though one that I don’t agree with.
I’ve been reading the x-books up to this point and I still didn’t quite get parts of the book. I didn’t know who the hell the smiley faced mercenaries were, and the reveal at the end didn’t seem like much of a shocker having read the X-Force series.
Maybe it’s just off to a slow start, as I wasn’t impressed, but things need to pick up soon if this is going to measure up to Messiah Complex, as I straight up loved that crossover.
That’s it for this week. Next week should be a bigger week, and I’ll hopefully have the reviews up on an actual Thursday this time around. Until then…
…and that is how you generate pageviews, my friends.
Okay, I’m getting the feeling that this Panel of the Week thing might just turn into a recurring shrine to Power Girl….
Hey, guess what? I read some books! Just like last week? Aren’t I unpredictable? But seriously folks, I got my books yesterday, though about six hours later than usual so I actually stayed up late reading comic books to ensure that I would be able to get this post up in a reasonably timely manner. You guys should send me a gift basket.
AMAZING SPIDER-MAN #622 GNTLT 3.99
AVENGERS INITIATIVE #33 SIEGE 2.99
BATMAN AND ROBIN #9 2.99
BLACK LANTERN GREEN ARROW #30 (BLACKEST NIGHT) 3.99
BLACKEST NIGHT #7 3.99
BLACKEST NIGHT JSA #3 (OF 3) 2.99
CAPTAIN SWING #1 (OF 4) 3.99
CHOKER #1 (MR) 3.99
DARK WOLVERINE #83 SIEGE 2.99
DEADPOOL #20 2.99
FALL OF HULKS RED HULK #2 (OF 4) FOH 3.99
FANTASTIC FOUR #576 2.99
GI JOE TP VOL 02 19.99
GOTHAM CITY SIRENS #9 2.99
JUSTICE SOCIETY OF AMERICA #36 (C: 1-0-0) 2.99
MS MARVEL #50 3.99
NEW AVENGERS #62 SIEGE 3.99
SUPERMAN #697 2.99
THOR #607 SIEGE 2.99
TRANSFORMERS ONGOING #4 3.99
WONDER WOMAN #41 2.99
X-FACTOR #202 2.99
X-MEN LEGACY #233 XN 2.99
That’s a pretty healthy haul. So what did I think?
For the last few week’s I’ve really been boosting up ASM as a book. I think it’s been consistantly good and that the naysayers have been blinded by their own biases. This issue however is a bit of a mixed bag, in that the lead story with Morbius is actually quite fun if a tad on the light side, not actually being full length and thus appearing somewhat rushed, while the second story with Flash Thompson is just sort of a discombobulated mess.
I am willing to bet that the secondary tale is in there because they need to quickly set up Flash’s new status quo for when he inevitably comes back into the fold of the supporting cast on a regular basis. It feels like the writing team’s attempt to get us re-aquainted with Flash and let us know that by featuring him in such a beefy role in what amounts to a backup story, he must be important enough to care about. Continuity wise, at least.
Like I said, the issue is a mixed bag, but it’s only a slight hiccup in the road as far as I’m concerned, because it’s a one-off story meant to act as an interlude anyhow. I don’t blame them for trying to cram some exposition in there that might have gotten cut short if it were rammed into an ongoing storyline. You take the good, you take the bad, you take them both and there you have…Amazing Spider-Man.
It’s like Sin City meets Blade Runner with enough of the classic Marlowe noir not to feel cheap. Choker is Ben McCool’s debut creator-owned story and damned if he didn’t knock it out of the park with this first issue. The dialogue is crisp and feels as solid as noir dialogue can, which admittedly can sometimes come off as really cheesy. Remember Frank Miller’s script for The Spirit? Yeah, it’s nothing like that.
I’ve admitted that I’m not normally a fan of Ben Templesmith. His artwork is hard to critique because any complaints can be attributed to his wanting to add a sense of style. And luckily, in the case of this book, the style works. Whereas I felt it actually hindered the story in something like 30 Days of Night, here it feels like any other type of art style would have seemed…off.
Do yourself a favor and pick this one up. I’m always telling people that there’s great new stuff out there and this is no exception. You’re doing yourself a disservice if you pass it up.
Speaking of original material, fuck you Warren Ellis. How the living hell do you manage to crank out so many titles in such short periods of time, and all of them be thoroughly entertaining? Where is your off month? When do I get to read something from you that sucks. That would be a surprise. I would actually be shocked if I picked up an Ellis book and didn’t like it. The man has such a vivid sense of world-building and setting that he could tell an infinite number of stories simply by interchanging the characters and plots from his different endeavors into each other’s locales. In this case, we get a pre-industrial revolution London in the time of the formation of the Metropolitan Police (aka the “Met”) and a mysterious steampunk villain(?) who fires electric bullets and cavorts around town in a flying airship.
Once again, fuck you Warren Ellis. You creative prick.
It pains me to say that reading this final issue of Ms. Marvel, I understand why it’s going away. When your grand finale is so astoundingly anti-climactic that it makes the reader’s chest hurt, you probably should thank your lucky stars that you made it to issue 50. Now, I’ve followed this title since # 1, and I’ve tried to get people on board, because I think that it’s been a really damn good title for the majority of the run. But I see the final arc as sort of a missed opportunity. It seemed…I guess rushed is as good a word as any. Like this is all Brian Reed could come up with because the weight of delivering a final issue was weighing on him so heavily.
The backup story is passable. I’m not a big Noh Varr fan, so it didn’t speak to me on any real level. But something tells me that what happened there will come into play whenever they decide to focus a little more on that character. At least when that happens I’ll be prepared.
Overall, this would have been a fine issue were it not the grand finale. In that sense, it feels like a bit of a misfire.
It’s an extended Power Girl cameo, how the hell do you think I felt about it?
And that’s it for this week, join us next time when I aim to be even more passive aggressive.
Ah hell, it’s that time again. Where I sit down and type out a bunch of snarky retorts to the weekly comic offerings I put money down for on a weekly basis. Unfortunately, a bulk of the week’s pull was in trade form and I can’t write up a timely review of collected stories so this column might be on the slim side this week. I’ll try to make for it in repetitive ramblings throughout the reviews.
The Pull List:
BLACKEST NIGHT WONDER WOMAN #3 (OF 3) 2.99
BOYS #39 2.99
BUFFY THE VAMPIRE SLAYER #32 TWILIGHT PT 1 (OF 5) 2.99
CINDERELLA FROM FABLETOWN WITH LOVE #4 (OF 6) 2.99
CONAN THE CIMMERIAN #18 2.99
CRIMINAL SINNERS #4 (MR) 3.5
DARK TOWER FALL OF GILEAD PREM HC 24.99
DEADPOOL TEAM-UP #896 2.99
FABLES TP VOL 13 THE GREAT FABLES CROSSOVER (MR) 17.99
GI JOE ORIGINS #12 3.99
INVINCIBLE IRON MAN #23 2.99
JUSTICE SOCIETY OF AMERICA ANNUAL #2 4.99
QUESTION #37 (BLACKEST NIGHT) 2.99
RED ROBIN #9 2.99
SIEGE #2 (OF 4) 3.99
SUPERMAN WORLD OF NEW KRYPTON #12 (OF 12) 2.99
WOLVERINE WEAPON X #10 3.99
The Boys # 39
Not a whole lot goes on here, traditionally speaking. There are maybe three plot movements in the entirety of the book, but this single issue does a great deal to set up the next major arc of the overal narrative because Butcher FINALLY finds out about Hughie banging a supe.
A great deal of the drama thus far has been the reader wondering what will happen when the Boys find out about who exactly Hughie is giving the high hard one to on a nightly basis, given that she’s a part of the group they are ACTIVELY seeking to bring down. And at this point in the issue we get a window into what is going to be coming down the pipe. Butcher reacts not with anger or a sense of betrayal but with a disappointment that he hadn’t been able to figure it out before this very moment. It’s a quiet moment that tells us even more about Butcher as a character. How will he handle the fallout? That remains to be seen. But reading the issue you can tell that Ennis put a great deal of thought into how he was going to handle this moment.
The majority of the issue is spent with Hughie and his girl Annie, exploring the boundaries of their relationship (“LET’S PURCHASE OUR HARDCORE PORN!!!”) and showing what kind of growth their coupling has forced upon them both fundimentally as characters. There is some hint that perhaps being in a relationship with Hughie has changed her in ways that might be driving a gap between them, just in the differences between what the need as far as intimacy and mutual interests. It could be read that Hughie feels a twinge of responsibility for Annie’s sudden personality shift. But, that’s just speculation on my part.
A great many people like to dump on Garth Ennis because his writing veers toward ultraviolence and sophmoric humor, but the man does character moments just as good as any other major writer, and better than some I could mention. The book also has the expressive art of Darick Robertson working in its favor.
I think I’m getting burnt out on Deadpool. And gee, with around six regular series and eighty appearances a month, who would have thought that would happen? This particular issue suffers from the same problems I mentioned in my review of Merc with a Mouth # 7, in that the humor is entirely forced and derivitive. It doesn’t have the voice of Deadpool, that casual zaniness that seems to compliment the character so well. Instead we get cheap trucker jokes and some talking raccoons. Sorry to say, while that would normally have me giddy in my seat, this one just seems to fall flat.
Two things made me pick up this issue; Marc Andreyko’s name in the credit list and that awesome cover. I have to admit that interior artist Ben Templesmith’s art styling is not my cup of tea, the issue itself is a pretty good standalone Baroness tale that gives us the new-canon origin of the character and a glimpse into what molded her morals and values before becoming the character as we’ve come to know her.
The issue hits all the right notes, and while the story is nothing we haven’t seen before, it’s a change of pace from where the book has gone previously and I felt I got my money’s worth out of it. Also, nice cover.
Okay, here’s the one people have been talking about. And it’s impossible to review without major spoilers so just turn back now if you don’t want to know who died and how and what I feel about it.
Okay, let’s go.
So Sentry rips Ares right in half. Yep, it’s Ares who was the “big death” Bendis was hyping. And while the fight leading up to it was pretty cool, it’s not all that impressive considering how many people we’ve seen ripped in half over the years, partiularly in Bendis-penned comics(Vision and Carnage, anyone?). Remember in my review of KICKASS where I said that Millar was the best hype man in the game? Bendis is kind of the opposite. Whereas we believe Millar every damned time despite the fact that we’ve been fooled by him before, everytime Bendis says something will be shocking or unexpected, we know that it’s just going to be one of his old tricks. At least this time he didn’t claim that the event would “rip the internet in half.”
Guys, is that Ares death supposed to be some kind of wink-wink joke? FUCK YOU BENDIS YOU SELF-CONSCIOUS WHORE!!!
That’s it for this week. I’m going to go punch a wall and calm down. *deep breath*
Yeah, it’s that time again…
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?