The new novel is almost finished…again. See, this is what happens when I work in “Drafts.” So in between that, school, work, and a revitalized social life that includes actually having to go outside of the house for stuff like concerts (on Thursday nights), don’t be surprised if the blog starts to lie dormant for chunks of time. I try to avoid it but I’m a one man operation here. That having been said, I’m not gonna deny you guys the comic reviews you so deserve. By that I mean that I’m going back to the old format of cherry-picking what issues to review instead of doing the whole stack because it’s getting harder to go through the whole stack in a single evening.
AVENGERS ACADEMY #5 2.99
BOYS #47 (MR) 3.99
BUFFY VAMPIRE SLAYER #37 LAST GLEAMING PT 2 (OF 5) 2.99
CHAOS WAR #1 (OF 5) 3.99
DEADPOOLMAX #1 (MR) 3.99
HAWKEYE & MOCKINGBIRD #5 2.99
JSA ALL STARS #11 3.99
SECRET SIX #26 2.99
SHADOWLAND SPIDER-MAN #1 SL 3.99
STARMAN OMNIBUS HC VOL 05 49.99
ULTIMATE COMICS THOR #1 (OF 4) 3.99
UNCANNY X-FORCE #1 3.99
WOLVERINE #2 3.99
YOUNG ALLIES #5 2.99
And let’s get this show on the road:
Garth Ennis is underrated when it comes to giving us character moments that stay with the reader in their gut long after they’ve finished reading the issue. Here we get the inevitable confrontation between Hughie and his superhero girlfriend for the first time since he found out she was a supe and since he saw her “initiation” video into the Seven where she did more with her mouth than give a convincing presentation of her resume.
The pathos and emotion on display between Hughie and Starlight here is gutwrenching. While Garth Ennis is able to craft visceral gore and violence with reckless abandon, his ability to make you care for the characters he writes is generally overlooked, which is a huge shame because it’s stuff like this that shows what the serialized medium of comics is capable of pulling off with a competent writer at the helm. This issue has been building for some time. It’s not rushed, it hasn’t been drawn out or decompressed, it’s simply been building to a boiling point.
This may be some of Garth Ennis’ best work. I know it’s not as roundly applauded as Preacher or Punisher Max, but it is probably his most carefully crafted since Preacher ended and I think that in the end people will recognize it for the treasure that it truly is.
I am happy to see Hercules back. I truly am. I love the guy. As far as this particular issue, I’m not so sold on the event after the premiere as I was with Shadowland a few months ago. I think that Greg Pak and company did a good job of getting us pumped up for some good old fashioned theological thrashing in what is coming down the road, but there was no big moment that made me step firmly on board with the series. That’s not to say that it’s a bad issue, there is some good stuff set up here, and it’s bound to get much more epic as it goes on. I simply think that a good portion of people are going to be underwhelmed by the debut issue, as not a whole lot really happens. It’s a setup issue pure and simple.
The question this series needs to answer is whether or not the setup is going to pay off. This is going to be one of those series that won’t have a whole lot of impact on the larger Marvel universe the way that Shadowland will because the Marvel Gods don’t seem to get a whole lot of focus in the grand scheme of things unless they somehow relate to Thor, but seeing how Fraction is doing his own thing with the Thor-verse, the reverberations of this series will have to be felt elsewhere, and unless they relaunch an ongoing Herc series, I’m not sure where that will be.
This is the one people have been waiting a good long while for. We’ve wanted some unrestrained Deadpool action forever and we finally get it courtesy of Kyle Baker and David Lapham. In the first issue however, we don’t actually get a whole lot of Wade Wilson. We get a lot more Agent Bob and sodomy. The violence is there, as is the swearing and the sexual situations. It’s definitely a max book. What seems to be lacking is, well, Deadpool. He really only shows up for maybe 5% off the book.
What remains to be seen is how this book will work out in regard to how they want to portray Deadpool. I doubt he’ll be breaking the fourth wall or being as goofy as he is in the 616. We already know from this issue that Deadpool will be treated more as a government assassin than a freelance merc for hire, and that he’s more mentally damaged and dangerous than gutlaugh funny. This book follows the pervasive Marvel trend of waiting until issue two to give us the full picture of what the series will end up being like in the long run. Luckily, the first issue was entertaining enough that I won’t feel like an idiot for picking up issue three.
Jonathan Hickman can do no wrong apparently. According to the internets, Kurt Busiek doens’t like him but he seems to be the lone dissenting voice. With Ultimate Comics Thor he gives us a look into the origins of the Ulimate U’s version of Thor and it seems to be a basic mirror of the regular Thor, except in the Ultimate scheme of things, there are a lot more nazis.
This series is likely going to be one of the best to come out of the Ultimate relaunch. It’s obvious that this one is being produced to be shoved into a hardcover and rushed into bookstores around the time the Thor film hits theaters. I’m not sure how that worked for the Black Widow miniseries from Paul Cornell, but it seems like a smart enough move. It helps that it’s a damned good read. If you’re going to try to introduce someone to a character, you could do worse than the setup they use here. It’s integrated enough into the Ultimate Universe that those with familiarity will be able to place it in continuity, but new readers will be able to jump in just as easily. That’s not an easy feat, no matter what universe you’re working in.
This one is the winner of the week. Rick Remender may be Marvel’s new secret weapon, as the man has yet to produce a book that doesn’t totally kick all sorts of ass. He’s managed to make Deadpool funny without being over the top. He’s made X-Force not seem like a cliche. He’s managed to give X-Force a purpose beyond being an unnecessary ancilliary title predicated on having a place where Wolverine can stab people with reckless abandon.
I was originally going to skip out on this one. The last X-Force title did nothing for me. Everything about it pretty much went against my established sensibilities. I was afraid this was going to be more of the same. I should have known better. Rick Remender, who is rapidly climbing the ladder of my favorite writers following Last Days of American Crime and FrankenCastle, brings us a new X-Force that seems fresh and new, despite building off of plot threads that have been hanging for quite some time. (Archangel, people. Archangel) And while it definitely plays off some rich history, it isn’t like say, New Mutants, where people unfamiliar with the original story of Inferno might be a little bit lost with the new storyline.
So, long story short, pretty please, go buy the damn book.
And that does it for this week. Join us next time when hopefully DC puts something out worth Reviewing. (I’d review Secret Six, but c’mon, you know how I feel about that book. I’d marry it if I could.)
I wasn’t kidding when I said that school was going to interrupt my working on this site. I didn’t get to do the reviews last week because I was working on another paper. Priorities are making this a bitch to write, so the reviews are going to be a little shorter than usual. Also, the format is going to get a little change. I’m going to review EVERYTHING I possibly can, but they’ll be shorter reviews. Basically I’m trying to cover more ground by hitting the major points as directly as possible. If nobody likes the changes, I’ll switch back, but I think this is better for everybody.
Let’s attempt this, shall we?
AMAZING SPIDER-MAN # 643
I’m still washing the bad taste of OMIT out of my mouth. It seems like the book is back on the right track, but once again, the issue feels a little light. I feel like if I had paid a full 3.99 for this issue I would be a little disappointed because this was probably the quickest read of the week.
BATMAN BEYOND # 4
We find out who Hush is in this issue. And once again, I feel like the reveal was a bit of a cop out. I won’t tell you who it is, I’ll just say that it fits with everything I’ve come to expect both from the Hush character and the Batman Beyond universe. From what I’ve seen so far with this miniseries, I don’t expect myself to pick up the ongoing when it hits stands.
BIRDS OF PREY # 5:
Gail Simone kicks off a new arc on Birds of Prey picking up where she left off last month with Babara trying to make things right with Creote and Savant, and Dinah flying off to China with the White Canary. The issue has Simone’s usual flair for dialogue and the storyline is progressing in a way that seems interesting, with the action having a good amount of organic flow to it, but the artwork leaves something to be desired this time around. It seems like the very definition of “Fill In,” with sketchy line work that seems a bit rushed and doesn’t convey the same amount of detail that there was in the debut arc of the new volume. It’s not horrible, it’s just distracting.
DEADPOOL # 27:
This book is becoming so middle of the road that it frightens me. I think they’re trying to keep the tone at a certain level so that the upcoming MAX title seems to have an edge over the regular 616 version. That’s not to say that the book isn’t worth a read. It’s fun and light. It’s basically worth reading if you want something that makes you laugh while you read it and not much else.
HACK/SLASH : MY FIRST MANIAC # 4
Hack/Slash is pretty consistent. This issue hits all the marks that the series should and I’m primed and pumped for the relaunch under the Image banner. I think having the ongoing back will make up for the flaws of the miniseries, which feels almost too small compared to the overarching continuity of the regular series.
THUNDERBOLTS # 148:
I don’t know why they decided to work this title into the Shadowland crossover. I mean, yeah, Luke Cage is in it, but beyond that it doesn’t seem to fit. I thought the crossover with Avengers Academy made more sense. The issue itself isn’t really bad, especially in the moments that have nothing to do with Shadowland. Anything dealing with the Thunderbolts in the prison setting, where Crossbones and the rest of the team really get a chance to shine are some great moments indeed. It’s only when Luke Cage shows up and reminds us that since he’s involved the Thunderbolts have to be involved as well. Sadly, once the action does move into Shadowland territory it seems to fall apart. It’s all a matter of abrupt change that doesn’t seem to really do much for the story we’ve had thus far.
X-23 # 1:
This one sort of comes off as a New X-Men reunion. It picks up on a lot of threads that have been gestating since the end of that particular series. The characters have been in use since then but it seems like this is the first time in a while since anybody did anything with them that advanced what had been set up before. X-23 was really the only one who had any sort of character development since then, and that’s because she had some time in X-Force to deal with her issues.
Now, with her own ongoing series, she should be able to continue to develop, and it looks like the New X-Men cast will be her supporting cast here. Which is definitely a good thing considering that I loved that series and I still get a little mad that its gone sometimes. The story itself seems to be starting off by tossing Laura into a situation that’s more personal than the usual do-or-die situations she’s been dealing with in X-Force. Hopefully this can grow into a good series with a little time.
It was a pretty small week this week. With the one book I didn’t read being the sixth volume of Empowered which is a perennial favorite of mine. Because, c’mon, bondage. Anyhow, next week might be a bigger one, so we’ll see how things pan out. Later!
I had a horrible night last night. Like, soul crushingly horrible. I was crestfallen and engulfed by rage. I ripped the towel rack out of the wall in the bathroom and punched a wall. Luckily, all of this happened after I read this week’s comics because I’m sure my feelings would have tainted my reading experience. Maybe they’ll hamper my reviewing experience but I can’t say for sure. You’ll have to judge that.
AMAZING SPIDER-MAN #636 GRIM 3.99
BATMAN AND ROBIN #13 2.99
BATMAN ODYSSEY #1 (OF 6) 3.99
BOYS #44 (MR) 3.99
IRON MAN LEGACY #4 2.99
JONAH HEX #57 2.99
JSA ALL STARS #8 3.99
SCARLET #1 (MR) 3.95
SECRET SIX #23 2.99
SHADOWLAND #1 (OF 5) SL 3.99
STEVE ROGERS SUPER-SOLDIER #1 (OF 4) 3.99
X-FORCE #28 XSC 2.99
X-MEN #1 3.99
YOUNG ALLIES #2 2.99
Now let’s get to it…
BATMAN AND ROBIN # 13
Yeah, Grant Morrison may have written his best issue of Batman yet. Everything that he has laid the groundwork for comes to a head in this issue. Morrison is not a fool, nor has he done anything that didn’t have a point. All the attention to detail that has gone into creating a tapestry of different plot threads that all reveal themselves in this issue.
I explained to people when it was finished that Batman RIP was not a self contained story. Everyone looked at it like a graphic novel in and of itself, this simply isn’t the best way to view the story. It’s a chapter in the overall story the same way that The Black Glove or Batman and Son were. It all is a piece of the puzzle that Morrison has presented. The events of this issue would not have worked without the events of RIP.
Morrison is doing some of the best Batman work of all time, and it’s not a gimmick. It’s not like Dark Knight Returns where it has no real bearing on the character aside from what writers choose to take from the message. This is a book that takes major risk on a monthly basis, in continuity. It’s not easy to do stuff like that and get away with it. Fanboys do not like change. And while we know that the status quo will eventually return, it will be changed by the events of this book in a manner that will almost be undetectable. After a run like Morrison’s, it will be hard to accept anything less than what he has delivered. It’s why what came after Hush was so rejected. Not that Hush is anywhere in the league of what Morrison is doing, but it hooked readers in and it had people looking for things that weren’t there in an attempt to keep up with the writer’s pace.
Seriously, I would rank Morrison as one of the best Bat writers of the last twenty years thanks solely to what he has done since launching Batman and Robin as a title. This is just another direct example I can point to when people ask me why.
BATMAN ODYSSEY # 1
This was probably my most anticipated book this week. I adore Neal Adams. I think he is the definitive Batman artist, alongside Jim Aparo of course. That having been said, I have never been exposed to anything that he has done as a writer. He may be one of the greatest artists ever to work in the comic business but as a writer, he’s largely a blank slate as far as I can tell. With the first issue of Odyssey, we can see that his writing style is clearly influenced by the writers he worked with back in the glory days of the dark knight. There is a little Denny O’Neil in his wordsmithery. I’ll admit that alot of the dialog seemed forced, and the flow of certain word balloons was distracting, but then again, that can be said of alot of comic books nowadays. I think it was just more noticeable because I was aware of the fact that Adams was writing for his own pen. I saw the same stuff on Tony Daniel’s work on the main Bat title.
Is the book good, though? That’s the main question that needs answering I suppose, and it is a decent little Batman yarn. The art is great, as if it needed to be said. I think the thing that strikes me is that it’s clearly a tale set in Batman’s past, though I can’t place where. I would have loved to see Adams write a contemporary Batman. I’m sure that would have sold better than a mini-series, as I can see a bunch of people trade waiting on this one. I won’t, because I want to support Adams in whatever he does, but I think from a marketing standpoint they may have stumbled a bit.
Still, no matter how you read it, you shouldn’t be disappointed.
THE BOYS # 44
So we finally get the moment we’ve known was going to happen since early on in the series. The only problem is that Garth Ennis gives it to us in the last panel so we have to wait a month to see the aftermath. Fuck you, Garth. Your mastery of toying with your audience is unparalleled.
Seriously, Ennis knows exactly when to drop the necessary bomb on the readers. He’s been escalating things for months now and everything is coming to a boil. I think the fact that Ennis stated when he began that the series would be finite with a pre-established ending helps to inform the reader that the pacing is deliberate. There are moments where the book comes close to seeming dull and then the veil is removed to show us something we didn’t expect.
This is definitely some of Ennis’ best work. I say that with conviction. I find it on par with his Hitman run and a shade close to matching some of the stuff he did on Preacher. The reason people don’t latch on to this book the way they did with Preacher is that The Boys isn’t as broad as Preacher was. Ennis knew that he could stir up controversy with the tiniest flair on Preacher. With the Boys he’s not really seeking to offend, but to play with heroes in a way that makes a statement on how he feels about the world in general. I don’t believe that Ennis believed everything he did in Preacher but I’m almost sure he does when it comes to The Boys.
SCARLET # 1
I think the easiest way to describe Scarlet is that Bendis has written what Millar wishes he could have with Nemesis. We get a violent subversive anti-hero protagonist who is introduced in the middle of murdering a cop and who is clearly willing to upset the system in any way she can. But unlike Millar who goes broad stroke in every manner imaginable, Bendis prefers to focus on the character first rather than the spectacle of the character’s actions. I think that the narrating directly to reader helps to facilitate this. Nemesis blows up a train to make a point and I felt nothing except dirty because the book wants me to view his actions as extreme with a measure of awesome, whereas when Scarlet chokes out a cop the gut reaction I had was one of knowing there was probably a reason for it beyond “here’s a villain.”
Bendis knows his storytelling. If he didn’t he wouldn’t be teaching classes about it at the collegiate level. It all comes down to whether you like his style. If you enjoy his work on Goldfish, Jinx, or the Powers books, you’ll probably enjoy this one. But there will be a number of people who hate it without reading it just because it has Bendis’ name on it.
SHADOWLAND # 1
This is gonna be a good one folks. Daredevil has been on a tear for years and finally he’s getting the spotlight he deserves. Each successive writer on the title has been outdoing the last since Bendis took over the book and we’ve finally reached a place where the boiling point has been hit.
Writer Andy Diggle has taken Matt Murdock to a place that we never really could have expected. It’s a shocking turn to see him in charge of the Hand, but at the same time the events that led to where Matt has ended up in no way work against what has developed. Normally, you would think there would be no way Matt Murdock would become the leader of the Hand. It just goes against everything that Daredevil has fought for, but the way that it’s been set up makes you feel like if it didn’t work out this way, it would be a cop out.
As for the issue itself, let’s just say that you know how it’s going to end a few pages in but you don’t care because you want to see it happen and you know that the ensuing shitstorm will be an amazing story. Simply put, it does not disappoint in any department. It’s an event book done right and I cannot wait for the second issue.
X-MEN # 1
I don’t know Vic Gischler personally. He bought a Lady Deadpool poster from my store on the one day that week I wasn’t at work. We banter about really dumb shit on twitter from time to time and that’s about it. So don’t think there’s some conspiracy when I praise his work on a regular basis. He just happens to write stuff that I think is really good. If I can ever find a damned copy, I’d like to review his book The Deputy but none of the local bookstores carry it and I don’t feel like ordering anything else off of the internet until I pay off my latest Amazon bill.
Anyway, yeah, X-Men # 1 is pretty good. It’s got Jubilee, so you know I’m going to like it. But it also isn’t the unending doom and gloom that’s taking place in every other title, and while Second Coming has been awesome thus far, it’s also starting to wear me down with it’s unending bleakness. It’s almost too much to take sometimes. So it’s a welcome change just to get Wolverine slashing apart a bunch of vampires. It’s just the sort of thing I want in an X-Men title right now. Problems solved with claws and laser eyes.
And Jubilee. I freaking love Jubilee.
And we’re done. I’ll be back tomorrow with a review of Predators.
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.
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.
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?