AICN COMICS! @$$Holes Review MARVEL SECRET WAR, ULTIMATE X-MEN, 1602, AQUAMAN, And More!!
Hi, everyone. "Moriarty" here with some Rumblings From The Lab...
Those spiffy graphics are back, and so is guest-editor Village Idiot, who seems to be a little craftier than his name suggests...
Hey everybody, Village Idiot here.
Congratulations! You made it!
Accessing the columns at AICN has been so hard lately, the fact that you're reading this is just short of a miracle. So savor every word!
And not just the words, but pictures too! You'll notice we've got some cover images back this week, a special favor from our brothers-in-arms comic reviewers at The 4th Rail. We expect to be hosting pics ourselves in the next week or two, but in the meantime, thanks 4th Rail guys for the temporary assist! And to our readers - look! Shiny colors!
(Click title to go directly to the review)
ULTIMATE X-MEN #42
ABADAZAD #1
CHOSEN #1
AQUAMAN #15
EPIC ANTHOLOGY #1
1602 #7
DEEP SLEEPER #1
SECRET WARS #1
Cheap Shots!
ULTIMATE X-MEN #42
Brian Michael Bendis: Writer
David Finch: Artist
Marvel Comics: Publisher
Vroom Socko: Dazzled
Last time I took a look at this book, it brought me back from the brink. A smart, self-contained story, it reminded me of why I started reading X-Men comics lo these many years ago. The issue between that one and this, while not quite as good, was still thoughtful, compelling, and again, self-contained. (Two self-contained issues in a row? From Marvel? Written by Bendis? Did I wake up in Bizzaro world?)
This issue is also exceptionally smart, and it ties the previous two issues together as well. The events shown in those issues have raised concerns in the Executive branch about their ties to Xavier. The President, it seems, is interested in gathering together a team of new mutants, ones over which he can have a larger degree of control. To that end, he’s hired a familiar face, whose identity I will not spoil. I will say that I’m very interested in seeing just what the Ultimatized take on this person will be.
But all this comes at the end of the issue. The bulk of it is spent on the sort of character moments that represent the best in both the X-Men and Bendis. There’s one good scene between Scott and Jean, and a fantastic one featuring Storm. The three pages focused on Ororo are Finch’s best work in this issue, spotlighting her state-of-mind brilliantly.
There’s also mention of the disappearance of the Beast, who just might be a recruit of this new group. Personally, I’m hoping that he ends up becoming a member of the Ultimates, traditionalist that I am.
But of course, the whole middle of the book is dedicated to the introduction of Dazzler. Surprisingly, she’s been changed hardly at all. She’s still a musician in a niche genre that’s more concerned with appearance and style than the actual music. She still isn’t interested in joining the X-Men in the slightest, wanting nothing more out of life than a record deal. And she still has a look that’s not going to date very well.
Okay, so the original Dazzler was a Xanaduesque roller disco glam queen, and this version is a Wendy O. Williams-style hardcore punk, but other than that…
Bendis continues to bring out the best in these characters, as well as draw out my atrophied interest in them. While the regular titles are still a mess in my book, (okay, while I can’t stand Morrison’s run, I do understand why some people enjoy it; but Austen… Why?) this title is becoming one of my favorites. Bendis has me excited about an X-Men comic for the first time since Fabian Nicieza left. I can’t get my paws on issue #43 soon enough.
ABADAZAD #1
Writer: JM Dematteis
Artist: Mike Ploog
Publisher: Crossgen
Reviewer: Ambush Bug
Just finished reading a preview copy of Crossgen’s new title, ABADAZAD.
Thought I’d sing a fancy little review about it.
And it goes a little something like this. Maestro…
Ohhhhhhhhhhhhhhhh….err…Maestro?
Fuck, I forgot sound doesn’t really translate in these reviews. I guess I’ll forget the song and dance and do it the old fashioned way.
*ahem*
One of the few perks from writing online comic book reviews, besides all of that fudge, is that from time to time you get preview books. Like beer and hookers, the best type of comics are the free ones. I’d love to see more in my mailbox. Comics that is. Hint, Marvel and DC, hint, hint. Although I wouldn’t throw out the beer and hookers if they sent me those too. Last week, I found ABADAZAD #1 in my mailbox. I usually don’t buy Crossgen books, so I figured I’d take a gander at it and type out a few of my own cents for all of you to read.
This being the first Crossgen book I’ve read in quite a while, I have to say that if this is the type of stuff they have been producing lately, I’ve been missing out on some quality books. Issue #1 follows spunky teen, Katie, and her little brother Matt, as they grow up in an all-too-real lifestyle. Since Dad split and Mom was usually drinking or crying in her room, it was up to Katie to act as the parentified child and take care of her little brother. This was a job that Katie gladly took. She looked out for Matt, took him to carnivals, and most importantly, read him stories about the Land of Abadazad before bedtime. These books had a universal appeal to them, appealing to all ages. They were magical stories that enchanted generations of readers. Life wasn’t perfect for Katie and Matt, but they had each other and these stories, so things were okay. Then little Matt disappeared without a trace and that is where the story really begins.
After reading ABADAZAD, I couldn’t help but think of the Jim Henson Film, LABYRINTH. The premise is the same. A spunky teen loses the child she looks after, follows him into a magical world filled with wondrous characters, and must defeat an evil being to get the child back. Now, ABADAZAD doesn’t have the nubbly Jennifer Connely, fluffy faux-Muppets, or even the androgynous stylings of David Bowie, but it does have a lot of heart in its story and some great art to boot.
I haven’t really been a fan of JM DeMatteis’ work outside of his team-up with Keith Giffen on JLI/FORMERLY KNOWN AS JUSTICE LEAGUE. The new age blatherings he used on THE SPECTRE left the bitter taste of @$$ in my mouth and I was leery when I saw his name on the cover, but as I flipped through the book, I realized that this is the type of story that JM DeMatteis does best. There is a lot of emotion that must be conveyed in order for us to become invested in this fairy tale. DeMatteis tells this story through the eyes of innocence. He allows the reader to step into the shoes of our teenage narrator and feel all of the emotions that she does. This is an emotionally charged issue and DeMatteis pulls it off elegantly.
But what made this issue for me was the astounding art by the legendary Mike Ploog. I wasn’t old enough to buy his Marvel horror comics when they first came out, but in my early free-spending days of comic book collecting, I picked up quite a few copies of his issues of GHOST RIDER, MAN-THING, and WEREWOLF BY NIGHT. I remember eating those issues up, scanning every one of his panels and making sure not to miss one detailed nuance of his beautiful art. Not too many artists can say they have drawn some of the most monstrous characters in comics, and absolutely no one but Ploog can say they worked with the likes of Stephen Speilberg, Ralph Bakshi (of the original animated LORD OF THE RINGS fame), the aforementioned Jim Henson (on the aforementioned LABRYNTH among others) and also provided designs for such films as GHOSTBUSTERS and everyone’s favorite monster movie THE THING. This issue marks his return to comics and it is a much welcomed one.
Without Ploog’s art, the level of emotion wouldn’t be the same in this book. DeMatties smartly lets Ploog take over in panels that don’t need words to convey what they mean. Ploog’s style in this book is a far cry from his ferocious panels in WEREWOLF BY NIGHT, but the dramatic camera angles and skilled composition are still there. Every page is set up as if Ploog were planning to film this issue some day. His characters are more cartoony, reminiscent of Don Bluth or old Disney films, but this is the perfect look for a story that pays homage to age-old tales and their appeal to younger readers. Welcome back Mike Ploog, comics have suffered far too long without you. The art work in this book is a breath of fresh air. You’re not likely to see anything like it on the racks today.
The art and concept in this book are worth my recommendation alone. We all grew up reading books like ABADAZAD. Any fan of THE WIZARD OF OZ, ALICE IN WONDERLAND, LORD OF THE RINGS, and more recently, HARRY POTTER should give this book a looksee. So the question is, would I pick up future issues of this book? Yes, I would. This is one Crossgen book worth checking out. Crossgen has taken a lot of flack lately, but this company is trying to broaden the scope of comic books and move away from the over-saturated super hero market. It’s a noble effort, and ABADAZAD is a step in the right direction to diversify comics with quality alternative fiction.
CHOSEN #1 (of 3)
Writer: Mark Millar
Artist: Peter Gross
Publisher: Dark Horse Comics
Reviewed by Cormorant
I’m not what you’d call Mark Millar’s biggest fan. I enjoyed his most anomalous work - an extended run on the all-ages SUPERMAN ADVENTURES – but beyond that, his style is too light on characterization and prone to excesses for my tastes. Still, I figured CHOSEN, a three-issue mini about Christ being reborn in the 1980s as a twelve-year-old kid, might be worth checking out. Points for originality, certainly, and the fact that Millar’s a practicing Catholic suggested a more personal work – always a good thing.
So let’s move past the book’s taglines (“Ultimate Jesus,” “Harry Potter for fundamentalist Christians,” etc.) and see if Millar’s got something to say here...
Presumably to mirror his own childhood, Millar opens CHOSEN in the early ‘80s. The young narrator, Jodie, sets the stage: “Somewhere between the Pepsi Challenge and the Commodore 64 someone whispered in my ear that I would grow up and change the world forever.” Our would-be savior’s got his mind on decidedly unholy pursuits in the beginning, though, cutting class with friends to track down a porn magazine a classmate saw in the woods. Like Atari-generation avatars of the STAND BY ME kids, they’re wrapped up in the pop culture of their era, from TJ HOOKER to primitive video game watches. Just regular suburban kids.
And then Jodie gets run over by an eighteen-wheeler truck.
He survives, miraculously, and without a scratch on him. He’s clueless as to what happened, but the hospital chaplain can’t help but wonder at theological explanations and Jodie’s nurse...well, she seems to know exactly what’s happening: “You got powers and abilities like no one’s ever seen before and these gifts are all gonna start becoming obvious over the coming weeks and months.” We get a glimpse of these abilities before the issue’s done, and indeed the whole of this first chapter is built around both the fear and awe of discovery. Millar’s characters are solid, as realistic as I’ve ever seen from him, and it’s easy to sympathize with Jodie’s confusion. Millar even keeps the shock value stuff in check, though I suppose the sight of the new Christ sneaking a cigarette smoke or calling someone “dick breath” might offend some. The cover, a crucified Jesus wearing a Frankie Goes to Hollywood t-shirt, is the only overtly shocking element to this first issue.
The real test of the book will really be in what comes next. It’s pretty clear Jodie is who the nurse thought he was – brief glimpses of him as an adult bear this out - but his wisdom’s hardly Christ-like yet. Presumably, that will be the thrust of the story: Christ’s abilities in the mind of a decidedly normal, immature kid, and the wisdom that perhaps will grow in him as he puts them to use. That’s almost too ordinary, though, so I’m expecting some Millar subversion, if not outright perversion, by next issue. And I think this story will need it. I like the characters, but they’re not rich enough for Jodie’s journey to really mean anything yet, and lacking that we’re gonna need some twists and turns.
The art, by former LUCIFER artist (ha, irony!) Peter Gross is quite good. It might be a touch dry, but it’s very convincing in its lived-in detail, especially as backed by the subtle watercolor tones of colorist Jeanne McGee. The outdoor scenes in particular, in the woods or in the rain, have a convincing air of realism to them. And lo, there did come a preview!
So CHOSEN’s worth checking out, I warrant, whether you’re of a religious bent or not (I’m not). It’s maybe not saying a lot coming from me, but I do think it’s the most interesting comic I’ve yet seen from Mark Millar.
AQUAMAN #15
Will Pfeifer - Writer
Patrick Gleason - Penciller
Christian Alamy - Inker
Published by DC Comics
Reviewed by Village Idiot
After launching into a spirited defense of "decompressed storytelling" in the Talkback from last week's column, watch me now as I shamelessly do a 180. For however effective story decompression can be (and it can be), there's also the potential for big, fat, unsatisfyingly hollow comics. I submit as evidence AQUAMAN #15.
In AQUAMAN #15, we find out three things:
1. Half of San Diego has inexplicably slipped into the ocean.
2. A month later, a little boy crawls up from the ocean, only to suffocate because he now has gills.
3. Aquaman has his orange shirt back.
Out of these three things, only the first two are explicitly dealt with. And considering the fact that the catastrophe in San Diego all happens offstage, those first two items could have been covered in 4 pages in the Silver Age. 8 pages with things moving at a reasonable clip. I'll even give you 12 pages. (I'm feeling generous.)
But instead, the revelation that San Diego is destroyed and the situation with the boy is stretched out over 22 pages. 22 pages. Are they stretched out over 22 pages effectively? Let's see:
Page one features three full page-length vertical panels that show us getting closer and closer to an object hanging in the water, which is eventually revealed to be a panda. Okay, fine, we're taking our time establishing an incongruous image to create a sense of mystery and unease. A bit indulgent, but I'm still tuned in.
The next 2 pages are a splash of Aquaman swimming through the wreckage. The next page has panels of Aquaman swimming though the wreckage. The next page shows even more swimming through the wreckage. The page after that shows yet more (you guessed it) Aquaman swimming through the wreckage.
Now to be fair, Aquaman isn't just swimming though the wreckage, he's actually finding stuff: Wreckage. And of course, he's having emotional reactions (no thought balloons, God forbid). The scene is supposed to be unfolding cinematically, but really, none of the emotional beats hit effectively enough to warrant such a long, drawn-out sequence.
And the rest of the issue plays out the same way. In fact, the swimming-through-wreckage reads like Foucault compared to the full page devoted to Aquaman walking into the water. Or the two pages of the kid coming out of the water. Or the gripping two page sequence of the Medical Examiners getting up and walking down the hallway talking about stuff. I understand spreading things out, but come on. This is not Will Pfeifer at his most efficient.
Which is disappointing, because Will Pfeifer can be efficient, or at least can present a story where efficiency isn't really an issue. (I certainly didn't find it an issue when I reviewed H-E-R-O #2.) And Patrick Gleason's art in the issue isn't too bad either. Aquaman shirt looks great; in fact, I don't think the character has looked this good in a long time.
And yet AQUAMAN #15 is big balloon of a comic book: Stretched a lot bigger than it should be, and ultimately just filled with air. At the end of the book, I felt ripped off. I'm hoping that this isn't indicative of Pfeifer's whole run on AQUAMAN; I honestly want to like this series, and I'll probably be giving it another shot next month. But as to whether you should give it a shot this month, I've told you everything there is to know about the issue in this review, and arguably, I did it as effectively as the comic did itself. You could probably save the $2.50.
EPIC ANTHOLOGY #1 (of 1)
Writers: Robert Kirkman, Rob Worley, & Jason Henderson
Artists: Khary Randolph, Andy Kuhn, & Greg Scott
Publisher: Marvel Comics
Reviewed by Cormorant
If you were to pick Marvel’s top three fuck-ups of the last year, I think you’d have to put the Hindenburgian burnout of the Epic line at the top. Waid’s temporary firing from FANTASTIC FOUR, you say? Close, but Marvel took such a thrashing on that they finally backpedaled, so no permanent damage. Mark Millar’s boondoggle, TROUBLE, will likewise be forgotten in time, as will the Princess Di/X-STATIX fiasco, as will the many books assigned to Chuck Austen, as will...
Geez, that’s a lot of fuck-ups, isn’t it?!
But Epic was the biggest. It offered amateur talents a once-in-a-lifetime chance at working for the company that gave us Spider-Man, the X-Men, and the Avengers...took all their hope, all their good will, and their raw, unrefined enthusiasm...and just took a big ol’ burrito-dump on it. Appropriately, an epic screw-up.
And having been awkwardly managed during its pseudo-life of less than a year, the line is now effectively cancelled, having born no fruit of note.
But as big and easy a target as Marvel is on this one, the question must be asked: would any of these hypothetical Epic books have been any damn good had they been released? The few that made it out – TROUBLE and CRIMSON DYNAMO for instance – suggest the answer is, “Nuh-uh.” But what about all the lost entries? Enter the EPIC ANTHOLOGY, a burrito-dump of a consolation prize housing the first issues of three different Epic titles. Marvel’s made the disingenuous offer to continue the various series in a quarterly anthology format should sales warrant it (riiiight), but even the most rabid Marvel Zombies could read between the lines on that one: deal’s off. Let’s see if we should be sad or not...
Rising star Robert Kirkman opens the book with an attempted relaunch of one of Marvel’s cult characters of the ‘90s, Sleepwalker. I don’t know Sleepwalker from Adam Warlock, myself, but I remember he looked kinda cool, and he still does...in the one panel in which he’s glimpsed in the story. Yep, this story still bears the taint of Jemas’s enforced slow-burn storytelling, and it suffers for it. Our lead’s a spoiled, handsome, trust-fund-baby college student whose parents are about to cut him off. He’s a reasonably likeable doofus, though, and when he’s not leading on a cute geek-ette to get her to do his homework for him, he finds himself doing an abnormal amount of snoozing...and always finding his window open afterwards. Vaguely eerie? I guess, but that’s about all we get until a last-page reveal, the Jemas-pacing viciously undermining the momentum. The art’s nice, though – think of a slightly more cartoony Phil Hester style – and even the story might’ve grown on me as I’m a sometimes fan of the “loser hero” sub-genre (see also, Nova, Wonder Man, Cloak & Dagger). Oh well. As an alternative, may I suggest such fine Robert Kirkman books as WALKING DEAD and INVINCIBLE?
Next up – “Young Ancient One.” Great name, forgettable story. You know the “Ancient One,” right? Wrinkly Tibetan guru who taught Dr. Strange how to get his mojo on? Well he wasn’t always ancient, it seems. In fact, he was apparently the Zorro of 15th century Tibet, dispensing thuggish tax collectors like a natural born chop-socky hero. He wears a snazzy-looking leopard costume to hide his identity, banters with his wife in modern, BUFFY-esque slang (intermittently cute and annoying), and generally works his way through the clichés of fantasy Chinese martial arts flicks. This one definitely has more energy than the Sleepwalker outing, and the martial arts sequences are solid, if a little unclear periodically. Again with the cartoony art, by the way, with a touch of “Tim Sale” style in the inking. Not a bad story, but unremarkable.
Our final entry, “Strange Magic”...this one was borderline incomprehensible. We have photorealistic art by Greg Scott (who does a nice fill-in on this week’s GOTHAM CENTRAL), and that’s pretty nice, but the writing reminds me of Howard Chaykin’s work in its intentional obtuseness. Scenes jump around wildly with no establishing moments, and dialogue is all but non-sequitur at times. Best I can tell, our lead’s a young woman who’s a ghost trying to do good in the magic-laden city of New Orleans. Mostly, I was confused, and not in a good MEMENTO way.
The verdict is: Err, maybe Epic was a bad idea in the first place. These entries aren’t terrible – all of ‘em show at least some potential – but not a one can hold a candle to my own planned revamp of Quasar which would’ve rocked the fuckin’ Marvel Universe and –
AHEM.
I guess it’s just clear Marvel comics are best left to the pros, and the Epic imprint would’ve been a damn sight cooler had it been patterned after the ‘80s Epic imprint, itself a too-hip-for-the-room precursor to Vertigo. In other words, the only real loser here is Marvel’s perpetually tenuous integrity (keyword: burrito dump).
And Quasar fans.
1602 #7
Writer: Neil Gaiman
Artist: Andy Kubert
Colors: Richard Isanove
Publisher: Marvel Knights
Reviewer: Ambush Bug
“He who is aware of his folly is wise.”
I pulled that from a fortune cookie a few days ago, right after reading the latest issue of Neil Gaiman’s Marvel miniseries, 1602. Serendipitous? Coincidental? Who knows? But that little slip of paper got me thinking about this miniseries; why it is a wonderful story, and why it is not.
A lot of hype and hoopla went into 1602. Neil Gaiman is a legend in comics. His work on SANDMAN changed the way comics were perceived by those inside and, more importantly, outside the medium. The way he put words together to form stories had a magic all its own. I have to admit, when I heard that Gaiman would be bringing his talents to Marvel, my interests were genuinely piqued. Those who read my reviews know that my faith in Marvel has been on a downward spiral recently. I’ve seen the company which once housed some of my favorite characters and creators become a business that would do anything, including disrespecting those characters and exploiting the fans who grew up with them, in order to make a quick buck and shamelessly crawl out of the pits of bankruptcy. How they managed to convince an actual talent like Gaiman to saddle up and write for them is beyond me. But they did it, and 1602 is the result. The project was veiled in secrecy. It was to be big, but that’s all we knew about it. When 1602 was released last August, it was met with mixed feelings.
1602 is a tale of heroes placed out of their own time running out of time. Marvel’s pantheon heroes and villains are all here. The Fantastic Four, Dr. Doom, the X-Men, Magneto and the Brotherhood, Captain America, Nick Fury, Daredevil, Peter Parker, Dr. Strange. They are all present, but this is not the present. It’s the past. The hook is that these characters are not in their own time. Somehow they’ve been plucked from present day to take on a conflict that occurred in the past; in 1602 to be exact. But these heroes and villains shouldn’t be there. With little explanation other than, “This is happening in continuity and will be explained later,” this story depicts the adventures of Marvel’s heroes written by one of the best writers in comics today. For that, I have to say I am impressed.
Crossovers like this, where heroes interact and team up with each other, just don't happen anymore. Today’s Marvel writers are too caught up in telling their own story with their own character to waste the time in acknowledging that there is an entire universe of heroes and villains for them to co-exist with. Seeing Peter Parker simply talking with Clea or the Human Torch carry Jean Grey in his arms or Nick Fury debating with Dr. Strange is the type of fanboy coolness that used to happen all of the time in company-wide crossovers, but not anymore. The sheer fact that Gaiman is using this varied cast of characters and having them interact like this to form a tight story makes my fanboy heart melt.
More importantly, these characters have not been written this well in ages. Take the following line:
“And while Master Javier (Prof. X) muttered his God-be-with-yous, Somersile (Cyclops) took the rubies from his eyes, and he stared at the heavens. There were tears on his cheeks, and I wondered how those eyes, which burn like suns, could cry.”I have read a lot of X-Men stories, but never have I read a line like that describing Cyclops’ powers, so filled with beauty and emotion. Gaiman is a writer. The type of writer that can actually be called an artist. Like a painter mixing his palette with colors to paint a masterpiece, Gaiman mixes words to describe a scene in the most beautiful way possible.
And speaking of art, Andy Kubert is doing some of the best art in comics right now. His genuine talent shines in each issue. His art enriches every word Gaiman writes, striking a perfect balance between word and image. The emotions and posturings depicted in this book are of the highest craftsmanship, enriched by the gorgeous digital colors of Richard Isanove. Word to word, panel to panel, cover to cover; this is a breathtaking book.
So what about the words that inspired me to review this issue? “He who is aware of his folly is wise.” Well, that refers to the sheer coolness that happens in this particular issue of 1602. Not only is this series well written, but we are also treated to a bevy of “just plain fuckin’ cool” moments. In this issue, Reed Richards reveals that, after being trapped and given the chance to think uninterrupted in Doom’s dungeon for so long, he has come to the conclusion that everyone is simply part of a story being told; a continuous story that must be interesting in order for it to continue. Reed actually deduces that he is a character in a comic book. It just makes me smile from ear to ear that the smartest man in the Marvel U has come to the self-awareness that everyone in that universe are just characters in a story. Sure it was a concept used in Byrne’s SHE-HULK, but you have to admit, used in this context, it’s pretty innovative. When Ben asks if Reed can restore him to his human self, Reed responds:
“In truth, I do not know, my friend. The natural sciences say yes, a cure is possible. But the laws of story would suggest that no cure would last for very long, Benjamin. For in the end, alas, you are so much more interesting and satisfying as you are.”That is probably one of the coolest lines I have ever read in comics, simply because it is so true.
One of this series’ drawbacks is Gaiman’s promise that this story occurs “in continuity.” This was supposed to be a selling point for this book, guaranteeing that it is not a WHAT IF? or ELSEWORLDS story in hopes to make those who follow the adventures of these heroes in their own books take this story seriously. I was thinking about this statement and came to the conclusion that continuity is a completely foreign word at Marvel these days. If this story happens “in continuity,” which continuity is Gaiman talking about? The Marvel Universe? The Marvel MAX Universe? The Ultimate Marvel Universe? Marvel Knights? Marvel’s continuity is so fucked up, that a promise like this merely confuses the reader more. If Marvel were a cohesive universe, maybe “in continuity” would mean something, but since none of the Marvel books acknowledge each other's existence anymore, I don’t see why we should care.
In issue #7, truths are revealed and a new quest is born. Some of the heroes know that they are not supposed to be in this time. Others are fleeing the tyrannical forces of the King and Church. Others have more devious motivations. All paths will intersect soon and this next-to-last issue maps out a race back to America to set the whole thing right. The fit hits the shan next issue and I can’t wait to be there to witness the splatter.
So cherish this series, people. It may not be flashy. It may not be over the top or shocking. It may give continuity promises that cause unneeded and distracting questions. But it is unlike pretty much every other Marvel title out there in that something of substance occurs in each and every issue and that substance is about as well written as you are going to get in comics. It relishes the fact that this is a comic book with heroes and villains doing marvelous things in marvelous ways, written in a truly marvelous manner by a writer that can only be described as marvelous.
DEEP SLEEPER #1 (of 4)
Writer: Phil Hester
Artist: Mike Huddleston
Publisher: Oni Press
Reviewer: Cormorant
You folks probably know Phil Hester as an artist, as the guy who defined the crisp, animated style of the current GREEN ARROW from Kevin Smith’s relaunch through Judd Winick’s current run. I love Phil Hester the artist.
Today, though, I give you Phil Hester the writer. It may be a scary concept to a generation of readers blindsided by the crimes against literacy inflicted by Image artists like Liefeld, McFarlane, et al. in the ‘90s, but roll with it. Phil’s already earned his writing chops, most recently on Oni Press’s THE COFFIN, and you needn’t read more than a few pages of the intelligent, idea-rich DEEP SLEEPER to see that Phil’s no poser. In fact, the reality-bending nature of the story might even remind you of another writer named Phil - he of the “K. Dick” surname.
DEEP SLEEPER’s lead is a family man named Cole, a struggling African-American writer living in Minnesota. He’s been having some creepy dreams with a Lovecraftian veneer – tentacles, polyps, celestial awareness, and a grim, deja vu inevitability. That element is a little conventional, though Hester’s strong descriptive prose propels it along with hallucinatory momentum. The point at which I plugged into the book, though, was when Cole works up a short story about a warlord in ancient Mesopotamia attempting to press into service a monastery of monks housing a powerful secret. Not only does Mike Huddleston’s art kick all kinds of Shaolin bootie in this sequence, but the story-within-a-story is damn good on its own merits. I was downright disappointed when it ended, assuming Hester cooked it up just to give us a glimpse into Cole’s writing style.
Ah, but then DEEP SLEEPER takes a turn for the mysterious. Through curious circumstances Cole finds himself drawn to a self-help seminar conducted by a man bearing the same name as one of the monks in his story. Curiouser and curiouser. Could there really be some kind of metaphysical conspiracy going on or is Cole’s mind just succumbing to the pressures of maintaining a decent standard of living for his family? In a week when Brian Bendis writes for Marvel about a secret war being waged in the superhero intelligence community, Hester does him one better with a secret war staged on whole other planes of reality. Cole appears to be a potential player in this war, his ability to write – to imagine – somehow making him one of the “white hats.” But that’s an oversimplification. Sinister elements abound on all sides, and the briefly-glimpsed “true forms” of even the white hats are unnerving (though spectacularly drawn).
Hester’s more than just a solid writer; he’s potentially exceptional. It would be so easy for the celestial themes he’s dealing with to fall into convention – so easy - but Hester makes them downright convincing. Drawn in by the sympathetic character of Cole, I found myself all but experiencing his strange visions alongside him.
And to think that I almost passed over this book based on its non-traditional cover. It’s the kind of cover that would draw the eye on a prose novel, but is too easy to pass as “one’a them thar freaky comics” amidst all the gaudy, pulp covers of the average wall o’ comics. I’m as guilty as the next guy of consciously or subconsciously tuning out non-traditional comics based on a cover glance alone, but thankfully in this case, a friend foisted DEEP SLEEPER on me, and now I’m confidently foisting it on you guys.
If you’re interested in conspiracy stories, in the challenges writers face, in things Lovecraftian or surreality in general, in comics that invite an emotional response, or in stories where monks punch Volkswagen-sized rocks in two (now we’re talkin’ my level) - in any or all of the preceding - then I invite you to take a look at DEEP SLEEPER. This is a surprisingly approachable comic with art that balances the mundane and the mystical with practiced ease.
SECRET WAR #1 (of 5)
Brian Michael Bendis: Writer
Gabriele Dell'Otto: Artist
Marvel Comics: Publisher
Vroom Socko & Cormorant: Secret Reviewers
"Secret Wars is a big, cosmic gobblygoo pile of silly that’s…y’know. So it’s nothing like that. It really isn’t."-- Brian Michael Bendis, discussing Secret War.
Vroom Socko: It certainly isn't, and thank God for that.
While this issue is mainly setup (which, for a quarterly publication seems tantamount to storytelling suicide), there's enough here to make me eager to see where this thing's going to go. Besides, what a setup this is. It's so simple, so obvious, and so brilliant that I'm amazed it's taken this long for someone to come up with it.
Cormorant: I’m all over the setup, too. In fact, I’m gonna reveal the basic premise since Bendis is obviously planning to twist ‘n’ turn things from there. Secret War opens with S.H.I.E.L.D putting the pinch on second-rate villain, Killer Shrike. He’s part of a pattern they’re noticing of lesser bad guys committing low level crimes – robberies in the paltry thousands – while somehow maintaining hi-tech weapons and armor that would cost hundreds of thousands. One overly-familiar Bendis interrogation later and S.H.I.E.L.D’s following a money trail that threatens an international incident if brought to light.
I love this premise and was impressed to see Bendis making subtle nods to the entirety of the Marvel Universe (e.g. a S.H.I.E.L.D. report mentions obscure Israeli superheroine Sabra taking down a terrorist cell out to nerve gas the Gaza Strip – cool!). At the same time, all the smart-ass remarks about second-rate supervillains spoke to a seeming embarrassment toward the Marvel Universe (aren’t these villains supposed to be legit threats in their world?). And yes, the smarmy interrogations are getting to be seriously old hat from Bendis.
Vroom: Oh come on! That’s like saying the use of messed up kidnappings is getting to be old hat from the Coen Brothers.
Not quite. I’m not objecting to Bendis interrogation scenes per se, but to the fact that so many of ‘em have a similar ring. That’s just unimaginative, period, and I know cops have other means of getting information from suspects than by snarkily browbeating ‘em.
Anyway, besides the interrogation stuff, there are also several great Nick fury moments, an undercover S.H.I.E.L.D. bust gone horribly wrong, and an appearance by one of my favorite minor bad guys, the Tinkerer.
Yeah, the implied badassedness of the Tinkerer was a kick...which is part of the reason I’m disappointed that Killer Shrike, who’s supposed to be a former mercenary for Pete’s sake, acts like he’s channeling Bronson Pinchot’s whiny stool pigeon from TRUE ROMANCE.
But you were saying something about the Tinkerer...
Well, it seems the little old mad scientist has been providing hi-tech support to a variety of crooks below cost in exchange for a specific crime. We get a hint of who else might be involved in this issue, but I honestly doubt we’re anywhere near the top of the ladder yet. Hell, the whole setup is enough like the book Needful Things that I wouldn’t be surprised if Mephisto were to show up. In fact, that’s part of what makes this story fascinating, wondering just who’s going to be tied into this next, and just how they’re being used by whoever’s really pulling the strings.
Right now I’m not so interested in who’s pulling the strings as I am in seeing the actual mission kick off – presumably next issue – with some of the more interesting lower-tier and outlaw heroes of the Marvel Universe thrown together into a ragtag team. Obviously Fury’s gonna be running the show, but Luke Cage, Jessica Jones and the Black Widow turn in interesting appearances in this first issue, and Spider-Man and Wolverine are supposed to show up too. I think Bendis will shine when the cast is fully assembled and yakkin’ at each other.
So whaddya think of this painter, this Gabrielle Dell’Otto, that Bendis is so horny for?
I’m not that big a fan of painted comics. Most of the time they just don’t work for me. Just look at the gallery in the back of this book: the initial group shot at the beginning and the pinup of Phoenix at the end look pretty nasty. Not good at all, in fact. But the book itself… as Luke Cage is so fond of saying, Sweet Christmas.
This stuff looks amazing. Ol’ Power Man looks damn intimidating, Jessica Jones is smoking hot even while bandaged up, and Fury just plain rocks. This version of Fury looks like he could eat that Sam Jackson wannabe for lunch. Not to mention the quick glimpse we get of the most badass Iron Man I’ve seen in years.
Then there’s your cursed interrogation scene. My god, the mood Dell’Otto sets with a simple change in color and panel angle is masterful. I’ve seen a helluvalot of Bendis’ interrogation bits, but this the first one to genuinely creep me out. Poking around his website confirms it for me; those two pinups I mentioned above are the exception, not the rule. This guy is sensational.
You’ve fallen for the hype.
Now, look, Dell’Otto’s solid - I’m not about to say he’s a bad artist by any means. BUT...his smoke ‘n’ shadows style doesn’t do much for me. It’s that “murky, gleaming-highlights, weak-when-it-comes-to-character-subtlety” style of painting I associate with the Simon Bisley types I’ve seen in Brit comics like 2000 A.D. Above all else, a Bendis script needs an artist capable of subtle characterization, and I don’t think Dell’Otto is quite up to the task.
None of Dell’Otto’s characters wowed me, either, and I actually see it as a weakness that Jessica Jones was made to look so hot. One of the very things that made her *unique* in Alias was that she wasn’t model-pretty! It’s all just a little generic for me, the shadowed faces too interchangeable and forgettable.
I’ll give him this, though: dude draws a mean S.H.I.E.L.D. Helicarrier. In this day and age of updating all the classic looks to accommodate modern technology, I was happy as hell to see Dell’Otto kept the traditional giant-ass helicopter rotors spinning on the Helicarrier. And it still looked modern.
Love them giant-ass rotors.
In any case, this series is definitely a must read for Marvel fans. While there are one or two minor missteps (c’mon Bendis! Macendale hasn’t been Jack O’Lantern for decades, and he and Mad Jack are two different people fer Christ’s sake), they’re minor, and didn’t diminish my enthusiasm in the slightest. The only downside is that this is a five part quarterly. I still remember the similar wait between volumes of Akira from Dark Horse. While this series doesn’t seem to be of that caliber, the wait between installments is going to be just as agonizing.
Gripes aside, I’m sufficiently intrigued that the quarterly schedule makes even me say, “Bummer.” Consider: we won’t see the wrap-up to Secret War until first quarter 2005 - we’ll all be old men by then! Even for a special event like this, I think I’d have rather had a faster (and in my eyes, better) pen-and-ink artist. Maybe a Darrick Robertson, a Mike Deodato, or even a John Romita Jr. Someone who could handle urban, handle noir, and handle *monthly*.
Hey, as long as the Beyonder doesn’t pop in to show off his cool new tattoo and nipple piercings, I’ll be a happy camper.
Cheap Shots!
THE INVINCIBLE IRON MAN #77 - Last year, at WIZARDWORLD CHICAGO, on a panel discussing what to expect from Marvel over the next year, an audience member asked what to expect in upcoming issues of THE INCREDIBLE HULK. John Jackson Miller was on the panel. He was the newbie, sitting on the end, and said very little, but when Joe Quesada answered that big things were being planned for the Hulk, JJ Miller added, "Like him actually appearing in the book." This underhanded remark didn't seem to sit well with others on the panel, but it got a laugh from the audience because this newcomer was taking a potshot at a title that usually goes a few issues with nary an appearance by its title character. I mention this because the same thing is going on in Miller's own title, IRON MAN, and if there is one thing I hate, it's hypocrisy. After two issues of political imbroglios with Congress, Stark finally suits up in armor in the very last panel of this issue. Granted, Miller's new slant on Stark's bid for Secretary of Defense is filled with potential, but the action in this book (and most other Marvel comics for that matter) is doled out so conservatively that months go by before anything but setup actually happens. And by that time, the setup is so overwritten that said action can't be anything but a letdown. This medium, that was once able to intermingle action WITH characterization and story, now sacrifices that part of escapist literature in order to "keep it real," which only shines a spotlight on how ludicrous the original concepts really are. Setup is important. Pacing is key. But it is utterly ridiculous that so many people at Marvel seem ashamed that their characters wear costumes and fight villains. The only ones who should be ashamed are those in Marvel editorial for trying to make everyone believe that this is the way comics should be and John Jackson Miller for being a hypocrite. I can't wait for this Bendis-ization of comics to come to an end. - Ambush BugOPTIC NERVE #9 - Like me, you may have missed the fact that two years after OPTIC NERVE #8, a new issue hit the stands a few weeks ago. God help those of you waiting for a trade. This is one of those series that I prefer to read as single issues, partly because when read together (especially in recent issues), OPTIC NERVE's short stories sort of blur into a single scenario of a directionless young adult whose refusal to face their emotional issues is screwing up any chance at a relationship. Read as single issues, though, the nuances come through, and Tomine's subtly detailed artwork seems even more striking. Issue 9 begins the series' first multi-issue storyline, and although there have been other characters I would rather have followed into a more expanded story, it's nice to see Tomine trying a few new things here. This issue also sports the best cover I've seen from Tomine thus far, a lovely little portrait of the restless Miko. The current storyline's focus on a decaying relationship with its delicate themes of cynicism, growth, and ethnicity, shows that Tomine hasn't lost his touch in the long delay between issues. - Lizzybeth
TEEN TITANS #8 - Finally, everything you always wanted to know about Raven, in one issue! It's Raven-tastic! Actually, it's kinda interesting to get the character's backstory, along with the dependably high cheekbones and somewhat sunken cheeks of Tom Grummett's art. Meanwhile, Robin is whining. Can we just fire the little punk already? Sheesh! - Village Idiot
ACTION COMICS #812 with New Slick Paper! - Through the time/reality bending events in SUPERMAN #200, Superman is now regular schmo on Krypton (a regular schmo on Krypton with freakishly huge biceps, that is) and married to Lyla Lerrol (nice Silver Age nod there). And he rides a motorcycle. Zzzz. Backup story by Chuck Austen promising what you've all been asking for, what you've all DEMANDED: The prospect of romantic intrigue between Superman and Lana Lang. Oh great. - VIINCREDIBLE HULK #67
AMBUSH BUG: Hey guys, this week I’m going to do another Cheap Shot on that craptastic title, THE INCREDIBLE HULK.
CORMORANT: Are ya sure there's a call to keep up the pressure on HULK? I know we all want Bruce Jones gone, but I think the message has been received.
BUG: Y'know, I really don't care who gripes about it. The title stinks on ice (always liked that term, but I never actually knew what it meant). Unless someone else wants to review it, I'm going to continue to vent about this once favorite title that has gone down the shitter (I know what that term means). I really wish I knew what "stinks on ice" meant though.
SLEAZY G: I’m not sure, but I like to think that there was an Ice Capades tour after Walt Disney died where they'd bring him out in his cryotank and skate around in circles with it, incorporating him into the show. The name of the tour, naturally, would have been "Disney Stinks On Ice".
BUG: Yeah, THE INCREDIBLE HULK #67 is kind of like that.
