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AICN COMICS REVIEWS ARKHAM ASYLUM! SHE-HULK! JSA! IRON MAN! AND MORE!
#30 | 12/08/04 | align=right> #3 |
Awww, wook at this widdle column. Wook at its cute wittle button nose and waggidy tail. Its so tiny I could eat it up in one bite. Hey, folks. Ambush Bug here with another AICN COMICS column from your favorite @$$holes. Last week’s column was massive, so we decided to even things out with this week’s itty bitty endeavor into jack@$$ery. Check out what’s in this week’s pull.
(Click title to go directly to the review)
X-MEN/FANTASTIC FOUR #1
JSA #68
ESSENTIAL IRON MAN VOL 2
BATMAN: ARKHAM ASYLUM 15th ANNIVERSARY EDITION HC
SHE-HULK #10
CHEAP SHOTS!
X-MEN/FANTASTIC FOUR #1
Writer: Akira Yoshida
Artist: Pat Lee
Publisher: Marvel Comics
Reviewed by Dave Farabee
X-MEN/FANTASTIC FOUR is a quasi-event because it’s the first notable team crossover Marvel’s run in several years. Yep, for a few years there during the reign of Bill Jemas, every Marvel book was an island, all part of an initiative to make individual titles as approachable, as baggage-free, and as easy to collect in a trade as possible. At times, I thought, it was an admirable goal.
But let’s be brutally honest: the comics-buying audience is very, very insular and attempts to make it expand have met with minimal success. So if you’re reading X-MEN, guess what? You probably know who the Fantastic Four are. Safe to use ‘em. Hell, you probably even know who Power Man and Iron Fist are. Maybe even Moon Knight. Possibly Devil Dinosaur.
And what’s more, a lot of us “regulars” have been remembering that, Holy shit, it was the “shared universe” quality of the Marvel setting that lured a lot of us to the company in the first place! A guest-appearance by Ant-Man in an issue of FANTASTIC FOUR didn’t blow our fragile little minds and make us swear off comics forever – it made us want to track down some AVENGERS issues and see “what’s the deal with that guy?” And when the X-Men and New Mutants went to Thor’s hometown of Asgard…no rioting! No mass protests that it didn’t “feel right” for the characters! We lauded the change of pace, maybe checked out some THOR issues (nowadays it’d be trades), and looked up The Warriors Three in our OFFICIAL HANDBOOKS OF THE MARVEL UNIVERSE.
It was good reading, it was good marketing. ‘Course, the crossover stuff got a little out of control in the Roarin’ ‘90s, but hell, what didn’t? The question is, can a book like X-MEN/FANTASTIC FOUR (“X4” as written on the cover) restore the faith?
Mebbe.
I read the first issue and it started out dumb as a sack of hammers, but shocked me by becoming something I was quite happy with by the end. How’d that happen? Well…
The dumb part is the obligatory fight scene between the two teams before they get it through their thick heads that they’re in a goddamn team-up comic. Oy, talk about your chestnuts! Almost enough to turn a guy off the book right then and there, so as a note to future writers: Fer the luvva Pete, don’t make superheroes fight unless you’ve got a damn good reason, and having the Fantastic Four knock on the door to the X-Mansion and wake Wolverine up is not a good enough reason.
That’s really what happens, though. Takes up maybe a third of the book, even, but then things get interesting enough to make me forgiving. Writer Akira Yoshida (THOR SON OF ASGARD) actually has an endearingly simple reason for getting the teams together:
Disaster on an orbiting NASA space station. Return of Mars Lander followed by an explosion that might have left everyone dead. Scans ineffective for reasons as yet a mystery. FF seeking to modify the X-Men’s Cerebra mutant scanner to scan for human life and see what the situation is.
Not bad, and as an old-school bonus, footage of the explosion on the space station has Storm whispering, “By the goddess,” and Beast making with the classic, “Oh, my stars and garters!” For various reasons, though, Cerebra (née “Cerebro” if you’ve been out of touch with the series for a few years) can’t handle the task. With time at a premium, it’s decided that getting a telepath up close and personal would do the trick, and the next thing you know they’re warming up the X-Plane. I had to wonder why one of the FF’s various spaceships wouldn’t be eminently more suitable, but Yoshida kindly reminds we readers that the X-Plane’s all tricked out with Shi’ar technology and fully space-worthy. Fair enough. Time pressing…contrivance acceptable.
Only problem is that the X-Plane seats only six, but that leads to my favorite scene – the breakdown of the mission squad! You gotta love it when specialists mobilize for action, and Yoshida’s got some smart moves to make here. The first and most obvious pick is Emma Frost, the only resident telepath (Xavier’s on Genosha, Jean’s currently dirt napping). Energy-emitting heroes like Cyclops, Storm and the Human Torch are axed because the station is pressurized – cool thinkin’ there. Wolverine and Ben are added in case things get hairy (and let’s face it, for sheer personality value). And then…Nightcrawler for teleporting, Gambit for thiefly resourcefulness, and the Invisible Woman for force field projection in case of explosive decompression.
I don’t know about you guys, but for me that’s some wicked-cool shit! So often we just see superhero teams racing into adventures en masse with little rhyme or reason that Yoshida’s strategic approach is like a breath of fresh air by comparison. And what’s more, it’s a strong mix of characters just in terms of generating sparks. I also like the setting of the massive (and realistically rendered) space station as the staging ground for the mystery and there’s even a good cliffhanger!
Where some folks might have a slight disconnect (well, beyond the dopey fight between Wolverine and the Thing) is with the anime-inspired art of Pat Lee. Or that might be an attraction. Lee’s a minor comic book celeb for being one of the definitive TRANSFORMERS artists, and while not a favorite of mine, I enjoyed his work here. His space station designs are incredibly effective in their realism and his slick anime character designs make up for a slightly bland repertoire of facial expressions. Cool vibe overall.
I’m saying check this one out. It’s not a team-up staged to tell some massively important story, and maybe that’s what I like about it. It’s actually fun, old-school Marvel fun, but not so lightweight that the mission doesn’t have a sense of high stakes. I’m digging it. Digging it and feeling more than a little like I’m reading the kind of story that would turn any kid into a Marvel fan.
JSA #68
Geoff Johns: Writer
Don Kramer: Artist
DC Comics: Publisher
Vroom Socko: Looking Forward to the Past
I swear, if every comic was this good, my job would be a helluva lot easier. With this title, Geoff Johns is writing the single greatest superhero team book currently being published. Just look at the stakes; is the team hunting down a kidnapper or fending off a prison break? No. They’re fighting to preserve reality itself from a time traveling madman out to see them all dead. It doesn’t get any better than that, and yet it’s the plot itself is not what makes this book so good.
Don’t get me wrong, it’s one beauty of a plot. The recent rescue of Hourman from the time stream has left reality weakened. This gives one beauty of an opportunity to Degaton, a time-traveling Nazi who loathes the JSA with a passion. Going back to the early 50’s, he’s manipulating the House Committee on Un-American Activities to force the team to disband. But that’s just stage one. Stage two will happen on the 30th of October 1951, and it will result in the end of all costumed heroes in the universe. But there is someone who is aware of Degaton’s plan: the Time Master called Rip Hunter, ally of the JSA. And he’s gathered the members of today’s team to help preserve their future by traveling to the past.
But what makes this story so riveting, so wonderful, is the use of the other two keystones of comics, history and character. There’s a lot of continuity to be had in this book, but it’s through the strength of Johns’ writing that it hardly seems to matter. If you’ve been reading this title from the beginning, and even following the characters from long before then, this story will mean a great deal more to you. If you’re a novice in all matters JSA, everything you need to know is on the page. Johns has this uncanny ability to make decades of stories not only pertinent, but also easy to follow. Only Kurt Busiek is better, and Johns is catching up on him fast.
There’s also the case of the middle section of this comic, involving a rather traumatic event in the life of Stargirl. If there’s one character in this book that’s personal to Johns, it’s her. What happens in this issue is Bendis-like in its impact, but it’s in the aftermath that the book really shines. There are moments that have been brewing for the past two-dozen issues that begin to come to a head in the closing pages. That’s not to mention the amazing weight and impact Kramer’s art gives the issue. Stargirl’s pain jumps right off the page and into your soul, thanks in no small part to the look Kramer puts in her eyes.
Sure, this is only the first issue of the arc, but I can already feel that this is going to be my favorite storyline of the new year. It may even be the best story of its kind since AVENGERS FOREVER. It’s everything I want in a superhero story, and more.
ESSENTIAL IRON MAN VOL. 2
Written by Stan Lee, Archie Goodwin, Roy Thomas
Art by Gene Colan, George Tuska, Johnny Craig, Jack Kirby
Published by Marvel
Reviewed by Buzz Maverik
BIRDS OF PREY writer Gail Simone hosts a message board called “You'll All Be Sorry” (YABS for short) named after her old column at Comic Book Resources. I'm a frequent poster there, although I think I'm currently banned for being a shit. Hey, even us shits like to post at message boards, too. Thank Cthulhu for the Talkbacks, y' know? Where being a shit is practically mandatory.
Anyway, one of the things Ms. Simone has mentioned on her board is that one superhero she doesn't see any point to is Iron Man. Fair enough. I personally don't get Thor.
But I get Iron Man. At least the way Iron Man was originally conceived by Stan Lee, Don Heck and Larry "Stan's Kid Brother" Lieber. Iron Man is a character that is really from a bygone era or two, which may account for some of the indifference many have toward him. See the new Martin Scorsese movie THE AVIATOR starring Leonardo DiCaprio as Howard Hughes or read the sections of Hughes biographies about his life as a young man. That's Tony Stark. Billionaire, genius engineer and chick magnet. Throw in a fatal flaw that causes his life to be dependent on a one of a kind suit of super-armor and you have Iron Man.
As a young Marvel Zombie, I always saw Daredevil and Iron Man (and their alter egos) as the grown men of the Marvel Universe. Think about it. Spider-Man is written young, works a part time job, and comes across as a geek with a big mouth. The Fantastic Four sorta hang around the house all day until they go out to play in the Negative Zone somewhere. The X-men are weird preppies. Thor is a kid who likes to play dress up. Captain America is the likable jock and the Punisher is the neighborhood bully. But Daredevil and Iron Man worked for a living like grown ups. They lived the way you wanted to live when you grew up and it was pretty clear that they lived what Hugh Hefner liked to call "the PLAYBOY lifestyle".
And Iron Man was even cooler, because as a true capitalist, he owned a factory and employed thousands of people whose families were dependent on him.
Several attempts have been made to update IRON MAN throughout the years, and that's okay. It keeps the book fresh. Iron Man's corporation, Stark International, stopped dealing in munitions. Stark became an alcoholic (which I only like because it was something happening. Unfortunately, it will always be part of continuity and it doesn't fit the uber-mensch with the fatal flaw conception. Like any space age bachelor, Tony will drink, but he'll be a drunk, not an alcoholic). Efforts were made to make him more of scientist or a Silicon Valley kind of guy.
The number one reason to buy this volume is all the fantastic Gene Colan art (some of it credited to Adam Austin, probably because Gene was moonlighting from some other comic publisher). Kirby was the creator (although not of Iron Man) but Colan was such an awesome, outstanding artist. His black and white is so good you won't miss the color a bit. His panels were alive, not just moving but traveling at blinding speed.
But the outstanding story here features a battle between Iron Man and the Sub-Mariner, with art began by Colan and completed by Kirby. Can you think of two more even matched combatants in the Marvel Universe than Iron Man and Namor? It is just one of those classic superhero battles with lots of destruction to make you lightheaded
BATMAN: ARKHAM ASYLUM 15th ANNIVERSARY EDITION HC
Writer: Grant Morrison
Artist: Dave McKean
Publisher: DC Comics
Reviewed by Dave Farabee
“Who’s laughing now, @$$hole?”
-Archly amusing line from Grant Morrison’s reflective afterward to this special edition of ARKHAM ASYLUM, unintentionally asking – nay, demanding - that we @$$holes review it!
Back when ARKHAM ASYLUM debuted in 1989, I read it like every other comic book dork riding the false Batman high of Tim Burton’s ultra-goth interpretation. And on finishing it, I joined every other dork that’d read it in uttering a collective:
“What the fuck was that?!”
Maybe that’s a little extreme. I actually plugged pretty well into its artsy/psychological/disturbing take on everyone’s favorite fictional asylum, but I knew well that the specific references Grant Morrison was making were gliding right over my head. I was a punk teenager! I hadn’t studied philosophy or psychology, and even now my experience with the subjects remains minimal.
But I would still return to the book on occasion. It might’ve been a radically stupid idea to subject the Batman mythos to such wild idea-mongering, but damned if some of ‘em weren’t potent and gut-punch visceral. And I always had a certain fondness for the quasi-WHO’S WHO pages at the end, those single panel visuals (sometimes overlaid with text) meant to capture one of Batman’s foes with a lone, evocative image. Very creative. If nothing else, this book was interesting as an obscure, oblique and quite lovely artifact.
It was that same quality that drew me to this 15th anniversary edition. Sure, I’d come to think of the story as self-indulgent bunk, but how could I resist reading Grant Morrison’s entire, footnoted script explaining said bunk? I’d loved reading his proposal for NEW X-MEN in its collected format, even before I came to enjoy the material itself. And how could I resist reprints of Morrison’s own surprisingly realistic thumbnail breakdowns for the entire story? Or an afterward from Vertigo’s spiritual den mother, Karen Berger?
I couldn’t. I didn’t!
First thing’s first: gorgeous production values. The original, 120-page painted story is of course reprinted in its lush entirety, and if you take off the dust jacket you’ll see that the neatly embossed cover is designed to appear as the journal of the asylum’s nutball founder, Amadeus Arkham. Can anyone deny that as a nifty little gimmick?
As for the story itself, well…surely everyone’s read it by now, right? Inmate breakout at Gotham City’s feared Arkham Asylum? Hostages to be released if Batman enters the madhouse? His own journey through its nightmarish landscape paralleled by flashbacks to the madness and murder on which one Amadeus Arkham founded the asylum in the early 20th century? Jungian and Freudian references, ALICE IN WONDERLAND allusions, sex, violence, and the wildest, smartest explanation for the Joker’s insanity ever?
Ring any bells?
Whether yea or nay, Morrison’s notes and script have a host of interesting revelations to enlighten and enhance the experience – Morrisonian CLIFF NOTES if you will. I was fascinated, for instance, to learn that the concept Morrison’s hallucinatory epic began with something as modest as Len Wein’s entry on Arkham Asylum in DC’s WHO’S WHO miniseries. It was Wein who invented Amadeus Arkham and a paragraph of bare-bones history for the asylum, the germ of the idea that Morrison would develop with a little help from a similarly-minded friend, Jim Clements.
“The intention was to create something more like a piece of music or an experimental film than an adventure comic book. I wanted to approach Batman from the point of view of the dreamlike, emotional and irrational hemisphere, as a response to the very literal, ‘realistic’ ‘left brain’ treatment of superheroes that was in vogue at the time…”
Morrison goes on to explain that ARKHAM ASYLUM was originally to be merely a 48-page story. That ballooned to 64 pages when the script was completed, then 120 pages(!) as a result of the demands of Dave McKean’s art. Continues Morrison:
“It took a year to research and plan and was written in one fevered month in 1987, generally late at night and after long periods of no sleep. In those days I was straight-edge to the core and the only way I could approximate a genuinely deranged consciousness was via the use of matchsticks between the eyelids.”
My god, did comicdom’s answer to Timothy Leary just describe himself as “straight-edge?” Eerie but true. But maybe you want a meatier reveal. How’s about the revelation that Morrison’s pal, Clements, had worked up the idea of a grotesque, bearded Joker as a visual allusion to the Freudian notion of vagina dentate. How effin’ scary is that?
“It was left on the drawing board for the sake of all right-thinking folk,” explains Morrison.
What remains is still pretty damn wild, though, and while I remain hesitant about whether the final product delivers on the promise of Morrison’s concepts, reading about the making of it is an absolute delight. His script is dense and intelligent, comparable in depth to Alan Moore’s scripts, though written in the style of a detailed movie script - no panel-to-panel breakdowns. Readers will find it hard to resist, for instance, Morrison’s seductive description of the story’s structure as based on the architecture of the Asylum itself: past segments correspond to the basement levels; secret passages connect different segments of the book; and the building’s upper stories are the home to the story’s unfolding symbolism. It’s only the tip of the iceberg when it comes to the synchronicity Morrison was shooting for, a synchronicity that borders on madness at times and surely was lost on all but the Joycian scholars among the readership. What’s nice is that Morrison can still take the piss out of his own pretentiousness on occasion and usually with a pretty good wit about him:
“According to Len Wein’s origina WHO’S WHO entry, Arkham died singing “The Battle Hymn of the Republic,” but for some reason I got confused and had him belting out “The Star-Spangled Banner” instead. Let’s face it, the guy was a nut, he might as well have been singing “Hello Dolly!.”
Morrison’s artistic skills also get a showcase in the form of thumbnail layouts for the original 64-page concept of the series. Readers will note the presence of Robin, ultimately axed at the behest of Dave McKean. Apparently he couldn’t reconcile the character’s cornball visuals with his fine art sensibilities. Unmentioned in this hardcover is a relevant tidbit I remember from one Morrison interview, that he originally intended the series to be drawn realistically, ala Brian Bolland. It’s hard not to wonder what that would’ve been like when reading this special edition, with its tightly rendered thumbnails and the occasional descriptive passage that McKean’s expressionist paintings simply fail to capture.
By that same token, though, it’s hard to imagine what ARKHAM ASYLUM would’ve lost without McKean’s mixed media approach. He gave Morrison’s literary forays instant cred by grounding them in the fine arts rather than the popular arts. He also created an overall tone of such foreboding that I can still recall the unease I felt as a teen when those visuals first hit me: the glass shard through Batman’s hand; the partially-chewed, photorealistic beetles trickling from the mouth of Amadeus Arkham’s mother; that first, infinitely horrific image of the Joker’s face; and Killer Croc as a dragon; the dollhouse that “looks back”…
Shit, it might be artsy-fartsy, but it’ll still knock you on your ass.
As an aside, I found it worth noting that Morrison wholly distinguishes the Batman of ARKHAM ASYLUM from his depiction elsewhere:
“I’d also like to stress that the portrayal of Batman presented here is not definitive and is not necessarily how I would write the character otherwise. The repressed, uncertain and sexually frozen man in ARKHAM ASYLUM was intended as a critique of the ‘80s interpretation of Batman as violent, driven and borderline psychopathic. My own later interpretation of Batman in the JLA comic was one which emphasized the character’s sanity and dignity…”
Wow. I like this Morrison guy. Like him a lot.
I dropped thirty bucks on this ARKHAM ASYLUM hardcover and I don’t regret a damn thing. My overview’s only scratched the surface of all the neat details contained within and I recommend it as a much more potent version of the way I first enjoyed it: as a flawed but infinitely fascinating artifact to be turned over again and again, revealing new, dark facets with each turn. That the sculptor himself is on hand to comment is a rare treat, one that makes second and third viewings potentially more exciting than the first.
P.S. Yes, the Joker was originally going to be dressed as Madonna (circa “Open Your Heart”) throughout the story.
SHE-HULK #10
Writer: Dan Slott
Pencils: Paul Pelletier
Inks: Rick Magyar
Publisher: Marvel
Reviewer: Ambush Bug
SHE-HULK #10 is one of those issues where the hero of the book barely appears. It’s heavy on exposition and tells an extended back-story which is basically a lead in to a much larger story that will be told in future issues. It’s filled with many word captions and takes an extremely long time to get to the point of the story. Sounds like my criticism of just about every Bendis book I’ve ever done, eh?
The difference?
I simply, absolutely, honest to good-golly Miss Molly, loved this issue.
Now before certain readers race to the Talkbacks to cry hypocrisy, let me explain.
SHE-HULK is the best comic Marvel publishes today. It doesn’t take itself too seriously, but shies away from self-parody. Every issue is usually self-contained and can be enjoyed for itself. But on top of that, each chapter builds upon the larger, more involved story writer Dan Slott has been developing since issue one. Finally, it embraces the Marvel Universe with all of its kooky characters and fantastical themes. There is no other book out there that exemplifies the magic and creative potential that the Marvel Universe contains more than SHE-HULK.
So why am I giving it a pass when it ventures into territory that makes my critical liver quiver?
Well, first and foremost, a lot of it has to do with the fact that this is not your typical Dan Slott SHE-HULK story. This is the first issue where She-Hulk hasn’t been spotlighted. It’s been all about her so far and if an issue is dedicated to a supporting character or in this case, an arch-nemesis named Titania, every now and then, that’s okay because I have faith that Slott will eventually bring the story back around to how this character’s story affects She-Hulk. And he does exactly that by the end of this issue.
In this issue, exposition is required. I usually hate caption box clutter, but didn’t mind it in this story. When you’re focusing on a character like Titania (a character of much action and little words), you need a wordy sumbitch telling the story in order for us to understand her hatred for She-Hulk. But Slott just doesn’t have his characters sitting and talking about stories with characters that are sitting and talking. Titania’s story is a doozy, filled with heroes and villains and adventure. You are plunged into the warped psyche of a fragile woman. Titania’s actions may not make sense to you or me at first glance, but Slott meticulously explains the reasons why she has developed this hatred for our emerald-hued heroine. A last minute appearance by a Master of the Mystic Arts writing off her actions as loony wouldn’t do the story or the character justice, only a comic book writing amateur would do something like that. In this issue, Slott goes to great pains to illustrate the rationality behind Titania’s motivations, guiding the reader down a path that explains her actions no matter how loony they may be on the surface.
But what really makes this issue stand out to me is that Slott adopts Brain Michael Bendis’ writing style, but does so in a way that addresses all of the problems I have with that style.
Bear with me, folks.
In this issue, we’re introduced to a mysterious stranger with machinations against our hero. Where have I seen this before? NEW AVENGERS #1 anyone? Maybe an issue or two of DAREDEVIL?
You have two characters talking for an entire issue. Sound familiar?
You have the focus shifted from the hero to someone else in the book. *ahem*current DD arc*ahem* Sorry, had something in my throat.
The difference?
Stuff happens. A lot of stuff happens. It’s not just two characters talking. It’s filled with an exciting back story which will directly affect the main character. And I’m not talkin’ three issues down the line. I’m talkin’ soon. Very soon. Like, next issue, soon. We don’t flash back and waste panels on two conversators sitting in a dark room or a coffee shop. Slott doesn’t lazily throw in splash page after splash page and fill it with captions explaining the action we can clearly see. He fills every page with panels of detail and explanation of that which cannot be captured in the art. Emotion, thought, feeling. This issue is jam packed with character development. And it moves. The mother fucker actually moves and at the end of the book…wait for it…you actually find out who the mysterious stranger is and it’s a pretty freaking cool reveal too. Mystery introduced and revealed in one issue. Whodathunkit?
So the reason I like this issue when it contains so many of the qualities I dislike from books like NEW AVENGERS and DAREDEVIL is the simply fact that I left this issue full. Stuff happened. The plot moved. Characters were developed. Spandex was worn. I didn’t feel as if I wasted my hard earned dollars. I didn’t feel like the issue was drawn out so that it could fill a trade. I didn’t feel like I need to wait and see if I like the story or not. In issue after issue of SHE-HULK, Dan Slott does comics right. One issue of SHE-HULK is the equivalent of the collected trade of any current Marvel book. It doesn’t wait four issues to tell a story. It does it in one. And Slott has the chops to keep it from seeming rushed or choppy. Dan Slott has shown me in this issue that in the right creative hands, the qualities I loathe in one book can be made fabulous in another. Check out SHE-HULK if you already haven’t. There’s nothing like it being published at Marvel right now and that’s a damn shame.
SPIDER-MAN #9 - Mark Millar retcons a whopper of a conspiracy into the Marvel Universe as we learn who kidnapped Aunt May, and it’s not that it’s a terrible idea – kind of neat, actually – but it really just doesn’t fit with all the established villain origins. Ultimately kind of minor, though, the type of retcon I suspect most writers will ignore if they want. And I’m shocked to have anything positive to say about Venom, but Millar’s choice of his new “host” is inspired. Should be a good visual if nothing else. - Dave
B.P.R.D.: THE DEAD #2 (of 5) - Fucking awesome miniseries, same as its predecessor, A PLAGUE OF FROGS. This issue’s highlighted by the weird, hilarious banter between the B.P.R.D. team and their new, post-Hellboy leader, and unnerving discoveries in their new base. The real star, though, remains the art team of Guy Davis and colorist Dave Stewart. I want to leg-hump them, they’re so good. - Dave
NIGHTWING #100 - The whole of Devin Grayson's writing on this title comes to a conclusion here, and what a conclusion it is. What happens is a surprise, yet shouldn't be. If Nightwing is a true superhero, then this ending shouldn't be in doubt, yet since the whole of this storyline has been questioning whether or not Dick still IS a hero, it works. Out of all the Bat-books out right now, this is one of the best. -- Vroom
SAMURAI (HEAVEN AND EARTH) #1 (of 5) - I swear, if this book had a sigil somewhere in it I’d pronounce CrossGen reborn! Not that neo-CrossGen is necessarily bad. In fact SAMURAI’s a pretty perfect embodiment of both CrossGen’s virtues and vices. On the plus side: offbeat but approachable genre material (Samurai on globetrotting mission to save his kidnapped woman) and ultra-lush art that’ll remind readers of Greg Land’s work on SOJOURN. On the downside: good intentions don’t make Ron Marz’s writing any less hacky than it’s ever been. There’s no fire in this dragon’s belly, even if Marz’s proposal for having the Samurai cross swords with some musketeer types does sound neat in theory. And the one area where SAMURAI clearly surpasses CrossGen? It’s intentionally planned as a finite miniseries! Preview of the purty, purty art here. - Dave
GOTHAM CENTRAL #26 - The good: Josie Mac’s psychic powers are finally addressed as more than intuition, with the interesting angle that she’s afraid revealing them will have fellow officers classifying her as a freak ala Batman’s villains. And Brubaker’s take on Catwoman gets one more life when everyone’s favorite cat burglar is the chief suspect in a murder. The bad: artist Jason Alexander looks like a suitable replacement for Lark on the surface, but on closer inspection I ended up as frustrated with his scratchy, indistinct characters as I did during his QUEEN & COUNTRY arc. This book seriously needs more visually distinguishable characters, even during arcs focusing on just a few players. I’ve been following it since issue one and I still mix up who’s who. That and a slightly sluggish start make this a somewhat “eh” issue, though I like where it’s headed. - Dave
DOCTOR SPECTRUM #4 - I was behind this series from the start, but this issue marks the point where it has officially gone on too long. Writer Sara “Samm” Barnes is doing a decent job with the backstory of Doc Spectrum, but since the Doc is alive and floating in SUPREME POWER and kicking all kinds of @$$ there, the danger posed against the good doctor doesn’t seem as threatening. He’s basically been in a coma for four issues now and what was once a nice little concept has over-stayed its welcome. This is another Marvel miniseries that could have been an issue or two less in order for it to be more entertaining. - Bug
FABLES #32 - Wow, really into this current storyline. With Prince Charming the new mayor of Fabletown and the old administration out on their butts, we’ve got a whole new cast to deal with and I’m lovin’ it. Oh, Bigby and Snow are still a presence, but the spotlight on Beauty and the Beast, Charming himself, and the mystery of the missing Boy Blue and vast sums of money from Bluebeard’s coffers is a welcome shifting of gears. Love the special guest star too, worthy of the charismatic cliffhanger entrance presaged on the wintery cover. This issue’s special shout-out goes to penciller Mark Buckingham. He’s got a realist style that slides under the radar because it’s so effortless, but his expressive faces are a wonder and I love all the illustrated borders and spot illustrations in the gutters between panels. Very charming. Plus: Snow and Rose Red remain two of the cutest babes in comics, even when they’re bundled up for winter. There, I said it! - Dave
PUNISHER #15 - Ennis’s latest arc continues to impress with the Punisher and a black ops partner on a suicide mission to break a little girl out of a Russian nuclear missile silo. She’s unknowingly the host of an ultra-deadly virus, and though I’ve learned not to expect a lot of depth from Ennis’s Punisher, Frank’s empathy for the girl adds a nice layer to the story: “The last kid I spoke to was my daughter. Pushing her guts back into her belly. Telling her she was going to make it.” Yeah, I sense a bad ending coming for virus-girl, too, but in the meantime Ennis is giving us some white-knuckle military thrills as Punisher and company try to escape the silo now that the Russkies are onto ‘em. Think of the final battle in CONAN THE BARBARIAN and you’re in the ballpark (“What’s important is that two stood against many…”). Doug Braithwaite’s art is its own draw, too, straddling the fence somewhere between Steve Epting and Lee Weeks. Not a bad place to be. Now if only Ennis wasn’t portraying Nick Fury as the whore-mongering asshole of his FURY series I could give this an unqualified recommendation… - Dave
AQUAMAN #25 - Writer John Arcudi dives into this book to elaborate on the exploits of one of the toughest characters to write in comics. Drugs have found their way into the undersea city of Sub Diego and Aquaman isn’t happy about it. This is an extremely dark tale depicting the all too real effects drugs have on every day lives. Aquaman faces challenges that he can’t punch, kick, or swim away from. In this issue, Aquaman realizes that he still has a lot to learn about the surface world and the people who live there. Arcudi takes the potential filled concept of Sub Diego and its people and swims away with it. I can’t wait to see what kind of offbeat and bizarre adventures this writer will take Aquaman on. If past series such as MAJOR BUMMER and DOOM PATROL are any indication, Arcudi’s AQUAMAN is a book to watch. - Bug
FALLEN ANGEL #18 - When last we saw our pregnant heroine, Lee, she’d just been punched full-tilt in the stomach by Bete Noir’s chief enforcer, Shadow Boxer. In a series as unforgiving as FALLEN ANGEL, you better believe there’s gonna be hell to pay, maybe literally. And there is, but vengeance takes some unexpected twists and turns and the story’s got any number of surprises to spring. In fact, when FALLEN ANGEL was really struggling in sales, it was possible this issue was going to be its last, so Peter David makes a big-time reveal about the nature of the city of Bete Noir. The end result is a striking finale that would’ve made for a good ending, but would’ve still left character arcs incomplete. With strong trade sales, though, the good guys at DC have given the series a second lease on life and I remain as enthused to continue with its mysteries as I’ve been since issue one. - Dave
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The illusion of shared universe no longer exists. Is it because of the specials and miniseries? The teams/heroes never seem to meet in their own books anymore. And the have such strong "brand universes" of their own, these days something like "X4" feels like Superman Vs. Spider-man - cool, byt with the definitive feel of worlds colliding.
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I could barely finish reding it. You know, the formula of two superteams meeting and suddenly fighting each other for a minor misunderstanding is rarely funny anymore. And here it's kind of ridiculous. Was wolverine supposed to be hung over? Wouldn't his healing factor heal that in about 2 seconds? Just stupid. And on top of that, the fight scenes and dialogue were of the poorest quality. It's not funny and it's not fun. Oh, and the art sucked, too.
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the worst comic from that week easily
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Dec 15, 2004 9:06:54 AM CST
When will "first" die? I dunno, but FIRST!! FIRST, FIRST!!
by darth sticky
'nuff said
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You mean using comic books for legal defense isn't?
Wow. -
Thanks for calling out that particular Iron Man plot point. It gave him a fatal flaw and a little more depth, I guess, but heaven forbid a Marvel character without a healing factor should enjoy a cocktail from time to time. And yes, Virginia, you CAN be a drunk and not be an alcoholic! In fact, fellow drunks, here's my favorite holiday drink that I highly recommend for all functions, or even a night home alone: Spiced hot apple cider and Maker's Mark. Brother, it ain't the holidays without it. God bless us drunks, every one.
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Maker's Mark is the drink of champions. If it wasn't 8:30 AM, I'd be drinking one right now.
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Yeah, wasn't that great? Too bad the same people who wax nostalgic about those days are the same ones who act as continuity police any time a Marvel character shows up in another book these days. ***** Ambush, I still think you are comparing the Bendis/Maleev DD to the wrong things. It's a crime book, not a superhero book and doesn't hold up to comparisons to superhero books. But you're SO right about Slott. The guy just *gets* how to write for Marvel. He knows how to tell a tight story, respect continuity while breaking new ground, respect (and even channel the unbridled enthusiasm of) the writers that came before, and most of all, how to have *fun*. They need to lock him up in an exclusive contract and get him on Amazing Spider Man, pronto.
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This very morning, I was arguing to my wife that technically whiskey isn't *that* much worse than cereal first thing in the morning, since they are both made of grains. (No, I wasn't trying to make a case for drinking it myself, just playing devil's advocate).
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Dec 15, 2004 10:00:44 AM CST
How can someone be so right about Slott and so wrong about Bendi
by ambush bug
"Ambush, I still think you are comparing the Bendis/Maleev DD to the wrong things. It's a crime book, not a superhero book and doesn't hold up to comparisons to superhero books." Wrong. DD wasn't a crime book until Bendis jumped on it. DD was never Marvel's equivalent to the Dark Knight Detective. He never solved mysteries. DD is the guy who swung down, kung fu-ed a guy for doing wrong, and fought hitmen and assassins. At least he used to. There was a Daredevil before Bendis and there will be after he's gone. I hope the next guy has a little more respect for the hero aspect of the character and pays a bit of attention to that.
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I'm breaking out the bottle right now and pouring it over my Captain Crunch. Or maybe I should pour some Captain Morgan's over it and have the two salty dogs fight it out. It's a piratic battle of epic proportions right there in my cereal bowl. Yarrrrr!
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Dec 15, 2004 11:05:35 AM CST
ARKHAM....Se7en and Quake before Se7en and Quake were even thou
by i dunno
Would make thee most kick ass comic book movie ever. Would make any other Batman movie, including the new one, look like one of the Shumacker ones. Would kick everyone's ass and make them ask for seconds. Wouldn't make a dime.
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Dec 15, 2004 11:27:29 AM CST
How can someone so right about Maker's be so wrong about Bendis?
by sideshowbob
There isn't a blueprint for writing DD. It's not like when Bendis showed up they gave him a bullet-pointed memo that lists out the ninja-fighting quota and Elektra appearances for the year. They hired a crime writer to write Daredevil as a crime story, and it feels right to me as a Daredevil story, and as a Bendis story. As opposed to Bendis's superhero forays which, to me, never quite feel right. Daredevil was never a detective, like you said, but he also was never (well, not in ages) a joyous celebration of superheroics a la Captain America, Superman or Spidey. He is a guy who was always as concerned, if not more concerned, with the drug dealer on the corner than with Galactus dropping out of the sky. If a writer wants to play up the men in tights versus men in tights aspect of DD, that's cool. But if one wants to play up the men in ties versus men in ties aspect of DD, I can dig that, too. Obviously you'd like to see a balance but if the creative team is masterful (as this one is) I'll take either extreme.
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but (you knew there'd be a but) one of my problems with Daredevil and Bendis' treatment of the character is that he has become one of the most selfish characters in comics. It's all been about him. He's been de-masked. Woe is me. It's true, DD has always been more concerned about street level crime, but under the thumb of Bendis, Matt isn't really being concerned about anyone but himself (which kind of makes sense given the ego if his writer). Matt has metamorphosized from a SELFLESS hero who would sacrifice all to help the people of his little corner of the Marvel U, into a SELFISH hero who would rather hide in his law office than accept the responsibility he has created for himself. Look at the way he neglected the blind chick. Look at how he uses Foggy and Luke and anyone else in this life. Bendis has changed Matt Murdock from a person who one would inspire to become to a person that I would hope I would never become. Does this bring the iconic character down to earth and give him a problem that is not easily fixed with a billy club and a karate chop? Yes. It makes for an interesting story or two, but for it to last two to three years? Not really. It just pisses all over the fundamentals of super heroics and what made the character a hero in the first place. Pacing and art aside, the overall tone and attitude towards super heroes is yet another feather in a capfull of problems I have with Bendis' DD.
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...when everybody on this board finally comes around and agrees that Identity Crisis was actually NOT this "finely crafted" CLASSIC (??) murder mystery... Man, in final analysis, what a total piece of dogshit. Worst writing of the year...
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I'll say now that IC7 was super underwhelming. Total Occam's Razor with the most obvious suspect being guilty, but I kind of expected that. However, the other loose ends weren't even tied up, the Owen mystery is not solved. If this were a regular monthly series, this story arc would have been perfectly acceptable, but as an event with so much hype it is a big letdown.
p.s. I don't know why Daredevil continues to be a topic here, we all know exactly what the book is, and like it or don't (I don't) so why flog this horse further? -
Because the issue just came out hours ago and 90% of us haven't read it, and I've already learned more than I wanted just by clicking on your post! Stop it!
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Identity Crisis, while crappy, did raise a really interesting idea: "What If the Superhero's loved one was the really bad villain?"
Not in the Star Sapphire, cheesy Silver Age way, but in a horrific way. The Atom now has to live with the fact that his ex-wife killed his best friend's spouse. That's creepy and weird.
What squares the creepy and weird is that now we know the Justice League is a bunch of amoral mindwipers barely better than the people they fight. Dr. Light assaults his enemies. Green Arrow attacks his FRIENDS.
The whole story is basically someone who hates DC Comics giving the finger to all the DC Heroes, then taking a dump on the readers.
Can you imagine the writer with the balls to write a story where Jean Grey "accidentally" murdered Sue Richards to cover up Sue's rape at the hands of Paste-Pot Pete? And we find out that Captain America and Iron Man brainwashed Thor and Mister Fantastic repeatedly over the years? Because that's exactly what Identity Crisis was. Marvel would go out of business if they ran that story, yet DC fans eat it up and ask for seconds.
I don't think the nausea will go away easily. If you don't like the hero characters, and they act like the villains, what's the point of reading superhero books?
I'll stick to the new LEGION OF SUPER-HEROES, thanks. I'm pretty sure Mark Waid won't retcon any rapes or brainwashing.
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To be honest, I am only up to the "Widow" arc in DD, as I am just reading the trades. But in the last trade, Matt admitted to having a nervous breakdown as a result of Karen's death. That could explain Matt's behavior. With one year left on Bendis's run, I'd like to see Matt get over this and come out the other side as the selfless hero you know (not that he has ALWAYS been that selfless). I think if DD does come out that way in the end, Bendis's run, taken as a whole, will (for me) be one of the all-time classics. And if not, then it will merely be an amazing run with some of the best moment-to-moment writing I've ever read. And this isn't even mentioning the brilliant art or pacing. Sorry to hijack the talkbacks with a book that didn't even come out. I do agree with you on the New Avengers and She Hulk, and if Dan Slott took over DD after Bendis, I'd be first in line to buy it.
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He does have a good handle on psychology given his work on the ARKHAM ASYLUM mini. It'd be great to see DD through the eyes of slot and it would definitely be a comeplete turn around for the series. But I wouldn't want DD to go back to being the free-weeling carefree super hero. I think there is some writer out there that is somewhere in between the ultra serious and somber Bendis and the lighthearted & fun Slott that would be better suited.
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It hasn't been announced, and Marvel probably won't decide for a long time, but I think it's inevitable. That's not just fanboy wishful thinking, but a genuine hunch. Well, maybe a *little* fanboy wishful thinking.
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I did try not to give away anything specific, for what that's worth. Still should have left letting the cat out of the bag, even a bit, to someone else. I used to like Bendis, but not on Daredevil, and since I used to love Powers (until the latest volume) I kept on buying DD forever and now I have all these comics I don't even like. But, whoever Dan Slott is, I love his She-Hulk and will definitely follow his books around for a while. He even made Titania interesting and used great references to Secret Wars. I love to read Ambush Bug's reviews, in any case. And I agree about Iron Man's alcoholism--so boring! Then Warbird became an alcoholic and was apparently a regular character for a while in...Iron Man! I think sometimes IM is visually cool, but would never follow his book, he's a team player. Loved the oldie Avengers issue when he has a brief romance with Wasp, then when she finds out Tony Stark IS Iron Man, she feels that she has betrayed Hank and breaks it off. Finally, I have never drank Maker's Mark, but I think I am going to try that holiday concoction you recommend.
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Dec 15, 2004 2:53:56 PM CST
And with just days until the deadline, a new entrant in Jerwad T
by renonevada2000
UES. Thanks for that you jackass.
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Since Batman was big that year she went into a comic book store and bought some Batman books (figuring that they might be worth something someday) and I wound up with Arkham Asylum under the tree. Telling you here and now, that was one %#&@ed-up Christmas.
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Dec 15, 2004 3:15:04 PM CST
Uhm, not censorship, fuckknuckles, just a clearing out of the st
by ambush bug
Your post was deleted because it was an annoying "Yay I'm first" post. Happens all of the time and the @$$holes have no control over that. Your comments about the column had nothing to do with it.
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sideshow: Brubaker would be okay on DD. I like his take on Cap and Catwoman. Although I'll bet Rucka and Mack are on the short list as well. Homer: Try Maker's Mark and Coke. They're tasty. Strong at first, but once you get used to it, you won't want any other mixed drink. I'm a big fan of straight up Jameson too, but I wouldn't recommend that. I have problems.
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That is so sweet that the Angel will live for at least a little longer. I didn't even know it was so close to cancellation until a few weeks ago, and I am now breathing a huge sigh of relief. If you like a little noir mixed with your metaphysical, along with a bit of the ultra-violence, then Fallen Angel is the book for you. Oh yeah--last issue kicked much aft.
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As a rule I don't particularly care for doing that, based on the simple fact that you just never know when Coke is the thing that will get you over the hump of a bad hangover. My Makers Mark/hot apple cider drink, incidentally, is not meant to be an everyday drink, but rather a terrific holiday alternative to (gag) eggnog or (double gag) hot buttered rum. Where is Sleazy G, this column & talkback's other connosieur of beverages that are alcoholic in nature?
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...is delicious, delicious, delicious. Dave, excellent reference to the post-Burton Batman hysteria wherein I (and apparently you and lots of other people) bought ALL things Batman. They really did an insanely fine job marketing that movie to sell comics and other merchandise. I always had a 'so what?' reaction to Arkham Asylum. I may revisit it one of these days, but little of it stuck with me, beyond the McKean art and profiles in the back. And my rant for this go-round: Here's what comics seem to be lacking now, and somebody tell me if it's just my perception and not reality: when I grew up reading comics, Spidey would say, 'I nearly lost to the scorpion last time around!' And at the bottom of the panel would be 'in spider-man #20 - stan'. I think those editor notes did more to promote the universe, continuity and back-issue interest than the writer of said note could have imagined. Are those completely gone now?
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The only book that I see those little editorial reminders of past events now is BPRD, and they haven't been doing it long. It's hard to describe the little pang of nostalgia seeing those brought back. I suppose with the growing popularity of the trade format, people don't have the same impetus to search for a particular back issue. That's a shame, because that used to be part of the fun of reading comics.
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I couldn't find it on Amazon...
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Was in my comic store last week.
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but I can't resist posting about the new edition of Masamune Shirow's first GHOST IN THE SHELL series, which looks much cleaner and has several pages ommitted from the original release (naughty cyborg lesbian sex).
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That was my point in bringing up the Purple Man simultaneously appearing in THUNDERBOLTS and NEW AVENGERS just a week apart in my review of NEW AVENGERS last week. Sure you could say, "THUNDERBOLTS #1 happens after NEW AVENGERS #1" but you're really giving an excuse for and doing the job of the editors who have become lazy over at Marvel and more concerned about being talent scouts and ego fluffers. Not only would a little caption box like that clear up those little glitches in continuity, but they would promote another Marvel book and maybe cause the reader to seek out a book that they otherwise might have overlooked. The people at Marvel don't seem to understand that it the little things like that which make such a great difference in sales, in cohesiveness, and in fan appreciation.
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Man seriously IRON MAN has been shit these last couple of years.I mean it seems like relaunch after relaunch but nobody seems to get it right.The first comic i ever read was the demon in a bottle issue and i was hooked because it seemed so real.But after all these years the whole alcoholic thing just isnt edgy anymore.I mean look at iron man he's rich a pimp with the ladies and a superhero.I think if they want to make him flawed somewhat the next logical step would be to put drugs in the picture.I mean with all the money and women i would exspect him to start sniffing a few line off his body armor.They could actually do an issue with him being captured by the mandarin and slowly have him getting addicted to opium or something there are so many ways they could go.Well until i see a cover with tony sitting behind a desk face deep in coke tony montana style i dont think i'll be reading any time soon.Just my opinion...peace
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I read this column on occaision and it really makes me feel sorry for individuals who are so ego-centric that they seem to think that everything needs to be tailored to there tastes.
Bug you seem to like and need the superhero stuff. Go read and enjoy the DC crap then. Leave the Marvel crap to the ones who appreciate creators attempting to allow us to glimpse and feel what the characters are going through and actually try to identify with them. If you want icons go read Supes or Aquaman, and not the more human Daredevil or Spidey.
I don't mean to bash you, I just feel you are the wrong reviewer to be reviewing Daredevil or Marvel books at times because you obviously seem to biased. (and really anti-Bendis)
It is just hard to read this column at times when to me and many others seems way off. Oh well differences in opinion. -
I think Ellis' New book seem pretty intresting so far. I do think they should make Tony more chaotic like a Howard Hughes type though. It could be fun.
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Dec 15, 2004 5:34:55 PM CST
"Sure you could say, "THUNDERBOLTS #1 happens after NEW AVENGERS
by rev_skarekroe
Dude, it's been that way for 30+ years. But they used to call it "getting a No-Prize".
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And yes, hot apple cider is fantastic when spiked w/Makers, Bushmills, Jamesons, etc. In fact, I have a lovely Irish single-barrel whiskey called Clontarf I'm gonna try it with this year. It's a very light, smooth whiskey, so it shouldn't overpower the apple too much. And yes, hot toddies can be a little gross--it's the melted pat of butter in your whiskey that messes it up. I have to disagree a little on egg nog, though: Evan Williams puts out an egg nog every year that comes pre-spiked, so the blend and flavor are just right. It's only 30 proof so it doesn't sucker-punch the amateurs, and it's very, very nummy. The first time I tried it I picked up a bottle for 5.99 on a whim on my way to a Guy Fawkes Day bonfire. I started passing it to about half a dozen people and we totalled the bottle in under 15 minutes cuz it was so tasty. All-time favorite winter drink is the Scandanavian beverage glogg, though. It's red wine with a bit of rum in it and traditional mulling spices (cinnamon, cloves, cardamom, anise, etc.). It's lovely on a cold wintery night--it makes the room smell nice, it makes people very mellow and relaxed, and since it's hot it hits you a little quicker and harder. Good, good stuff. Track down a good recipe on line (google that shit) or find somewhere that sells it. I'm fortunate enough to live 10 minutes from a Scandanavian neighborhood in Chicago, so a lot of the bars and restaurants carry it--some even sell it by the bottle (woo hoo!). If you get the bottled stuff or are reheating some you've made previously, always reheat in the microwave--heating it on the stove cooks off to much of the alcohol.
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Dec 15, 2004 5:44:52 PM CST
No-prizes were for those rare times when editors screwed up.
by sleazyg.
Nowadays they just go "ehhh, whatever". Truth is, they dropped those little "see SECRET WARS #5" blurbs cuz they thought it covered the art and because they thought it was "too intimidating for new readers" who would feel like they were missing something. This, by the way, is Marvel's official explanation back when they dropped the blurbs. Apparently they forgot the way it made us all want to track down those issues when we were kids. Honest to god, would it kill somebody to say "the story in NEW AVENGERS #1 takes place prior to the events of NEW THUNDERBOLTS #1"? No, of course not--they just can't be arsed. Joe and several others told us at Wizard World Chicago that we could look for a much more unified, whole Marvel U. this year. So far all that means is "more unified if Bendis is tied directly to it". Come on, guys--there was just an AVENGERS/T-BOLTS crossover a few months ago! The titles are directly related, and yet editorial couldn't get it together on this shit? Amateur Hour all the way. It's sad, really. The editors no longer catch spelling/grammatical errors, offer guidance, shoot down or rework bad ideas--they're talent wranglers and little else. It's no way to run a publishing company.
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Dec 15, 2004 5:54:40 PM CST
I can't wait for the issue of IronMan where Tony develops OCD, g
by big bad clone
I like the fact he has the weakness of being an alcholic. Think a bout how booze is everywhere whereas something like Krytonite is fairly rare. The problem has been in execution. They can't show Tony doing really fucked up stuff and comics can't be subtle enough to accurately portray an addict. I really would like to see Tony get loaded, shoot some repulsar rays into an animal hospital and then use his wallet to cover up the thing. The twist would be someone rats on Tony and it gets out. Tony tries to cover it up further, even comtemplating killing before he tearfully confesses to Capt. America.
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Marvel used to cultivate an attitude that encouraged that sort of behaviour. I think they disintigrated it completely during the Jemas era. The attitude doesn't seem nearly as aggressive anymore - at least as an extension of corporate policy - but I still can't help but think of the way JMS attacked critics of SINS PAST and Bendis threw scorn at those who didn't like DISASSEMBLED. So they can explain their own fuckin' incompetence now, y'know? :oP
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The editorial staff was so confident in their work they dared you to find errors. Then of course when you did they sent you a big "fuck you", but it didn't happen so often. Also, no-prizes, Stan's soapbox, the bullpen bulletins, the aforementioned blurbs with the asterisks that explained shit--all that stuff led me to believe as a kid that Marvel comics was a cool exlusive club or in-joke, and ANYONE could be a member if they bought the books! And thus I'm a zombie for life, and probably the last generation of Marvel Zombies. **** As an aside, I recently met the editor of The Ultimates and had a nice conversation with him. I didn't bring up the fact that there was like 3 obvious spelling/grammar errors in the book because 1) I really liked the book and 2) the editor was a super nice guy. But still. Although I have to admit, being Mark Millar's editor seems like it involves a lot of free drinks and partying, so I can't blame him for letting a few little glitches slip by.
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If they ever came up with AICN BOOZE! column, you'd be a shoe-in for editor and I would be getting a lot of lame-ass "first!"s in the talkback. Let me brag then for a moment that I had a glass of wine from an 1863(!) Mediera wine purchased for me recently (from a $700 bottle). MAN! If I was in the ballpark of being able to afford that regularly, it would be a winter drink of choice. But let me add with a touch of embarassment that another "holiday exclusive" drink of mine is the caucasian comrade--the white russian. Even though it's the drink of choice for The Dude, it's still a bit girly.
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Hi all, I have a rant that has nothing to do with this week's column but it has been burning my ass for awhile now. In a recent issue of Wizard (starting to finally see why you all hate it by the way) they had a bunch of creators from both Marvel and DC square off and talk about which company was better. Bendis (aka the most overrated writer in history) rolled out the old and way over used adage that Marvel was a more approachable company with characters that the reader was more able to relate to. Once upon a time this was very true, and I started my comic fan status as a solid Marvel Zombie. However, over the past few years I have noticed that my DC pile was getting bigger than my MArvel pile and with only a few exceptions all my Marvel comics I purchase now are because I have a long history with the title like the X-Universe and the Avengers (exceptions being the excellent Supreme Power and She-Hulk). I am so tired of Marvel clinging to the notion that their characters are way more relatable and they always site their tried and true example of Spider Man being the MOST HUMAN AND RELATABLE CHARACTER IN COMICS. Yeah, cuz I can relate to a guy who has a supermodel for a wife, has published at least one book, has won a pulitzer prize and at one point was a professor at ESU. Man, the guy has problems! I mean when I have a fight with my supermodel wife I turn to Spider Man cuz he understands like no other!! Initially the X-Men were relatable cuz they represented the alienation I felt as a teenager. Now they are mutant cops who jet around the world! They have become The Man. DC, on the other hand, has taken great strides in making their characters more human. Look at Robin, filling the roll of the teen trying to keep all his words separate. He relates to you like Spidey used to. Peter David's Supergirl was a tale of Linda Danvers trying to do right despite the bad stuff she used to do. It is a great parallell for learning to be responsible. Plus her issues with her dad were bang on with my relationship with my father. And for an all star group, the JSA does a great job of conveying a sense of family and how far you will go for familial love. Even Batman deserves a mention. He lost his family at a young age and closed himself off emotionally to cope. I did the same thing when I lost someone very close to me. His relationships with the members of the bat-family, especially Robin, Nightwing and Oracle are so believable and true. Now that is not to say that Marvel is completely out of the picture. She-Hulk is very well rounded and I dig her character a lot and can connect with her party nature for sure. Marvel, however, has done so much in the last 5 years, however, to alienate its readers that I think they have seriously damaged the rapport with the reader they claim to have. DC, on the other hand has worked very hard since Crisis On Infinite Earths to humanize their heroes and while it has been a slow process, I really think they have succeeded. OK, that is my tirade. I am sure a lot of people will disagree with me and that's cool, but it really is how I feel and it does sadden me cuz I was such a fan of Marvel for so many years but they recently have betrayed my trust so many times that I just started dropping their titles. I hope someday they will reinstate the reader friendly vibe they were famous for.
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I just culled my pull list in a big way and the only Marvel books to survive were Supreme Power, Ultimate Spider-man (my wife loves it), & Ultimate FF (I must see where Ellis takes it). I realized that I just DID NOT CARE about most of the Marvel characters anymore. What you said about Spider-man is true. I read a really great column a few months back on another site that addressed the same thing. Peter Parker has enjoyed a lot of success as he has aged, and he's not the lovable loser he once was. That is what appealed to me about Ultimate Spidey, and Bendis has really turned the screws on him. Most of the titles I read now are Vertigo books, with Hellboy, Fallen Angel, and The Walking Dead rounding it out. I will add though, that I'm finding the rest of the BPRD much more interesting these days than old HB himself. He's dangerously close to becoming a little boring (I know he hasn't been in a title of his own for a while). He's the average, working stiff guy. Not really as fleshed out as his once supporting cast. Damn, I rambled a bit, didn't I?
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I've thought for a while that the only thing that will make Spidey compelling again is if MJ disappears for good (not die, Petey's seen enough of that). The fact is that Spider Man has gotten stagnant to the point of no return. How many times have we seen Peter in his bedroom, wearing his Spider Man costume sans mask, arguing or complaining about his poor life while his supermodel wife consoles him in her lingerie? That scene has been played out about 1000 times too many now.
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Dec 16, 2004 8:52:57 AM CST
I used to scour my issues of "G.I. Joe" for no-prize opportuniti
by durhay
.. and I swear in the early issues each panel had a editor's remark box.
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After all, pointing out that She Hulk using comic books for legal defense isn't self parody is what Ambush Bug defines as a "stupid post"
It's ok to be scared Bug, we understand. If you can't take criticism, what kind of a$$hole are you? -
All right! The Epic Conclusion to the most fabulous, earth-shattering mystery this year...hyped up a bajillion decibals by Wizard in its year-end review as "This decade's Watchmen" (PUH-LEASE) --and the killer is....? Just who you suspected all along! Of COURSE DC didn't REALLY have the stones to make it someone we knew BEFORE the book. And...are you SERIOUS?! Did Meltzer seriously pull the old "Wait a minute....how did YOU know there was a note?!!!" trick? Are the killers and the victims so unbelieveably unconsequential that this whole thing will be forgetten in six months, when we have another "crisis" on our hands? At least now I know why Superman was crying on the cover of issue #1. Seriously, I don't realize how much I hate this book until I start writing the @s$@les about it. Shameless, exploitative...if he could've shown boobies he would have...mindless, totally devoid of consequence...this series is the "Armageddon 2001" of the last decade (GASP! HAWK is the Monarch!) and comics are so desperate that everyone treats Meltzer like he's the second coming of Alan Moore. The truth is he's a shoddy airport novelist, and this piece of poop is a cookie-cutter episode of Matlock, with d-list, silver-age castaways as the supporting cast. BOO! BOO! BOO! Shame on DC for resorting to this. Ass-raping the Elongated Man's wife. (Did you hear me? I said "ELONGATED MAN.") And we know the killer's cuh-razy because (genderless possessive prounoun)'s gets a big creepy smile when we get the big "reveal"! ARRRGH! MAN I'm so MAD about this book! I'm insane about it! The "mindwiping?" Now are we going to have years and years of stories where we find out people did things that they've "forgotten" about? "Oh, that must've been when you were mindwiped!" The only good...and I mean the ONLY good that can come out of this is if Batman finds out what these losers did to him and gives every single one of them a sound asskicking. Maybe Meltzer could write that, too, and we could see Dr. Light give Terry (Donna Troy's husband from the Wolfman Teen Titans Era) a Dirty-Sanchez.
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IDENTITY CRISIS was easily the best story of the past several years. The emotion and implications that will result from this series can't be ignored. It was powerful writing, pure and simple. I read Number 7 twice upon returning from the comic book store yesterday.The killer was unexpected, but it still made sense. The final scene of Ralph talking to Sue was heartbreaking. This series was nothing short of Amazing.
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Dec 16, 2004 4:05:18 PM CST
Am I the only one to think that the Fantastic Four photo...
by stlfilmwire
Am I the only one to think it looks like Thing is handling Jessica Alba in a very questionable way? The photo looks interesting... but am I looking at it wrong?
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The killer was unexpected? Umm, no, a huge number of people at various online sites expected exactly that person to be the killer. Implications? Well, we'll see but I doubt it. The standard line is "no loose ends were tied up here because they are going to continue on in other books." Books you better buy if you want the answer we may or may not give you SUCKER! Well, those of us who were expecting resolution of any subplots whatsoever beyond the murder are the real suckers. And what positive female characters! A raped and murdered PREGNANT, no less, woman (I had no problem with the rape when I thought it was somehow relevant, but it wasn't. And the pregnancy was thrown in just to trowel it on a little thicker) murdered by a woman who killed TO GET HER MAN BACK. Yes, those jealous women. They'll do anything to get back their man. Wait! Her man WANTED her back, so her motive was....geez, I have ranted enough. I'm going to let this go now. This miniseries had great art and good moments, but overall it's a "meh" at best.
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Hey hey hey! "Powerful writing"? Maybe I just liked it better when it was called "Presumed Innocent". First, it's a blatant rip-off. Second, it's got more cliches than a hallmark store. ("Wait, how did YOU know there was a note?!") Third, if you're gonna have a rape--please make it essential to the story. Imagine this: Imagine there WAS no rape, and Dr. Light just found out everyone's identity. How would the story change? Answer: it wouldn't. So why did we need the rape? Just so we could be "shocked?" That's just disgusting. I'm not opposed to having a rape in the story if it's WORTH something (see: Killing Joke, see: Watchmen) but if it's just there for giggles, it's like some kind of sick masturbation fantasy. Fourth, it doesn't pass the "so-what?" test. Don't believe me? Sue Dibney will be reappearing in WEEKS in "Formerly Known as the Justice League." I mean, they're not even PRETENDING this matters. What's the most that will happen? The Atom will get grim and gritty? When? When will the Atom get his own book? The fifth of never, that's when, or if he does, it'll run for 24-36 months and then get cancelled. Maybe Kevin Smith will write it. Robin's dad is dead. But Robin's dad has been dead since 1940. And...we all must lament...the retirement of Firehawk?! Oh, Brad Meltzer, you truly have saved comics! You have brought them "relevance" once more! Next up: Sodomy between Snapper Carr and 'Mazing Man.
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...here's the deal: that mini was written well before anybody knew what was gonna happen to sue. Giffen is far beyond pissed about the whole thing and feels disgusted by what he views as a betrayal, perhaps rightfully so. He has sworn never to work for one of the Big Two again. However, the story was already completed and paid for, so DC can do with it as it pleases. Rather than the initial miniseries they have opted to roll it into JLA: CLASSIFIED, but it will most assuredly be set very pre-IDENTITY CRISIS. IC's afteraffects will be very real. They're not going away any time soon; just look at all the stories about the upcoming DC 80-page one dollar book for evidence.
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So, last night I got some Maker's Mark. But the store I found it in had no apple cider, and I don't like to mix soda and liquor. In any case, my MM on the rocks was bien delicioso. I was thinking that T-Bolts gets a lot of praise, but I find it sort of cheesy and weak, like they took the most boring of the original T-Bolts and paired them up with some serious total nobodies who at least may be interesting. But at least lots of stuff happens. New Avengers is the opposite, using Marvel's most over-exposed characters and having them do nothing at all, but at least it's not cheesy. Can't we find a happy medium with some good characters who aren't over-used in a book that is both intelligent and eventful? Runaways met this criteria, Ultimate X-Men even meets it. But two books that used to be real favorites of mine are already dropped (Avengers) or hanging by a thread (T-Bolts).
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I just read it IC in one go and although it helped an hour or so pass neatly,I agree with you.It wasnt that I was offended it's just that to me the writer went to the rape/pregnancy thing to try and give it some gravity and instead just ended up making himself look unimaginative(To me anyway).Powerful? Nah.Also,I avoided this colum for a few days until I read it through but still some roody poo candy a(R)ss(E)managed to spoil it on another talkback.Nice one,well done,all the best etc..Arkham Asylum=I had enough trouble getting that in 89,I'll get the extras through other means....Comics eh?
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So I just read New Avengers 1...
Ambush, what in the fuck do you mean NOTHNG happened? I understand that your personal tastes don't coincide with Bendis' take on things, and thats fine. But if you're going to review two to three books that bendis writes, at least be FAIR about it.
SPOILERS!
Nothing happened...
Electro breaks into Rykers and frees all the inmates? Daredevil and Luke Cage visit the Sentry and get caught in the prison breakout?
But nothing happens...
Spiderman webslings his way onto a chopper with Captain America just as the chopper crashes into Rykers, just as a;; hell breaks loose. And let's not forget the mystery assailant that hired Electro in the first place.
But nothing happens...
Some folks maybe don't get the fact that the entire point of Avengers Disassembled was about breaking up that entire stagnant team, those self-indulgent frat boys as Spiderman called them. They were issue after issue fighting the villain of the month. For a superteam as powerful and as well-trained as the Avengers I expected much better stortylines than Lionheart of Avalon, or Red zone, or the really shitty Once a Defender. I have high hopes that bendis will once again bring serious threats to the Avengers. Wanda was a real threat. magneto is an Avenger worthy threat. The Avengers had the capability to conquer the world ten tims over, yet they fell short of the Authority or the JLA. Why? Because some refused to let go of their middle school fantasies and want just campy "care-free superheroics." This is why Daredevil was recvamped, why Marvel Knights was created, to give edge and depth to these characters that we love. The best thing to happen to Punisher was Garth Ennis and the MAX imprint.
I, for one, love Bendis' stories, and think that New Avengers is off to a great start. Did I care that Hawkeye died, as it seems to be the serious grievance here? Sure, but I can't wait to see what happens next.
Did it bother me that the Scarlett Witch remembered her kids, or that the memory was fixed before, or that she remembered before and got therapy, or whatever the fuck else happened in the ancient past? No, not really, I'mnot a stickler for continuity, as are MOSt of the readers of comics. Who the hell keeps track of these things anyway?
Sad, pathetic critics that fantasize that they, too, could write such amazing stories, collect fat paychecks, and fingerbang hot little comic geek chicks at the coventions...
Oh wait....
Nothing happened.
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Finch cut-and-pasted the whole first page from other books. And did his usual re-use of an image rather than re-draw a face again. And I'm not counting his New York skyline black-out page, that's what re-used panels are for. To show an effect on a scene. Or to slow time for dramatic effect. Not to save time for a lazy artist. Or to draw attention to the fact that nothings happening. And it really stands out when Finch gets the panels wrong. Check out the bottom of page 14 (you have to count. apparently page numbering would screw up the trade), Spider-Man sees the copter in the panel before the one he reacts to it in. And it's gone in the panel he should see it in. Or it's flying the wrong way, very fast, since the lightning and the raindrops are in the exact same position in both panels. And despite a whole page being devoted to the lights going out, The lights are back on one page later on the two page spread of Ryker's. both in New York and on the prison. And in Peter Parker's apartment. And on the last page, shinning into Sentry's cell, And bright white behind Matt, Luke and Jessica. And speaking of Jessica, It's good to see she's gotten over not liking people calling her Spider-Woman any more. Does this mean she's got her powers back? And how about dialogue like "HEY! I just got here." "Stay behind me." What is this place?" That's the end. It doesn't mean anything. And stops before it goes anywhere. Why does Cap think Spidy knows anything when he just crawled up the outside wall of the prison? Why doesn't Spidy know it's a prison? And not to nitpick (Too late) Electro didn't break into Ryker's. He was just there. I guess some cool scene of him actually breaking in in some clever way, possibly using his powers in some ingenious new way, is too much for the comic god that is Bendis.
The really sad thing about the cliffhanger like ending is that Bendis has a habit of skipping the payoff, So the next issue will not feature any kind of confrontation between the heroes and escaped prisoners.
Overall, this was much better than "Disassembled". And was a decent read. Blatant F up's not withstanding. But it all seems worse knowing nothing will be made of it. -
So NOBODY likes what's going on in New Avengers. I was just wondering, because I couldn't have been the only person on the planet that thought it was bad ass....The Avengers had started bothering me recently anyway. They're supposed to be like the Justice League, and I don't know if it's the difference in the universes, but it always seemed like The Avengers weren't as important as their DC counterparts...
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