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AICN COMICS! Q&@ with SCUD THE DISPOSABLE ASSASSIN's Rob Schrab! CAPTAIN AMERICA! Y THE LAST MAN! & MUCH MORE!
| #40 | 1/30/08 | #6 |
(Click title to go directly to the review)
Q&@ with SCUD THE DISPOSABLE ASSASSIN’s Rob Schrab
SCUD THE DISPOSABLE ASSASSIN #21
CAPTAIN AMERICA #34
Y: THE LAST MAN #60
ULTIMATE SPIDER-MAN #118
ALL STAR BATMAN & ROBIN THE BOY WONDER #1-8
AVENGERS: THE INITIATIVE #9
PROJECT: SUPERPOWERS #0
DAREDEVIL #104
CAPTAIN AMERICA: THE CHOSEN #6
Indie Jones HEAVEE UNDERGROUND OGN
CHEAP SHOTS!
Greetings, guys 'n' gals, Stones Throw here with a very special Q&@ with writer and artist (as well as director and TV producer) Rob Schrab. Schrab created the 1990s cult hit SCUD THE DISPOSABLE ASSASSIN (with an assist from co-writer Dan Harmon), which chronicled the nihilistic adventures of a robot assassin programmed to self-destruct upon elimination of his target, before leaving its audience on a doozy of a cliffhanger and disappearing for ten years with its twentieth issue. Now Schrab has teamed up with Image to wrap up SCUD with #21-24, in addition to putting out a big-@$$ complete volume in June. #21 hits today (Feb. 6th) and I was lucky enough to get a chance to read the final issues and put some questions to Mr. Schrab. Be warned, some SPOILERS lie ahead…
STONES THROW (ST): For those who might not know, what is SCUD and how did it come to be unfinished?
ROB SCHRAB (RS): Okay, our story so far…
In the future, robotic assassins (or Scuds) can be bought from vending machines. The reason Scuds are disposable is because once they terminate their primary target, they self destruct--destroying all evidence. In the first issue, our Scud realizes he will die if he kills so he takes his mortally wounded target to the hospital and becomes a freelance hitman to pay for the life support bills.
SCUD ran for 20 issues. Along the way he met a human girl, Sussudio, who was a robotaphile (only has sex with robots) and they had a troubled relationship. In issue 20, Scud is hired by heaven to destroy the world. Scud refuses. The Angels explain to him that he is a robot fighting to stay alive yet he had nothing to live for. That is until he met Sussudio. Scud’s girlfriend is brutally murdered in front of him. The last panel of issue 20 had Scud saying “Okay…I’ll do it.” That was ten years ago.
ST: How did the opportunity to come back and complete the series arise?
RS: Couple of things. First Eric Stephenson at Image contacted me and asked if I’d be interested in them reprinting SCUD THE DISPOSABLE ASSASSIN in one big collection, then Shocker Toys wanted to do an action figure and...the fans. The fans kinda came out of the wood work. My name was being tossed around because of my work on MONSTER HOUSE and THE SARAH SILVERMAN PROGRAM, so I was getting a lot of “Hey, I remember you!” emails. I had a window open in my schedule and decided it was time. Feels good.
ST: How did you find getting back into SCUD’s world after so long? Any unforeseen difficulties?
RS: When I jumped in, it was like I never left. These characters were so close to my heart, it took about three hours to get back up to speed. Then the dam broke and I literally found it hard to stop drawing. As far as difficulties that I didn’t foresee, the biggest was me continually increasing the size of the last chapter. The book originally was going to be one 32 pager. Then it became 40, then 65, then 90, finally it ended up being 111 pages. My biggest comic project to date, a fitting end.
ST: You’ve been pretty frank about your dislike of the direction the last few issues took. How did you reconcile this with wrapping up the arc in #21-24?
RS: I guess I was more disappointed with my attitude in the last couple of books. I look back at those books and see a lot of great writing by Dan Harmon and I was experimenting more with my art. I think I was just itching to do something else besides SCUD. I needed a break and I guess I...um, took one.
ST: SCUD has more crazy ideas per page than Grant Morrison on a 9 day bender in Bangkok. What’s the creative process like when coming up with such whacked-out concepts and characters? Does it tend to flow or do you stare at a blank page for a while?
RS: People say my ideas are crazy and weird but I really don’t go out of my way to do that. I just write what I’d like to see. Sometimes I’ll throw a bunch of nutty stuff together and figure it out after the fact or it just sort of comes out of my head that way. Maybe I’m crazy. Is this how I find out? That would be funny. It all comes down to what makes me laugh, cry or say “That’s fucking awesome.”
ST: The single issues often contained lists of suggested casting for the characters. Have you ever tried to get a SCUD movie or animated series off the ground and how did that work out?
RS: Few times. Oliver Stone wanted to make it into a movie in the nineties, I even signed a deal. That’s what got me and Dan Harmon out to Los Angeles. We wanted to write the script. But the studio didn’t want us because we were comic book guys and not screenplay guys. So when the option was up, I didn’t renew it.
Couple years back I was working with MTV animation to do an animated series. That would’ve been great. SCUD would make a better TV show than movie anyway. I got so far with that one. I wrote the script, I was an executive producer, we were casting voice talent, shopping around for animation studios…then nothing. There was a shift in power up stairs at MTV and the new people didn’t get Scud. Too bad. Would’ve been fun.
ST: The last issue seems pretty conclusive, but is this the end of the line for SCUD? Nothing else on the horizon for the disposable assassin?
RS: I go back and forth but truly I think this should be the end. Maybe a one shot here and there but Scud needs to commit to this conclusion. But I am very excited about my new relationship with Image. They are so creator friendly. I really would love to kick out a brand new story with them.
ST: As a British guy, the surreal and satiric blend of sci-fi and action in SCUD reminded me quite a bit of classic 2000AD. Just curious, do you happen to be a fan of any of those comics?
RS: I’ve read only a few Judge Dredds but if you are sensing any British influence at all you need to look no further than my obsession with Doctor Who. I’m such a nerd. I have Daleks all over my apartment.
ST: As someone who’s worked in film and animation as well as comics, what would you say are the unique challenges and/or advantages of the comic book medium?
RS: When you write, draw and create a book it’s all you. It’s a lot like stand-up, it’s your ass up there (STONE: Schrab worked as a stand-up comedian while in art school). It’s thrilling and incredibly rewarding. You get to do anything you want. After working in the TV and film industry for ten years, it was fun to go back to that. It’s more like play than work.
ST: You also co-wrote MONSTER HOUSE, which for my money was certainly the best kids’ film of 2006. What was that experience like?
RS: Thanks! Glad you liked it. MONSTER HOUSE was actually written ten years ago when I stopped doing SCUD. Harmon and I were upset that Oliver Stone’s company wouldn’t let us write the Scud movie so we put together a writing sample of our work and handed it around. The sample got into the hands of Robert Zemeckis’ people and we got a meeting. We pitched them this idea about a house that becomes a monster. We’ve been in the business ever since. It’s great to be a part of something that people enjoy. The new mo-cap technology is so amazing, I was on the ‘set’ and watched the kid actors jump around in suits with the balls all over them. It was really neat.
ST: Have you got any other comics projects lined up after the complete SCUD collection comes out in June?
RS: As I write this I am hoping the writer’s strike is over by next week so I can go back to work on the Sarah Silverman Program. I miss directing. Doing a TV series is very time consuming so I don’t think I’ll be jumping into another big comic project. I do have many ideas that I think would make great books. I don’t want to wait ten years again.
ST: Finally, do you have any message for the SCUD fans who stuck it out for ten years for the conclusion?
RS: Sorry to keep you waiting. It will be worth the wait.
ST: Thanks for taking the time to answer these questions.
RS: You’re welcome!
SCUD THE DISPOSABLE ASSASSIN #21
(in stores today)
Words & art by Rob Schrab
Published by Image
Reviewed by Stones Throw
SCUD WILL FUCK YOU UP!
Ahem. Every so often you happen across a comic book that, through the sheer amount of ideas and energy contained in its pages, reminds you of the often untapped potential in this bastard hybrid medium of pictures and words, and why you fell in love with it in the first place. For me, SCUD THE DISPOSABLE ASSASSIN was that kind of book. SCUD is a shock to the nervous system. I read the first four trades (issues one to 20) and the Image-published last four issues last week and I’m still buzzing—kinetic art, black humor, ultra-violence, satire, surrealism, and more ideas than you could shake a rabid Grant Morrison at, SCUD is the kind of book that’d enthuse even the most jaded fan.
In his punchy first issue, the pill-headed and permanently squinting Scud is set loose from his vending machine womb to take care of a mysterious monster that’s been terrorizing a mannequin factory (well, as far as I can make out). When the fight spills into a bathroom, Scud catches a glimpse of his warranty information in a mirror and becomes self-aware, realizing that if he kills the plug-headed, pop culture-quoting, multi-limbed mutant Jeff he’ll self destruct. Naturally, he decides he doesn’t want to die and hooks Jeff up to a life support machine, setting the stage for a series of adventures in which the personable Scud, paying the hospital bills as a hit man, stumbles from frying pan to fire over and over. Favorites included his team-up with Drywall, a charming kid sidekick covered in zips that lead to an extra-dimensional vortex filled with inanimate objects, which Scud, seeking refuge from the vengeance-fuelled Jeff dives into and…well, you get the idea. It may sound trite, but LOONEY TUNES by way of Alan Moore’s D.R. AND QUINCH and overseen by Sam Peckinpah is probably a good way to describe the book. Like a serial-killing Bugs Bunny, the deadpan and laconic Scud is a gleefully amoral anti-hero in the midst of all the insanity, a killer by design who, although he now has his mind set on slightly higher things, isn’t about to stop any time soon.
Now, for everything that SCUD did have in its first run of issues, one thing it didn’t was any sort of emotional depth. That’s fine and dandy with me: keep pussy emotions the hell out of my wild, Kirby-esque shoot-outs with disembodied werewolf-arms, sci-fi gangsters and evil, robotic giraffes! But that changed with the introduction of Scud’s love interest Sussudio towards the tail end of the first lot of issues. As you might expect with a character modeled after Gwyneth Paltrow (although I can’t really imagine Mrs. Coldplay playing this robotaphile killer), Sussudio wasn’t particularly interesting, but when she was slaughtered by renegade angels who wanted to enlist the gifted Scud to destroy the world in issue 20, the series got its first real feeling of emotional intensity to go along with the visceral punch of all the off-the-wall hijinks.
#21—not a bad place to start even if you’ve never read SCUD before, if you’re interested—runs with that development in emotional intensity and it’s a credit to writer/artist Schrab that I actually found myself feeling for these very stylized and completely off-the-wall characters in several places—not a mean feat when your lead character has a cylinder with two unmoving eyes and nothing else for a face. The tone is very much “cowboy returns home to find things aren’t as they should be” as Schrab wisely references the decade-long gap between issues by having Scud return to an Earth that’s become even darker in his absence. Darker? Well, this is a tale that focuses specifically on the character of Scud, rather than the previous run’s wider reach which could alternate between a teen slasher movie, a gangster soap opera or a broad satire of a disposable and amoral culture. There’s not so much of the light, madcap humor in these last four issues. There’s still the kind of humor of someone suddenly getting shot in the face (ultra violent slapstick), but the tone is bleaker and heavier, as well as being much more focused and polished than the sometimes scattershot (though that’s not necessarily a bad thing) early issues. Without belittling the anarchic fun of SCUDs past, this is a giant leap forward in terms of crafting a cohesive and involving read.
It also seems like Schrab’s drawing better than ever. There’s a kick-@$$ double page spread in #21, and things get tried in the storytelling and panel arrangements that don’t seem like they could have been done back in the original run. I was particularly impressed by one panel of Scud cradling Sussudio’s lifeless body in which Schrab really manages to sell the emotion of the scene—again, not a mean feat when your lead character’s face is a cylinder with two unmoving eyes and nothing else.
SCUD is a kick to the teeth and a shot in the arm that you’re grateful for. I’m a new convert but I found myself amazed and refreshed by the amount of energy and invention in the writing and art, and I couldn’t tear through the collected editions fast enough. And I’m pleased to say that Scud gets a fine send-off with the last set of issues, which bring his odyssey to a fitting end. The one thing I think I would compare SCUD THE DISPOSABLE ASSASSIN to for the uninitiated would be Jack Kirby when he really got to cut loose on the page. It seems like Schrab shares that same thrill of just being able to set loose concepts straight from the imagination and see where they take him—and also in the simple but symbolic themes explored with certain characters. I don’t know, I suppose the conclusion to SCUD lets the disposable assassin figure out that there’s something to this thing we call life and that some things aren’t disposable. Sniff.
Anyway, I can’t recommend SCUD more. It’s the perfect hallucinogenic antidote to the vast majority of today’s heel-draggin’, pretentious funny book reads. SCUD is a book that isn’t afraid to cut loose and show some balls—big, gold, metallic ones, that is.
Okay, I just creeped myself out.
CAPTAIN AMERICA #34
Writer: Ed Brubaker
Artists: Steve Epting (pencils)/Butch Guice (inks)
Publisher: Marvel Comics
Reviewer: Prof. Challenger
Steve isn’t leading the way up the battlefield…yet I can almost feel him here. But he’s guiding me now…instead of haunting me. I can’t be him. No one ever could. But I can try to make him proud…—the new Capt. America
There’s an odd schizophrenia about Marvel Comics (well, and DC too) for the last few years. Rather than publishing episodic series that tell stories that move their characters forward within a shared universe, they seem more focused on marketing “events” that supposedly shake things up. The episodes in between these “events” all cynically serve the purpose of just filling time and space until the next “event.” Most of these series suffer from a scattershot style of storytelling, many times brought on by the fact that the creative teams are constantly shuffling around presumably because they’re either unwilling or unable to work within such a totalitarian editorial system. Yet each month Ed Brubaker and Steve Epting, with their work on CAPTAIN AMERICA, somehow make it seem effortless to produce one of the most tightly plotted, consistently well-written, and dynamically illustrated series published by Marvel.
This team succeeds even when the CAPTAIN AMERICA title is itself the source point for the marketing “event.” It doesn’t matter whether we’re talking about the much publicized death of Captain America or, in this issue, the slightly less-publicized introduction of a new Captain America outfitted with an all-new Alex Ross-designed costume. Both “events” flowed seamlessly within the ongoing serial that Brubaker is telling. It really should not be any secret to committed or even casual readers of this series who is under the mask in this issue, so I’m going to reveal it in the next paragraph – consider yourself spoiler-warned. Brubaker has been leading up to this moment for some two years and the payoff is just as solid and entertaining as each issue leading up.
The perspective that I tried to bring to this review was as someone who was a new reader with, at most, a basic knowledge of who Captain America is but without preconceptions. Ultimately, as a jumping on point I think the comic succeeds quite well. This is the beginning of Bucky assuming the role of Capt. America in the wake of Steve Rogers’ assassination and it just flat out works. As much as I or other fans might feel about Steve Rogers as Captain America, Brubaker has taken the concept of Captain America as a symbol rather than a person and run with it successfully here. Bucky brings his Winter Soldier training combined with his WW2 experience and perspective, as well as a true love and respect for Steve Rogers, and hesitantly accepts his role here as the inheritor of this mythic role. Flawed though he may be and lacking the super-soldier serum running through his metabolic system, Bucky picks up the shield, works with Stark to create a costume that gives him a bit more protection than chainmail, and outfits himself with military issue sidearms and weaponry. As the embodiment of Captain America, Bucky also takes on an unspoken Lone Ranger-style vow to use these weapons non-lethally in the battlefield of the streets of America. As a result, there are now at least three AIM agents recovering in the hospital from busted kneecaps.
Brubaker also incorporates quite a lot of Captain America’s publishing history into this one episode, but he does so in such a way that it seems natural and doesn’t need a lot of backstory to explain it all. I’m talking about organizations such as AIM and characters like the Red Skull, Arnim Zola, and Dr. Faustus. The skillful use of these characters along with Bucky and Tony Stark, I feel, fully embrace aspects of Cap’s entire publishing history and establish them all as relevant today as they were when they first appeared. On that level this is really good stuff that any fan of pulp action thrillers as well as realistic super-hero comics should enjoy.
Structurally, Brubaker’s story unfolds more like a TV action/drama than your average comic book. It’s a writer’s choice that works well with Captain America because it grounds these fantastic characters in a world that seems just a bit more realistic than your average Marvel comic. And I believe that degree of realism, heightened by the moody shadows that Epting’s art revels in, would appeal to readers not weaned on super-hero comics. In fact the dark and moody art is reflective of the modern world that Cap functions in today full of public discontent, governmental distrust, and terroristic mind-control culminating in a shocking last page that will have serious long term ramifications.
Now as to the new costume, I understand that the overall fan reaction (at least what I’ve seen online or overheard in public) has been one of disdain for Alex Ross’s new design. From my perspective, I don’t think any radical redesign of any iconic character is ever widely accepted by the fan base, so it really doesn’t matter that I kind of like it. But I do. It’s not what I would consider the best way to go with a redesign but it sure as heck beats the old Nomad costume or the Cap and costume that eventually became U.S. Agent. The idea that a less powerful person under the cowl might need a bit more protection and having Stark help design a lightweight armored tunic and mask makes a lot of sense plus the type of gloves he’s wearing are an apparent nod to the Cap costume of the movie serial of the 40s – and that’s kind of cool. The costume is a bit more practical minded for urban battles than the other more iconic costume and I can appreciate the thought that went into it. For as long as Bucky is under the cowl, I’m good with it but I’m not so sure I’d like to see the inevitable return of Steve Rogers include this newest costume.
I recommend this comic as a good point to start reading CAPTAIN AMERICA and if you’re intrigued enough, maybe it’s time to pick up the trades and fill in the back story on Brubaker’s outstanding run.
Y: THE LAST MAN #60
Writer: Brian K. Vaughan
Penciler: Pia Guerra
Publisher: Vertigo/DC Comics
Reviewed by Humphrey Lee
Alas, poor Yorick, I knew... errrr... y'know what? Yeah, let us not cash in on that. No reason to resort to cliche when celebrating the passing of one of the best comic book series of the Modern Age. Mainly I was just going for the irony of how a comic book the caliber that Y has been also emerged from a cliched saying itself: "Not if you were the last man alive", a phrase that haunts my memories of college...
Alright, cliches and horrible jokes aside, I'm here not so much to review this heart wrenching finale as I am to pay tribute to the series. So, don't worry, there won't be any huge spoilers for you heathens that have enjoyed this book solely in trade form (which, okay, is admittedly the best way to read it). See, the thing that made Y so special for me is that it's the first of these "Finite Epics" like the PREACHER's and TRANSMETROPOLITAN's and SANDMAN's of the industry that I got to see all the way through. Typically in the case of series like the ones I mentioned before, I might have seen the end of them as they occurred, but usually I didn't get a chance to jump on them in issues since I didn't even get back into comics until they were halfway or almost completely done and I caught up with the TPBs. I've been here with Yorick Brown and his merry band of world travelers since issue #1, and now that it's over, not to be overly weepy about it, I really was choked up with this finale.
Obviously the main story backdrop for Y was the plague. When you have a plot involving the death of almost everything with a Y chromosome on the planet, obviously that's something that you have to give a lot of your page count to developing. But to me, and I think given how BKV had handled the source of the plague more towards the end of the series this might be the case to him as well, the death of all the men was really secondary to the characters, especially Yorick. To me Y: THE LAST MAN was more a story of a young man growing up and finding his place in the world, it was just taken to the Nth Degree with all the sci-fi wackiness and political intrigue that invaded his world because of what he had become: the world's last hope of survival.
In a way, I've grown up with Yorick Brown. Another reason I latched onto the book when it began is that I'm pretty much the same age as the character. I had just turned 21 way back when it hit the shelves and as I write this I'm a summer away from 27, about where young Yorick was when the "Present Day" ending of Y happened in issue #59. As he's gone out to see the world, I've done my own bit of exploring. Obviously I haven't had a grand adventure on the level that he has, but as far as the level of self-discovery our young protagonist has done post-plague, well, I like to think I've done similar. And after seeing this last issue, I even think he has helped me decide to resolve my own apparent "folically-challengedness" as he and his creator have: with a razor and a lot of shaving foam.
What really sold me on this book, this work as a whole, was the "Safeword" story arc. Up until then, Y to me had been an intriguing look at a post-apocalyptic world with some quirky and lovable characters and, of course, one pain in the ass monkey. But that arc, where Yorick finally came face to face with exactly who he was as a person, the turmoil that he was combating deep down in him, that was the first time I knew exactly how brilliant this book was and would continue to be.
Now that it's all said and done, and I'm standing here at the end of it all, I can say that it all paid off in the end. Yes, we're left with some questions, and yes maybe the plague itself was treated more of a MacGuffin then it should have been, but all in all Y still turned out fantastic and something I hope to reread on hopefully a yearly basis: easily one of the best comics this decade, and this isn't a period lacking for them. At the very least I love the characters just that much that I want to spend time with them again, or at least that's what the little pit of dread in my stomach told me as I closed this last chapter that came out this week. As the finale did what it did, as we got all those little bits of closure, it was like watching old friends drift away. And the moment with Ampersand in the middle of the issue: Absolutely priceless. I actually had to stop there for a moment it was so perfect, just like this last chapter was on a whole.
And, to start to wrap this up, I'd be remiss if I didn't talk about Pia Guerra's work on this title. Honestly, without her pencilwork (and a little help from Jose Marzan Jr. and Goran Sudzuka and others) Y: THE LAST MAN is not the comic it was at all. Quite frankly it's just the way I feel comic book art should be done. It's all so perfect: the line work, the detail, the expressions the panel transitions - everything is so crisp and there's so much craft on every page and it’s astoundingly consistent for sixty issues. This is the kind of "superstar art" that should be selling books out there and something so fantastic I hope to own it in an oversized form some day. Many thanks as well to J.G. Jones and Massimo Carnevale, whose covers have really lit up these issues as well, particularly on this finale. They always made me eager to crack into this book whenever it showed up. Amazing stuff.
Y: THE LAST MAN was a gift to the comic book world, and it's saddening to see it go, but that's the appeal in comics and stories such as this. It doesn't go on for decades, there are no "retcons" and the universe doesn't get restarted after some universal struggle. The characters live, they die, and you accept it and you move on. Sometimes, most times, there's a Happily Ever After, and sometimes things don't work out as you would hope. And sometimes things just are what they are. That's life, that's the world we live in, and that was Y: THE LAST MAN. Here's to a little more than five years of comic book excellence. I don't know if the team that gave us this can top it, but I sure as Hell hope they try. Cheers...
ULTIMATE SPIDER-MAN #118
Brian Michael Bendis: Writer
Stuart Immonen: Artist
Marvel Comics: Publisher
Vroom Socko: The Fantastic Mr. Frump
Let me get this out of the way first: I’m not a big fan of Spider-Man and his Amazing Friends. Really, it’s the hidden computers I had issue with as a kid. This is Spidey, after all, not Batman. He’s supposed to be an everyman hero, right? Hidden computers… what’s next? Is Peter going to develop phenomenal cosmic powers, or have a long lost cloned twin, or sell his soul to the devil?
Oh… Oh right.
Well, that grievance aside, I do like one thing about the show. These three aren’t a team in the strictest sense; they’re a group of friends. Spidey as a team member is something that never worked for me, but as a guy who works with and is helped by his friends… That’s Spider-Man right down to the core. Which brings me to the latest effort from the esteemed Mr. Bendis.
After the death of the Osborn family last issue, this one is a welcome breather. Plotwise, it is a bit predictable, being a beat for beat homage to the first installment of the Spidey/Human Torch story from fifty issues ago. The main difference being that instead of Johnny Storm bursting into flames at the end, it’s Firestar. The Old-School New Warriors fan in me is a bit disappointed that this Firestar isn’t Angelica Jones, but I do like how Bendis seems to be playing her off as an amalgam of Firestar, Frankie “Nova” Raye, and a character I will not spoil but readers can probably guess. I also like the way this pays off a character quirk that’s been building for a hell of a long time. It makes total sense from a story standpoint, and it works perfectly.
What also works perfectly is Stuart Immonen’s artwork. Comparing the situations in this issue to the similar ones in issue #68 is like a revelation. Mark Bagley is the finest and most iconic Spider-Man artist of the past decade, especially when he draws Pete swinging from a thread, but when illustrating teenagers being teenagers, Immonen has him beat hands down.
What makes this issue work though, what makes it a damn fine bit of storytelling even with the familiar beats, is how Bendis handles all of Spider-Man’s amazing friends. I’m not talking about Iceman here, who at this point is really an amazing acquaintance, but all of the characters we’ve seen at Peter’s side for the past 120 issues, who are at his side now to help him deal with the loss of Harry. The real kicker is that the most amazing of his friends are the ones without any powers. In particular, there’s the one friend whose loyalty is an almost touching surprise. That’s what makes this a great issue. It’s the understanding that Bendis has about not just dialogue and character, but how important Peter Parker’s friends are to his life, be they in costume or just average Joes.
It’s telling just how great this issue is told that when I put it down, I wasn’t thinking about editorial mangling, or crossover fatigue, or how if I never hear the word Skrull again it’ll be too soon. When I put it down, I was thinking about Peter and his friends, and how amazing they are. And I was thinking about my friends, and how amazing THEY are. And I was thinking that issues like this are the reason I respect Bendis as a storyteller.
Oh, and I’m calling it right here that Pete’s going to come clean with the few friends that don’t know he’s Spider-Man very soon. Probably next issue soon. Not because half the goddamn Ultimate Universe knows it already, but because they’re his friends, damnit. They deserve to know.
This issue… This issue is the good shit.
ALL STAR BATMAN & ROBIN THE BOY WONDER #1-8
Writer: Frank Miller
Art: Jim Lee
Publisher: DC Comics
Guest Reviewer: barking_frog
Miller and Lee's new BATMAN has been in publication for over two years now. In that time, eight issues have been released, making it effectively a quarterly rather than the monthly that was originally planned -- in fact only one issue of ASB&R was released in all of 2006 [ Wiki '08Jan30]. I know this because I read comics in blocks, and I've been waiting impatiently for enough of the story that I could read a large piece all at once.
Over the past two years, critics and fans have for the most part reviled Miller's writing on the series, posting one negative review after another.
So I was fully prepared for the series to be awful. Between Miller's middling-quality DARK KNIGHT RETURNS sequel THE DARK KNIGHT STRIKES AGAIN in 2001-2002, and the outrage about ASB&R, I expected the man had lost his touch. The reason I picked up the series at all was -- well -- Frank Miller's Batman. If you were around in '86 for DKR, you know what I mean.
ASB&R is the best comic I've read in a long time.
It is not a comic for people who are new to comics -- which might mean it's mismarketed, since I understand the point of the All Star books, in part, is to provide a continuity free jump-on point for new readers after the fashion of Marvel's Ultimates line.
It's also not necessarily a comic for returning readers, or readers who treasure the traditional interpretations of their favorite characters.
ASB&R is a comic for a very small audience, and I'm sure that's part of why it's being widely perceived as a failure. But if you're part of that audience, this story is simply amazing.
To truly appreciate what Miller appears to be doing, I think it's necessary to understand quite a bit of the comic book medium's history, its characters, its storytelling conventions, and even its fans. I think Miller begins ASB&R with the intent to shock and offend readers -- and judging by public response he's succeeded. But, putting some pieces together, I believe Miller might be laying the groundwork for one of the greatest character-oriented Batman stories we've seen yet.
Taken in a vacuum, ASB&R appears to be self-parody. But consider that Miller has stated he intends ASB&R to fit within his larger Batman chronology that begins with YEAR ONE and ends with DKR and its sequel.
YEAR ONE and DKR both show us fundamentally the same Batman. Driven, canny, a strategist, highly rational, terrifyingly sane in an insane world. But ASB&R -- and this is one of the major objections readers have raised in response to the series -- shows us a Batman who is like a mentally/emotionally handicapped child, changing his story as he tells it, hopelessly infatuated with himself, psychotically violent. This Batman is what we'd get if the picked-on nine-year-old who wants to grow up and be Batman so he can terrorize the schoolyard bully were to, in an instant, get his wish.
How can these two Batmans be the same character?
I think Miller has started with a seeming incongruity that's actually the setup for what may grow into an excellent character study.
Looking ahead to DKR, there's minimal reference made to Dick Grayson/Robin -- but something notable halfway through DKR issue #2, in the scene in which Batman is suffering a severe beating at the dump, is Batman's reference to Grayson as "my little monkey wrench". Within the larger context of the scene it's possible to perceive a relationship that dovetails with what we're seeing in ASB&R.
A recurring question in Batman mythology is why, exactly -- in the real world -- Batman would ever need a Robin. I believe Miller is going to suggest that Robin is what keeps Batman grounded and sane, and that what we're seeing at the beginning of ASB&R is a Batman a year or three beyond YEAR ONE, after he's had time for his life in the shadows to wear away his sanity.
Examined in this light, the ASB&R Justice League's concern over Batman makes sense. Batman's violence makes sense, his self-infatuation makes sense, his childishness makes sense. His need to impress, paired with his remoteness, makes sense. His apparent fall from the subtle detective of YEAR ONE makes sense. Robin's disgust with him makes sense.
Reread the two pages at the end of the DKR #2 dump scene, and it's easy to imagine ASB&R in the background.
Miller isn't showing us a Batman who seems insane, he's showing us a Batman who is insane.
I believe all this will be by way of showing a gradual and developed maturation of the two iconic characters. I suspect Robin will evolve from feeling disgust for this damaged, crumbling, tragically needy Batman, to feeling admiration for the hero underneath the present wreck of a man, and will perhaps become bound to him by deeper knowledge of the man underneath the hero than maybe anyone else could be. I suspect Batman in turn will, through his relationship with Robin, regain his equilibrium and evolve into the figure we see in DKR.
In fact, in DKR we can see hints that this younger, less sane Batman might be something Miller always had in mind -- but only hints, as though the ASB&R period in the character's life would be one he'd bury or reinterpret as necessary to heal himself later. When compared to events so far in ASB&R, events in Batman's memories in DKR already indicate the kind of reinterpretation he might've engaged in if he'd succumbed to insanity in his ASB&R past. Either Miller has always seen Batman as a character who at one time lapsed into madness, but didn't give us enough context to understand this in DKR twenty years ago -- or he's found a brilliant way to write a completely original Batman in the present without contradicting what he's already written in the character's future. Two examples of the DKR memories I refer to, both from the aforementioned dump scene, include Batman's on-the-fly rewriting of Robin saving his life into him saving Robin's life, and his recollection that Robin gave the Batmobile its name -- a name we discover our childish ASB&R Batman in fact gave it ("kind of name a kid would come up with") and with which he is visibly impressed, but which twelve-year-old Robin considers "totally queer".
In a sense, then, after nearly 70 years of stories about Batman saving Robin -- I believe Miller is setting the stage to tell us the behind-the-scenes story of how, over possibly several years early in their career together, Robin was responsible for saving Batman.
AVENGERS: THE INITIATIVE #9
Writer: Dan Slott/Chris Gage
Artist: Stefano Caselli
Color Art: Daniele Rudoni
Publisher: Marvel Comics
Reviewer: Rock-Me Amodeo
I can sum this comic up in one word: “Interesting.”
But two words is better: “Holy crap!” (Side note – after I finished writing this review, I went looking to see what other people thought, and the first thing I found, startlingly, began with “Holy Crap!” How prescient of me!) Because those words, and more, is what you’re probably going to be saying multiple times before you finish reading.
I always thought this book would turn dark, but I never really expected it to go the full Monty. I suppose I was thrown off by the pencils, which seem more suited for, say, an upbeat Spiderman book where, uhn, no one dies and the status quo is pretty much maintained. (Slott writes a book like that, too? You don’t say!)
No such status quo here. Heck, not only do new people buy the farm, but I’m wondering if some older folks are going to make it out alive. In the course of these events, some of the lesser characters get a little time in the spotlight, like Thor Girl (ugh, hate that name) and Cloud Nine(being written like a real person, of all things) and Crusader (someone needs to give him a hand.)
Some better known characters also get good face time. I’m not sure I like Hank Pym going all “Mr. Military” and “son” and “I’m your commanding officer” and stuff. Commanding officer…I mean, really: what rank exactly does he have? I’m guessing Slott never served in the military. But that’s okay, Pym didn’t either, so it’s kind of fitting that he talks like someone who is trying to SOUND like they’re in the military. (I know most people wouldn’t care, but I mustang-ed my way from E-5 to O-2, so that military stuff always resonates with me.) But almost any personality for Pym is better than the pathetic puss-bag he normally acts like, so I’ll take it. It was also good to see Beast and Dani.
Others characters, like Taskmaster, show that when the going gets tough, they will stay true to type. I don’t really care for the way we see more and more villains being treated by the good guys as simple assets-for-hire. If they’re going to be around, I appreciate them being written in the manner Slott writes them: not as mere super-powered opportunists, but as a fundamentally selfish and cowardly lot. I know that Marvel practically invented the sympathetic villain, but I still want my villains to BE bad guys, sympathetic or not. I know, I’m old school.
So where does that leave us with MVP/KIA? Well, he does generate a certain amount of sympathy. But he is the villain of the piece, no question. He’s got to be put down. And the Initiative, or at least Camp Hammond, will go down too. In flames, I’m guessing, which would be QUITE ironic.
I loved the idea of a training camp for heroes. Why did it have to include such rotten elements in the beginning? But it did, and the seeds of its demise were planted in the very first issue. I will be sad to see it go. But if it stays as good as it has been, THE INITIATIVE will last a lot longer than Camp Hammond. I hope so. This book is easily the best thing to come out of CIVIL WAR.
PROJECT: SUPERPOWERS #0
Writers: Krueger, Alex Ross
Art: Alex Ross, Klauba and Sadowski
Publisher: Dynamite Entertainment
Guest Reviewer: Optimous Douche
I hate magic. I hate magic in all of its permutations both in the real world and comic books. My hatred for magic in the real world stems from my utter disbelief in the susceptibility of the masses. Not only does David Copperfield seem like a douche of epic proportions, but if he could make the Great Wall of China disappear, don’t you think he would have a higher calling in life than performing three nights a week at Caesar’s Palace?
My hatred for magic in comic books stems from the fact that editors (that’s you Joey Q) and writers often use it as an easy out and a quick fix. Unless you are mildly retarded or shop for your comics at Borders, you know how magic has single handedly destroyed the continuity of Spider-Man with “Brand New Day” (which personally I think is a title better suited for a Christian rock album). On the other side of the big houses, I personally want to burn every issue of JUSTICE LEAGUE in which Zatanna appears. “The monster has defeated Superman, Batman and Green Lantern! Quick, someone find Zatanna to come say Go Away backwards.” You might as well just rename the book THE GO AWAY LADY AND HER SPANDEXED ENTOURAGE.
I swear that I do have a willing suspension of disbelief; the forty long boxes that occupy the man-cave of my house is proof of that. But if you are going to use magic as a story convention then you better do two things: give it one hell of a back-story and don’t make it easy.
Well, the Lovin’ Spoonful will be very happy, because after reading the 0 issue of Alex Ross’ much anticipated (I know, “with great art, come greater delays”) SUPERPOWERS, I can say emphatically that I do believe in Magic.
It seems like WWII is popular this year. A few weeks ago we were treated to THE TWELVE, where JMS resurrected a slew (OK twelve) of the 1940’s most forgettable funny rag champions. With SUPERPOWERS we are treated to another tale that focuses on the war to end all wars, but this time instead of science being the chief catalyst the story focuses on the most terrible box ever unleashed on man (no, not Britney Spears) – Pandora’s Box.
The premise of the story is that all evil unleashed on the world is a direct result of this terrible box being opened. For those that don’t know history Ross stole this idea directly from Sophocles’ first comic ZEUSMAN AND THE G-FIGHTERS. Ross’ twist on this timeless old tale is that Pandora’s Box is not a box, but rather an urn. And not only does Pandora’s Urn posses all of the world’s evils, but the forces of good are the sealant on top that keeps evil trapped inside. Remember, the Greeks did not have professional morticians or crazy glue--they had to seal their urns somehow.
Army intelligence believes that Hitler not only has The Bomb, but also The Box, I mean The Urn. They have also stumbled upon this ancient tale of the Urn’s true nature. They turn to the one hero they know they can trust with this information, America’s champion, The Fighting Yank (which is how I referred to my sex life when I broke my right hand in ’97). The Yanks’ mission (does that make anyone else giggle?) is to infiltrate Hitler’s stronghold, steal the urn and use it to not only harness evil, but to also get all of the heroes of the world to agree to commit herocide to ensure that evil stays put.
I won’t say whether he succeeds or fails in this mission, but I will say this book isn’t a one shot, so use your imagination (not many superhero titles succeed without heroes).
When the elements of the story are dissected separately they might sound contrived, but when mixed together they actually make for a rather interesting and complex tale. I feel the same way about this book that I do about the taste of carrots. I despise the taste of carrots by themselves, but when mixed into my wife’s pumpkin/shrimp soup the mild hint of the carrot brings the dish to life. Ross’ interweaving of magic, mythology and history will keep me waiting with baited breath for the next issue.
The art, as you can imagine, is superb. Even though Ross only steps in to pinch hit on the cover(s) and a few select splash pages, Klauba and Sadowski do an admirable job of emulating his style without outright ripping him off.
Aside from a few battle splashes and watching an Octogenarian version of the Yankster run away from a possessed cape, this issue was not high on the action scale. However, with all of the complex story elements that Ross had to set up in this issue, I’m willing to cut the Dynamite boys some slack.
I will gladly start plunking down my $2.99 for future issues of this book, since I’m sure the $1.00 price for the inaugural issue won’t be on the cover of issue 1.
DAREDEVIL #104
Written by Ed Brubaker
Art by Michael Lark, Stefano Gaudiano, Paul Azaceta, Tom Palmer, probably a few other guys too.
Published by Marvel Comics
Reviewed with retorts by Stones Throw
“Yer not reviewing this book again, Stoney?”
You may or may not know that I’ve been a pretty big fan of what’s being done on the Man Without Fear these days. Bru and Lark managed to clear up the Bendis secret identity kafuffle with some beautifully in-continuity maneuvering and have generally been crafting cool new DD stories to fit into the pantheon of ‘em. For me, their run reached its apex thus far with the previous arc, which featured Matt Murdock’s old nemesis the Gladiator and a new drug sweeping the streets of Hells’ Kitchen, and was intelligent, modern super heroics at its finest. How can you not love a book that brings the Enforcers back complete with classic costumes and personalities and doesn’t make it a joke?
“I dunno.”
If you’re deranged, that’s how. But despite my general satisfaction, the last few issues have sat a little less easy. In fact, I had more than a few problems with this latest one.
“So spill.”
A few issues ago, DD’s wife Milla (a.k.a. Blind Girlfriend) was drugged by an early nemesis of his, Mr. Fear, and pushed a man in front of a subway train. Since then she’s been in and out of psychiatric wards and things aren’t looking good on the sanity front. In this issue, tensions mount for our hero, and pushed to the brink and searching for answers and a cure, he chains the Ox up and takes a blowtorch to him.
Yup, Daredevil, the star of the book, tortures a villain on-panel. I mean, not even a proper villain, more like Lenny from OF MICE AND MEN as a super-powered bad guy. Sure there’s other stuff, like Milla suffering a relapse and almost beating her nurse to death, but that’s what really got me hung up. They give us the “I don’t enjoy torture, but tonight I don’t care…I don’t even wonder what that says about me” narration, but there’s no denying that the line of what should go in an all-ages, main-line Marvel comic was crossed, and editorial wasn’t there to hold them back. I’m pretty sure a scene like that wouldn’t swing a rating lower than an R if this were a movie, and it’s completely unwarranted in what really should be a child-friendly universe. In that Spidey Roundtable the @$$holes put together a week or two back I commented that it’s depressing that Marvel are now completely pricing kids out of the monthly adventures of their most famous hero by going thrice-monthly, and by the same token I find it sad that the advisory rating on most of their books is 13 and up, because I’m sure most of us were a lot younger when we first got hooked on superheroes.
“Ah, come on! It’s the deep, profound, makes-yer-heart-swell-up drama, jerk-@$$!”
The scene doesn’t even work dramatically. Daredevil’s pushed to the brink, yet it’s already been established he knows what he’s doing is wrong, and that he’s going to regret it. So what’s the resolution? DD learns that taking a blowtorch to defenseless guys is okay if it gets good results, and he, Foggy and Milla all sit down and chuckle about it? Or do things descend even further, by which point I’ll completely lose interest and they’ll have ended up with an unsympathetic and unrelatable character? Or, as is more likely, do we find out that all this is down to Mr. Fear’s…Scarecrow gas…in which case I’m left wondering what the point was in the first place, other than to tar Daredevil with some unnecessary out of character actions? I mean, Frank Miller told probably the best DD-pushed-to-breaking-point story in BORN AGAIN, and while I’m not saying I don’t have a problem or two with those comics, I never lost sympathy with Matt Murdock or felt Miller had acted against the central tenets of the character.
“Central tenants? Since when did Daredevil become an apartment block?”
Like Matt Murdock fundamentally being a stand-up guy? Daredevil is one of Marvel’s most human characters, and his world often contains potential for more grounded stories. But I, and I’m sure many others, are drawn to comic book superheroes because they embody man’s best qualities and fight for more noble things. You’re telling a story that pushes DD. It’s been done many times before. But don’t betray what the audience knows about the character in favor of cheap shock.
“Yer missing the point. Daredevil’s being pushed into acting against his morals. You’re meant to feel uncomfortable.”
There’s still the highest level of craftsmanship, both in the art and writing on this title. But I’m beginning to feel that in trying to make things intense for Hornhead, Brubaker and Lark are vastly over-stepping the line of what fits in a classic Marvel book. The whole plot going on with Milla is veering dangerously close to WOMEN IN REFRIGERATORS territory, and I think her character is probably beyond the brink of being tarnished by her actions. Now Daredevil has got in on the act in this issue, and really, I can’t see the point. We know he doesn’t like torture, and we know he’s gonna regret it. It’s a moot point, and it’s dull and ugly to read. Let’s get back to exciting stories that use the character well, ’kay?
CAPTAIN AMERICA: THE CHOSEN #6 (of 6)
Writer: David Morrell
Artist: Mitch Breitweiser
Color Artist: Brian Reber
Publisher: Marvel Comics
Reviewer: Rock-Me Amodeo
I’ve been thinking about death lately. Not the normal kind of Marvel death, where no one stays dead except…uhn, scratch that. I mean real death: that unpredictable, inexorable crush of entropy which eventually catches up to all of us. You know, despite all the advances in medicine and science, the mortality rate is still 100%. It’s just a matter of when you pass…how you pass…and with how much class, if that last matter is within your control.
Like the original Samson pleading, “Just one more time, Lord.” Like Darth Vader, who wanted nothing more than to redeem himself in that last act of courage. Everyone wants a shot at redemption, right? That’s what pushed the first fantastic years of THUNDERBOLTS. That’s what kept “Angel” full bore for five seasons. It’s poignant. It’s touching. It’s tragic.
How much more tragic, then, when the character doesn’t need redemption? When their last selfless act is simply one of many? How much more awful is that? Well, I can’t tell you exactly. But maybe you could experience it yourself.
I’ve been reading this series from the beginning, and thought I knew what was coming. But I was still surprised and touched when we got there. I’ll warn you: the series started slow. I can’t tell you where in continuity it is (it sure ain’t “now.”) I was apprehensive when I started, as it felt very “What Iffy”, ala BULLET POINTS. But somewhere along the way, I began to vest in the story. Yes, the word “powers” might have been mentioned too many times. Yes, the main premise was repeated once again as part of the story. Minor nits. The overall story was excellent.
And it goes like this: at some point, beyond Steve Rogers’ inevitable comeback, he eventually begins to die for good. But it’s not really his story. It’s the story of Corporal James Newman, picked as Cap’s probable successor.
There you go. Simple. Straightforward. Surprisingly uncomplicated. Just like the art. Just like the writing. Just like Captain America. And just as compelling.
I’ve been thinking about life lately. Not the normal kind of Marvel life, full of explosions and impossible coincidences. I mean real life: the kind of life you lead after someone close to you passes away. It’s a matter of what you learned…how it changes you…and the class with which you choose to continue on, if that last matter is within your control.
But in this series, Morrell was firmly in control, and that’s a good thing. Someone’s going to die. Someone’s going to live. I knew that. But in the end, I was unexpectedly moved. You may be, too.
HEAVEE UNDERGROUND OGN
Plot, dialog, art: Amado AREX Rodriguez
Additional art: Alberto "Ponbiki" Rios, Tim Irwin
Script: Bernie Gonzalez
Publisher: Cream City Comics
Reviewer: Ambush Bug
One of the things I like most about this here Indie Jones section is that comics that reside in this section of AICN Comics can shed light on cultures and situations that you don't normally see in mainstream comics. HEAVEE UNDERGROUND's roots lay in music and dance. And even if hip hop is not your thing when it comes to music, there's no doubt this book will get you moving and force a new appreciation on the genre of music and the culture that surrounds it.
The force behind this book is Amado AREX Rodriguez. I've seen quite a bit of Amado's work and admired it for his abstract way of telling a story. Every panel seems to be well thought out and envisioned through the most creative of lenses. Mainstream comics are often guilty of throwaway panels where the artist half-@$$es it until the big money shot splash page. Here, not a panel is wasted and all stand out artistically as something special.
Storywise, I see a lot of growth as far as cohesion. I like AREX's abstract style, but a bunch of images is just that...a bunch of images. Here these images work well together to tell a very cool story of one man's trek from Milwaukee to Chicago. Slowly, the purpose of this trip is revealed. And of course it's about a girl. Projected onto a background of hip hop music and club dancing, this story is resonant and insightful. AREX's character of Paco goes on a journey of self-discovery and seems to come out of this story wiser and more confident.
On top of AREX's vivid images, a group of other artists contributed to this book, all of them distinct and all of them making their panels energetic and alive. Alberto "Ponbiki" Rios (another talented artist featured in Indie Jones before) draws the final "dance-off" between Paco and his rival, the punk who stole his girlfirend many years ago. Rios' art is different than AREX's, but I liked the change in artistic styles. This change was representative of a change in the main character's character and confidence. Rios' art is loose and alive. The book also features a "remix" chapter at the end--kind of a mish-mash version of the final "dance off" in the story by talented artist Tim Irwin, whose pencils are as vivid and creative and make each panel seem electric. Irwin multi-layers his panels giving the eye a lot to soak in. He's a very talented artist with a confident handle on his subjects.
This book is an art lovers dream. Sure the story is about a "dance off" and cheesy movies like YOU GOT SERVED have made that somewhat laughable. But this book brings back some respect to an underground culture of dancing that is much more substantial than those teenie movies suggest. In this book, dance is a modern version of kung-fu. Dancers square off for the sake of honor. It's a very cool concept made visually electric by AREX and Co.
THE TRIALS OF SHAZAM! #11
DC Comics
With one issue left on this maxi-series (at least, I think it's one left) there's really not much left to say here. The story is good. It's got some nice twists and turns, has made me a bigger Freddie Freeman fan than I ever thought I could be, and is actually pretty brutal. And Winick has done the goods in absolutely making me hate the villain of this book, Sabina. So why am I dedicating space to this? Because Mauro Cascioli's painted art is fucking amazing and needs all the press it can get, that's why! This man is an absolute find, and this is some of the most lush art I've seen in a long while. It's what Alex Ross' art could be if the man actually understood how to tell a story with and in between panels instead of overblown splash pages; something Cascioli also has a good knack for. Really, the only complaint I think I can aim towards what I've seen of his work thus far is that he does have a tendency for profile swaps. In this issue alone I've seen a profile shot of Sabina that looks exactly like Angelina Jolie and Superman at the end of the book is blatantly Christoper Reeves, but overall this is quite amazing work. If DC is going to insist on having giant "blow it all up" event mini's, this is the man that needs to be helming one of them. –
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Eat it.
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hey im second hello to all in sunderland england
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Instead of the kind that "forget" to invite me to their birthday parties. I'm so lonely.
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Quotes from the review:
"I believe all this will be..."
"I believe Miller is going to suggest..."
"I believe Miller is setting the stage..."
The whole thing recommends the book based on the reviewer's wishful thinking of what he hopes will happen in the future, backed up by some extremely spurious psychological analysis of a character that's written too flat to warrant such analysis. And let's not forget, in this supposed 'Miller-continuity', where Dick Grayson ends up (Dark Knight Strikes Again). It's a fairly groundless effort to put a positive spin on this debacle, but it's based entirely on supposition about the future. Frank Miller has blown his mind on cocaine and ego. He hasn't written something truly good since the very first Sin City, in my opinion, but even if you care to argue that (and I can see that argument being made), ASBAR is going to need a better, more cogent defense before it can be seen as anything other than a contemptuous, ugly failure. -
I think the proof that ASBAR is a bad book is that its fans will go to incredibly extreme lengths to rationalize why it is actually good. "Maybe Frank Miller's making it INTENTIONALLY bad, so..." Please, just leave the poor thing alone. The only thing Miller's laughing at are the fans who are continuing to buy and are actually defending what is basically his excuse to get a bigger pay check from DC each month.
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Both awesome reads this week. I've loved Bru's CAP since the get-go, but USM has kind of spun its wheels lately. This was the first issue in a long time that was just FUN from start to finish.
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I can't wait for the collection. I wonder if it will have the Drywall one-shot?
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I wasn't planning on buying Project Superpowers, but there wasn't anything in my box at the comic shop last week and so I picked up a copy. I liked it a lot more than I expected. And, there is a LOT of story in this issue for it to be a #0.
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At least, so I'm told.
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I was leery of this book myself, after Justice.
I didn't hate Justice, but it was just confusing enough to feel like Claremont was writing it.
I'm glad I bit the bullet.
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I enjoyed this, too. I was leary going in, and apprehensive when I found some editing mistakes early on (for example, in the tent scene, the dialog that starts with "You're wrong, Yank..." should be coming from Skull-n-Crossbones guy, not the general. That would make his next line "I'm afraid..." more logical.)Still, it was A LOT to pack into an issue, and I had 50% of a mind to do a review myself if you hadn't. Nice job, BTW.
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That review says the book is amazing because of where it may someday be going?? Thats retarded. Thats like saying Attack of the Clones is good because you know its setting up events for Empire Strikes Back... Review the book, not your imagined ideas of conclusions that might be wrong.
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I was really impressed with Superpowers #0. I personally love most of Ross and Krueger's stuff but Justice really just confused me for the most part. I kept feeling like they were skipping small things that I guess were obvious but I didn't get them. That said, however, Superpowers was pretty incredible and I really look forward to the series.
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If you don't know that you shouldn't be reviewing comics and certainly have no business being on AICN
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The less action in your comic the better the AICN revue.
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Gotta love the guys who spot a typo or know some obscure piece of trivia and then discount anything else the writer might say. Good luck to ya, guys.
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My comment does not include CK Lamoo, of whom, in fairness, I am not entirely sure what he is saying.
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.. elseworlds otherwise. However the only way I can enjoy All Star Batman is as a parody, otherwise the whole thing reads like Frank Miller is trying to do an impression of Frank Miller in his prime but failing horribly.
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A troll. How exciting. Jeff, who's trying to pretend my opinion is worth anything? I don't know, I assume you're getting paid though, since I can't see any other reason a rational person would hang around somewhere they didn't like just to post snarky critiques to complete strangers. Me, I'm just trying to find a way out of the @$$hole Clubhouse, which they tell me will happen when I break 500,000 words. Until then, enjoy the ride, bucko!
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Cool. Truthfully, I was too lazy to go through the whole comic again just to post a comment. Thanks.
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I think you have me confused with someone else. Enjoy the show.
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But thanks to Alan Moore's TOM STRONG, I am familiar with the Black Terror and his sidekick Tim. Some of the best issues of TOM STRONG for me, in which Tom ends up on the parallel world of Terra Obscura after his double Tom Strange (aka the Golden Age character Doc Strange) runs across the universe to get a message to him. Naturally, they fight, then team up to take down the aliens that have colonized Tom Strange's world and placed all the other heroes in suspended animation around Earth's orbit. I haven't read PROJECT SUPERPOWERS (which is using many of the out of copyright characters Moore revived in those issues) but it sounds interesting and I liked Optimus' review.
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So were the Terra Obscura miniseries, but in those the character was just called 'The Terror.' I thought Alan Moore owned the rights to all those guys now. Is the guy with the boomerangs on the center of the cover the original Daredevil? I thought I recognized him from that old Jeff Rovin Encyclopedia of Super Heroes.
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...due to our incredibly similar good looks, and our penchant for fast women and fast cars. But we are actually two different people, despite the fact that we have never been photographed together.
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...I should point out that it wasn't rock-me Amodeo (it was stones_throw) who 'freaked out' or called you a troll. Remember this moment next time you nitpick folks' mistakes and act like a sanctimonious arsehole.
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...leave it too late to say that and make *myself* look like a tool in the bargain. *sigh*It's been one of those days.
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Isn't this the comics talkback?
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Why, yes, this IS a talkback! So let's switch gears, now that we're done with all that:has anyone been picking up Ennis' DAN DARE? I wanted to review it, but I ran out of time. If it didn't have Ennis' name at the top, I would never have guessed it was hi writing it. I think he's doing an abso-bloody-lutely brilliant job on this book.
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This guy quotes my post in which I suggested that this other guy and I agree to disagree, then he posts this huge, elaborate picture of a troll in a swamp that was both hideous and beautiful at the same time. I told the guy that if it was his own artwork, he was very talented but I had to take exception with him saying I was a troll because I was only on the boards for my own amusement. I had to ask if he was there for the betterment of all mankind.Anyway, I think that we oughta figure out a way to add really cool artwork whenever we call someone a troll.Like, "Hey, Buzz, yer a troll, man, and here's a download of the flying stone trolls from TALES O' ASGARD by Jack Kirby, so you can see the artfully rendered thing that you are!"
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...is another man's @$$hole."Or something like that.
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Back in the Olden Days, we @$$holes criticized comics for lack of action and the talbackers criticized us for not being smart.I gotta admit, I like the Skulls'n'Crossbonesy guy line. Once, I really cheesed the DC congregation off by stating that I skipped several pages of SUPERMAN VS. DARKSEID because they looked stupid.
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seems very promising...sweet tom strong mention in the TB, that is a such a good diversion...i'm going to miss that book when its all over.
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BRILLIANT.
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are you getting relegated or not? or do you not support the black cats?
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Here's a story... I recently found a copy of that "Death of Super-Man" story everybody loved so much. It was only 3 bucks, so I picked it up. Man, that shit sucked. I don't know what you guys were up to in 1995...
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Can be enjoyed for it's subtle and classy moments of brilliance, like Batgirl's hard drinking pregnant mom and Batman dry-humping Black Canary while people burn to death.
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I think the Wearsiders moved the Cats out of the drop-zone last week. Prica made the difference.
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"...Wearsiders have moved out of..."
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I highly recommend the work of Theodor Kittelsen if you want to post troll pics when calling someone a troll. They make fine desktop images as well.
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I know this is probably a small distinction, but I think its worth making. Matt didn't torture Ox with the blowtorch. He let Ox see the blowtorch, then proceeded to make Ox feel like he was being burned by applying pressure to specific pressure points. He left the blowtorch running so Ox would hear it and think he was being seriously burned. So Matt still used pain to get Ox to talk, but somehow, the way he did it felt a little less evil than actually torching him.
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My copy of DD made it look like Daredevil first torched the Ox, then started working him over using pressure points. But either way, I think a line was crossed--one of way too many for my liking in this story. Brubaker and Lark are trying to make us feel the danger and stakes at risk but they're going way beyond the generally family-friendly tone of the MU.Anyway, I looked thru that PROJECT SUPERPOWERS review and I can't even see that "Skulls and Crossbones guy" line. Am I just crazy? Also, I'm not sure where this "@$$holes like action-lite books" came from. Have any of you read SCUD? If there was any more mayhem squeezed on those pages the book would explode. Otherwise, I reviewed DD (quite a few action scenes) and THE SPIRIT, which featured 3 action-packed shorts. Also reviewed were Cap, THE INITIATIVE, ASBAR and SUPERPOWERS, not all of which I have read, but hardly seem like dirges. Am I missing something?
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Rock-me Amodeo said it. Well, now I feel silly. This talkback is too much.
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I have to agree with the original review. I'm not usually one to get into what is and isn't out of character, but this has gone on for about long enough. There's only one ussue left in this arc though, so hopefully things should shape up in no time. Not that there won't be repurcussions for DD's actions, but I trust Brubaker and Lark to pull things off.
One problem I do have with the review is that it points out the terrible violence DD is exposing the kids to, but what about ***Spoiler*** The Hood shooting two people in the head? I remember about a year or so ago when there were graphic panels of people with saw blades in their backs. All Marvel does is change the color of the blood from red to black and call it good. I also recall a lot of beheadings in the the old Bendis/Maleev era. Daredevil has been one of their most consistently gory, violent books being published. -
I'm so glad to read a review of Cap these days that still understands the greatness that Brubaker and Epting are crafting. I've been seeing some semi-flak over the last months... people complaining about the length of time the Skull's plan is taking, stuff like that. But I have to say, as a Cap reader for the last 30 years, that this three-year run has been the most exciting time on the book since Waid & Garney took over in the mid-90s. It makes me sad to think that these creators will have to leave the book at some point... I'd love to see them challenge Stan's & Jack's tenure on Fantastic Four.I can't wait to see where Bru takes "Cap" next. But they'd better not bring Cap back through some dumb-ass time warp or Mephisto kludge...
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I did try to address that there was other stuff that was going on that is probably too intense for DAREDEVIL monthly, but yeah, the review was mostly focused on the stuff with the actual DD character. The on-panel shooting people in the head did stand out to me too but somehow I forgot to mention it in the review. Ah well. Anyway, I suspect this will all be down to Mr. Fear and toxins, but that's not quite a satisfactory resolution. Mind control stories generally suck anyway.
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The Red Skull and Zola seem to be working on somehing to do with time travel (Dr. Doom was called in for a favor a few months back too, probably to pay the Skull back for when he last borrowed his lawnmower). Plus there's still cosmic cubes in the background. Anyway, as I commented a few months back, I hope Brubaker does have the return of Steve Rogers written in, as he's coming back eventually and this story is so good I wouldn't want to see it over-written by a ret-con down the line.
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...Does Jose Q know about this? Mephisto's even now having his lawyer's write up a new "Your Everlasting Soul Contract" for round 2, I'll bet... arrrrgh!
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Is the ASBAR review just reviewing the series so far, or is a trade paperback coming soon? Amazon says volume 1 TP isn't due until June. Anyone know?
I bought the 8th issue in this series basically just because of the cover, and I'm interested in checking out the rest.
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...well reasoned and all that, but it just does not make up for an unfocused, un-entertaining and unsatisfying read. The only reason I'm reading this is because of Lee's art. But I doubt I'll continue to shell out more $ past issue 10. Luckily that probably won't be till 2011, so I've got time to make up my mind.
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http://tinyurl.com/yt454w
scud info -
mithrandir16, according to dccomics.com there'll be a hardcover trade out in June covering #1-9
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I know they had a joke a few years ago but come on. I want the master of illusions to have his chance in spotlight. And speaking of illusions, what about Ultimate Chameleon? You can skip Hydro-Man. Not really that interesting looking a villain. God, it took ultimate X-Men years to finally give us Apocalypse.
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I would be really happy if they made him into a super bitter George Lucas or Michael Bay.
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How does the Batman in Year One become the character in ASBAR so quickly. The Year One Batman was a driven but compassionate man. He even saved the damn cat from the SWAT team. The ASBAR character is a vicious psychopath. Since ASBAR also happens in the early stage of Batman's career, there couldn't be more than a few years between the stories. I simply fail to see how the guy could change from one to the other. I even have a hard time believing the Year One Batman is the same guy we see in DKR, but at least there's 25 years in between those two stories.
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When I take a truly stinky shit in the toilet I don't find it necessary to defend what I ate that caused it...ASBAR is that bad!
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mtoast, to borrow from Moore's THE KILLING JOKE, maybe he had a bad day.
I've been thinking Miller might just be suggesting a gradual wear-down... we ARE talking about the effects of cumulative lack of sleep over a couple years on a man who thinks dressing up like a bat and fighting crime sounds like a good idea to begin with.
But your questions also raises the possibility in my mind -- pure conjecture -- that Miller might have some specifics that he intends to reveal later on in ASB&R. -
The guy writing the comics is now a crazy, delusioned shell of his former self. Simple as that.
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I agree wholeheartedly with your assessment of Y: The Last Man, a stunning achievement that the last issue wrapped up in a beautiful but melancholy bow. I think I stared at the page you're talking about with Ampersand for about ten minutes, so beautiful and affecting it was. One of the best.
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ASBAR is the same as AS Superman. Completely out of any kind of continuity, including Miller's own. The difference is that Superman is well written and great to read. Batman is the worst written incarnation of the character I've ever seen, INCLUDING the fourth movie. You can make every point in the world about how it supposedly links up with his other works, and all that has to be said to shoot that down is: "I'm the Goddamn Batman!"
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If Miller really did turn things around and show us where he's going with it and the later issues explain these first eight... Then I might see appeal in the book... Maybe...
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Seriously, his dick's been sucked dry by now. Somebody say something bad about Y-The Last Man so I can shit down your throat.
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Feb 06, 2008 3:14:40 PM CST
So The Red Skull Is Behind The SubPrime Mess and Recession?
by laserpants
I've been enjoying Brubaker's run on Cap, but this plot detail -- Red Skull behind the subprime mortgage mess, rising oil prices, and the recession -- is just retarded. Unless, of course, it turns out that the Red Skull is actually Dick Cheney in diguise, then it makes total sense.
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I'd even go so far as to say that his current work represents the best Daredevil stories ever. I'm totally immersed with the characters, feel moved/saddened by whats going on with Milla, and LOVE Matt going all Hostel on his enemy and torturing him in some dank warehouse. Fuckin' awesome. Really loving what Brubaker is doing here, and I love the realistic artwork too. Also glad that Daredevil seems almost totally removed from the rest of the Marvel U.
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Just to clarify, while All Star Superman is set in an entirely independent continuity, ASB&R is not. ASB&R is not mainstream DC continuity, but Miller has indicated in at least one interview (with Matt Brady of Newsarama.com) that it fits into the same continuity as DKR, YEAR ONE, etc. -- basically the "Frank Miller Batman" continuity. (Incidentally, the one place where Miller's continuity and the mainstream DCU continuity overlap is in YEAR ONE.)
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... is Buddy "Aces" Isreal in that shitastic movie, "Smoking Aces."He's coke-out, whore-chaser who has become a retarded and sad parody of the great writer he once was.ASB&R is PROOF of this happening. There is no greater meaning, Barking Frog. And you're a fucking idiot for trying to make logical sense out of a coke-head's egotistical delusions.I agree with everyone who has half a brain who says this is the absolute WORST interpretation of Batman in the history of history. And yes, the steaming turd that is ASB&R is WORSE than the gaygasm that was Batman & Robin.Barking Frog... you're a fucking PLANT.
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Stoney (may I call you Stoney?), I picked up on that time travel tease when Bru first brought it up. I guess my apprehension is due to that miniseries/event I read about on Newsarama several months back... apparently there's some big "Invaders coming to the present" storyline somewhere down the pike, and it seems like they might use that to bring the original Steve Rogers back into modern time... and that bugs me, for some reason. I guess I want the Steve Rogers I've been reading for years, not the green recruit from the 40s.
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And frankly, I'm tired of the words "cokeheaded skirt-chaser" and "coke whore" and so on being used in a derogatory manner.
I think ASBAR is garbage through and through...but when this column came our way and presented a well written, insightful defense of it I felt it was important to include. It's good to get a different perspective sometimes, folks. Even if you disagree with it, it can help you more clearly understand and express *why* you disagree with it.
So no: not a plant, not an idiot--just somebody who sees things much differently than many of us. Where I see a huge pile of crap, he sees fertilizer. I think it's trash, he thinks it's mulch. But that's...okay. Really. Diversity is a good thing, people. -
that got onto the cover of the second issue of Y:The Last Man (at least I think it was the second issue)?
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"And frankly, I'm tired of the words "cokeheaded skirt-chaser" and "coke whore" and so on being used in a derogatory manner.",br>
Haha! Well said, sir! Whats wrong with a little coke and womanizing? Everyone's gotta walk on the wild side at one time or another; it makes for a richer, more interesting, and certainly more exciting life. -
"And frankly, I'm tired of the words "cokeheaded skirt-chaser" and "coke whore" and so on being used in a derogatory manner."
Haha! Well said, sir! Whats wrong with a little coke and womanizing? Everyone's gotta walk on the wild side at one time or another; it makes for a richer, more interesting, and certainly more exciting life. -
One of the best reviewers of comics ever. I was gonna review Y # 1 but he called it, along with the last piece of pizza.I am still the only @$$hole to ever have the one positive line of an overwhelmingly negative review (ULTRA # 1 -- if I wanted SEX & THE CITY, I'd be a chick)quoted on the cover of a trade.
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That wasn't a "well-written insightful defense" of ASBAR. It didn't point to anything redeeming about the series, merely invested it with barking-frog's "beliefs" about what will happen in the future. The review is nothing but armchair psychoanalysis of a character who's written too shallowly to deserve such an analysis, bolstered by empty wishes. The whole stance is similar to any fanatic (religious or political) who ignores the reality in front of their faces in favor of speaking of 'belief.' Miller has been a hack since the mid-nineties.
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And that's *your* belief. One I pretty much agree with, BTW. Hell, I also agree with the people who call 300 fascistic and homophobic, among other things (I also found the story to be slight, at best, with little or no characterization worth mentioning). BUT: these are things we *believe*. They are our subjective opinions. They are not objective, scientific fact. Debating the "reality" of whether one fictional comic is better than another is a dodgy matter at best, as anyone who's written a review can attest. While we may believe we have more evidence on our side, there are those who may view the works from a different perspective and just as strongly *believe* something that makes no sense to you and I whatsoever.
Like believing ASBAR is worth anything more as a complete issue than it would be as kindling for a fireplace, for example. -
I was interested as I remember that they just credited it as "AICN," but that could have meant anyone.
I'm going to miss Y: The Last Man. You know, it was in an issue of Y where I read the word "heh" in print for the very first time. My life just hasn't been the same since.
I've been putting off buying issue #60 for a few days- perhaps to prolong the series' existence?- but I'll be picking it up tomorrow. I hear it's a corker, so I'm looking forward to it.
Thanks for the great write-up, Humph...(There isn't really anyway of shortening the name Humphrey and making it sound cool). -
the reviewers 'beliefs' are all based on THINGS THAT HAVEN'T HAPPENED YET, not on what exists now. I always thought 300 sucked, too, not because of the homophobia or the total lack of historical realism, but because the story was so slight and all the Spartans talked like bad Mickey Spillane characters. Anyway...
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I don't think Alex Ross is nearly as good at design as Marvel and DC seem to think he is. I think he continues to get projects based on the goodwill built up from Marvels and Kingdom Come. The more of his work I see, the more I feel like giving credit to Busiek and Waid for those two works. Sure he paints a pretty picture but he needs a good story teller (sorry Kreuger, you ain't it) to push him. As for ASBAR, I love it too and I think most people hate it for the reason they should like it. It's over the top and meant to be. Miller isn't trying to do DK3 or Year 4, he's intentionally doing Batman as a cheesy noir/macho dimestore crime book. If that's not your taste then fine but don't say it's bad because you don't like the genre. If you want to complain about the lateness of the book, I'll join you but other than that, I think it's a fun ride.
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I don't think I've seen an a$$hole review of the book yet. Its really cool. Based in Japan, using Japanese myths and iconography, really beautiful and unique artwork and a freaky story. Pretty violent / disturbing as well. If yr not reading, I recommend.
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doesn't strike my fancy. Batman isn't a transgressive nihilist, he's a control freak genius law and order guy. What I saw of ASBAR seemed like Miller trying to SIN CITY up BATMAN, which I don't think fits the character all that well. I mean, I love SIN CITY, but BATMAN isn't and never was Marv or Dwight. He's not like that in general continuity, and he's not even like that in Miller's continuity. Sure, he may be unhinged, but he's hyper controlled about it, not a raging Marv-like lunatic/bezerker. I think Miller is having fun with it and no doubt picking up a hefty check for it, but I don't think he's "feeling" it, he's just fuckin' around.
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Not that I frequent such establishments, but it would be a great name for one.
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Stop arguing about arguing, and unite in your mutual disgust of the new Harry Animation.
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... you were NOT da bomb in "Smoking Aces," yo!Okay, here are some well-thought out reasons why ASB&R and Frank Miller are total shit:The purile dialogue and character "development."Batman screaming, "I'm the GODDAMN Batman," to a scared kid.Batman jacking himself off on Black Canary like a horny labrador retriever while people are dying.Batman as fucktard, crazy nihilist which is a complete LEAP out of the parameters of who and what Batman is and is supposed to be.The reason why All-Star Superman works? Because it's still fucking SUPERMAN!The reason why Ultimate Spider-Man works? It's still fucking SPIDER-MAN!The reason why ASB&R doesn't work? Because that's not fucking Batman. It is a delusional man's coked-up fever dream of an amalgam of Batman and possibly a few of his characters from Sin City and maybe a little Leonidas thrown in there for good measure.Barking Frog's review wasn't so much a review as it was all his dreams for what he hopes the series COULD be, not what it IS. That's complete bullshit, and I called him on it. He's full of shit and retarded to attempt to logically explain the trainwreck that is this comic as written by a coke-fiend.And no... it is NEVER good to be hopped up on coke and fucking hookers when you're supposed to be writing coherent dialogue and diagraming a character on par with Batman. If you must do that, Frank, do it on your own fucking time, and stop fucking the rest of us over.That's it. Soapbox rant over.
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"It's over the top and meant to be. Miller isn't trying to do DK3 or Year 4, he's intentionally doing Batman as a cheesy noir/macho dimestore crime book." -- Funketeer
That's what I thought at first, but Miller stated in an interview even before ASB&R #1 was released that he viewed the series as "Batman Year Two". That's part of what led me to the conclusion I've reached about Miller's intention -- since he clearly intends this to be the same Batman as in YEAR ONE and DKR, and the book's not just a radical reinterpretation of the character, he has to have a plan for explaining how Batman got this way and for "bringing him back".
Unless of course he's now a coked-out whore chaser, but the series seems way too focused for me to buy that. Maybe it's just because I read all eight issues back to back, but it seems to me like all the indicators are there. -
nice 1.I too have been reading Dan Dare.I recommend it.Dan Dare has been rebooted many times (usually badly,though I haven't got round to the 90's Grant Morrison version yet,I'm more from the early 80's Eagle Reboot School,Doomlord anybody,Tower King no??,ah anybody round here ever read Scream weekly,I'm still dizzy of the fumes from the ink print) but with this version I think Ennis has shown restraint and has got it right.......ASB&R= silly :)
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Hell yeah that is some god-awful animation. What the fuck? I'll join your side when the shit goes down, even if I can't bother to type your full screen name. PLus, I don't give much of a shit about Batman.
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I suppose the question could be asked of ASBAR (the same question that some are asking of Spiderman), and that is this: if the thought is that even if the writer(s) will be "bringing him back"--back to a semblance of status quo that most people identify with--is it wise, is it acceptable, to have so many people so upset about this radical departure? It's more than just the end not justifying the means. It's the thought that each (or at least every other, criminy) issue must somehow entertain. And if several issues into a story line, most people are NOT entertained, and are flat out disgusted, then what purpose does that serve? At some point, it's just arrogant to continue.It's like a singer that has to sing most of a song in a low register, and they suck on low notes, but they really rock on high notes. They might keep saying,"wait, wait! You're gonna love the end!" But who wants to sit through all of that wretched beginning? I don't care if he can hit high notes like Geddy Lee, I'm not going to stick around for the crappy parts. And I think most of ASBAR has been crappy. Consistent, but crappy.To me, it doesn't matter how many indicators are there, and I know you've put a lot of thought into this, but me, I'm not sticking around. I don't care what kind of high notes it hits at the end.
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Thanks for answering my question about the TP.
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I agree with you 100%. I doubt that Miller intended to take the character so far afield for so long -- or perhaps he thought people would be more tolerant of the experiment. I'm guessing the book works better read as a "trade", one issue after another -- and considering it's taken two years to get to where it is and most people aren't concerned with its overall sense, I'd have to say in terms of reader interest that Miller's failing.
I felt the same way about DOC FRANKENSTEIN -- great book crippled by incredible gaps between issues and a decompressed story that just exacerbated that problem.
If ASB&R is eventually successful in the public eye, I think it'll be in TPB form, like RUNAWAYS. -
... how come some of the best written stuff out right now is never really talked about here in the @$$hole Forum?Yes, I am talking about Green Lantern, which is, besides maybe Ultimate Spider-Man, the single most consistently good book out there.It delivers on the goods, EVERY FUCKING TIME. The Sinistro Corps. The beginning of the fleshing out of the mythology behind the scense. The rainbow of colors attached to will power, fear power, love power, etc.Hal Jordan is the single best superhero, with the single best costume and powers in comics today.But you'd never know it from the @$$holes.End of soapbax rant numero two.
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We review Ultimate Spider-Man, like, every other month or something. (I personally did 111 and 116, and didn't we do it, uhn, today?)As far as GL goes, we reviewed GL Corps #20 (http://www.aintitcool.com/node/35288) and we did a huge love-fest for GL25 and I know we did at least a cheap shot (or two) of the Sinistro stuff...I mean, this is like my wife saying I "never" take out the garbage.(honey, is that you?)
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I haven't committed to it yet, but it's possible I'll be reviewing THE SINESTRO CORPS WAR for Feb 20, the same day the first TPB is released.
And I'm scheduled to have a review of THE BOYS up for next week, the 13th. -
i'll have to check it out...anyone read the black adam mini? cuz i pretty much loved the whole shabang...black adam is a fave of mine...i would play him in the movie if i had any muscles, i think i'd do fine with the murderous justice that adam dishes out. rock-me!, prica might turn out to be an astute buy by keano (a man i hated so much as a player)...i hope they stay up though. derby, buh-by, they have been awful. my beloved gooners have been fantastic except when head butting eachother, jeez.
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... I know y'all review Ult. Spidey a lot, that wasn't the question. But GL is under-represented for being such a great book. I don't think it's too much to ask for one review a month, maybe two if you include the Green Lantern Corps, which is also superbly writtenIt's just, in a time when many of the "big" books are struggling to find consistently great writing (Hello, BRAND NEW DAY or whatever the fuck they're calling the Spider-Man books now, or any of the Superman books), GL always entertains and keeps you wanting more.I just think it should find a permanent home in the rotation of reviews. The way it is, especially with DC, the "secondary" books (GL, Robin, Nightwing, etc.) are just better than the primary books. And it pains me to call GL a secondary book, but with Wally coming back and the whole Countdown and constant retconning over at Superman, GL doesn't even get the love from DC most months, but it deserves it. It's a jewel in the DC crown, for sure. Emerald, if you will.
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Are the Superman books bad again? Last time I looked, which was about six months ago, you had your choice of Morrison on ALL STAR SUPERMAN, Geoff Johns (author of GREEN LANTERN) and Richard Donner on ACTION, and Kurt Busiek on SUPERMAN. Not exactly B-list talent.
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I've already committed to reviewing it next week. It rocked. And I agree. The "second tier" books seem to be where it's at lately, perhaps because they have more latitude. Ultimately, it comes down to which books moved us the most, and those books get reviewed, as many as we can do (which, some weeks, is only one or two, except for Ambush Bug, who is RELENTLESS in reviewing as many good things as he possibly can.) But I agree, GL has been great, and I am a fan who has only come aboard recently. Next one that comes out, I'll make a special effort to share the love.
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They don't review all the great books out there because they don't read them. Don't think of this as a review site because it's not. A good reviewer goes out of his way to seek out new material rather than review the same books every month. This guys aren't really interested in being good reviewers. Their primary concern seems to be creating a web presence for themselves similar to what Harry did. I'm sure some of them hope to parlay this into some kind of comic book career. If you want good comics criticism, go to The Savage Critics or Eye On Comics.
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We're standing RIGHT HERE, Funketeer.Yep, that's us, parleying away.
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How about that Indie Jones section I put out every week, funky? I think that's about as "outside of one's comfort zone" as you can get. To be honest, I've always been a "Big Two" kind of guy or was until the original Indie Jones AKA Lizzybeth left the column and left me with the job of covering the indie section. Now I've formed an appreciation for all kinds of books--big and small. And the main reason some of us review some books and we don't review others is because we rarely get comps. So we review what we get normally, but I've seen many of the Holes venture outside their pull list in the name of journalism. I've never heard of those other sites you mentioned. They're probably good cats, but with the amount of Holes (now ringing in at 12) reviewing for AICN Comics, we're bound to cover just about anything you desire. It may not happen every month, but all of the books mentioned in the above posts have been reviewed numerous times here. Check out some of our past columns if you think I'm lying.
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than the batman & robin film?
Really?
That's a little harsh... -
Feb 07, 2008 3:00:17 AM CST
"Their primary concern seems to be creating a web presence"
by industrykiller!
Ok now that is just a bullshit statement. I wouldn't say I'm entrenched in the comic world anymore so I don't know a ton of sites that review them, but these guys are easily the best comic reviewers that I know of. If they don't review every god damned book out there or even a large array it's probably because they've got other shit in their lives going on besides reviewing comic books for aint it cool news for no pay. What comics they do review they review very well, in fact they are some of the best reviews on the site.
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Any book that does something exciting and interesting in an original way is okay with me. I barely have a pull list anymore since most of the books I buy are to review here. I get THE SPIRIT because that's something new each month and THE BRAVE AND THE BOLD because it's always good and has the George Perez art. Grant Morrison is usually a safe bet too. But beyond that it's all good. Actually, the main problem is trying to get through a random #1 I happen to pick up off the stands, which is why I'm considering moving to trades and reprints more.Btw, in case I didn't make it clear earlier, I'd like to apologize to Jeff Albertson because that whole thing got blown out of proportion. I thought he was making a dig at a joke in a review, actually he was responding to a talkback from Rock-me Amodeo. So sorry about that--my fault completely.
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... they seem to be trying to retcon the damn books on a monthly basis. With Action, it's good, but is it comic book Superman, or is it Dick Donner's movie Superman?And All-Star Supes doesn't count. And I'm saying that now because, well, I stupidly wasn't clear that I meant the regular books. My bad. All-Star Supes IS good. GL is just better, well, it's better as long as they keep Judd Winick as far away from the book as humanly possible.That man single handidly ruins every book he touches with his heavy-handed socialist agenda. Otherwise, he's a decent writer, but his ideology gets in the way. We get it, Judd... Pedro was a good guy, was gay, and died of AIDS. It sucks, but stop beating us over the fucking head with it!
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once the reviewer says the comic isn't for everyone, essentially blaming the audience when they don't "understand" it, then the reviewer has failed.
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...Is Y:The Last Man considered to be an equal to Vertigo Legends like Sandman or Preacher. Those series pushed the format to new heights, Y is just the more mainstream Walking Dead.
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I love ASBAR because each couple of months I have to face a mighty internal struggle - do I jettison the title because Miller is poorly edited and appears to have been given 'carte blanche' to indulge all his twisted anxieties about superheroes, or do I cough up my hard-earned moolah for Jim Lee's & Alex Sinclair's stunning pencil and ink work. Jim Lee brought me back to Batman with 'Hush'...I just wish that he was working the regular series with Morrison...though Tony Daniel is no slouch. No other comic book presetns me with such a dilemma...I think I need to get out more.
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Frank Miller is neither drugged out nor delusional. He's also not doesn't have a cohesive plan. What he does have is contempt for both superheroes and their fans. Read the interviews with him after DKSA. He's having fun by crapping on his greatest success and a beloved hero - and seeing if the fans will buy it. And apparently - many of you are. I'm sure he's enjoying your pain and your money.
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I kept on with Nightwing for a while because I have the whole run. But after numerous revamps that go nowhere and constantly changing locale, rogues gallery and love interests, I just can't read it an more.
Since he left Bludhaven and Blockbuster fell out of his life, Nightwing has never been the same. Livng in a museum? I'll pass. -
I just picked up the first "Sleeper" trade and it is fantastic. I'm not a Daredevil fan but I picked up the first trade of Bru's run because the guy is that good. Has he written any stinkers?
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One of the earliest in-house arguments among the @$$holes was when someone, let's say me, may have spoken a tad testily to a departed (but not dead) member by what some people would call screaming: WHY DO YOU REVIEW THE FLASH EVERY SINGLE MONTH? AND SUPERMAN! DO WE NEED TO COVER EVERY SINGLE ISSUE OF SUPERMAN? NO WE DO NOT NEED TO COVER EVERY SINGLE ISSUE OF SUPERMAN! HOWZABOUT SOMETHING NEW & DIFFERENT BY NEW PEOPLE? AND THE NEW REVIEWER YOU WANNA BRING ABOARD? YOU WANT TO BRING HIM ABOARD BECAUSE HE READS THE SAME EXACT STUFF YOU DO!I'm not sure that one was ever resolved.
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Two handfuls of well aimed poo will usually do that.
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Expand your borders and you'll find just how many things outside your borders ... suck big time. If you want to keep liking comics, you pull back.
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I know I will be raked over the coals for this statement, but here it goes. “I like All Star Batman and Robin.” There I said it, my head did not cave in nor did all comic shops across America implode from the sheer gravity of these words.
Now, a lot of folks in the Talkbacks have been looking at this book from several standpoints. One, does this fit into Batman continuity? Does it meet the edicts as to what the All Star line is supposed to be (cough ~ rip-off of Marvel’s Ultimate line)? Is Frank Miller creating ASBAR to fit into the continuity of Year One and DKR?
I will start with question three, because I love making the analytical folks in this world vomit uncontrollably from my sheer randomness. Frank Miller, I must call bullshit about you creating a new continuity. If we step into our flying Deloreans and visit the early 1980’s we’ll all remember what Year One was initially attended to achieve. This was a post-crisis (the first crisis) relaunch of Batman. It was supposed to make him more accessible to modern readers while showing reverence for the original continuity. Despite how we all feel about Frank today, I think everyone can agree he did an admirable job back then. One of the talkbackers mentioned that the DKR batman was a kinder, gentler Batman than the one in ASBAR. Again I won’t dispute this fact. This mid-life crisis version of the Caped Crusader was far gentler and kinder than what we see in ASBAR. So to say this is a new continuity is a cop out and justification for a book wrought with delays. Stop trying to create your new universe Frank, just tell some good stories.
Does this book meet the edicts of the All Star line and does it fit into Batman continuity? No it does adhere dogmatically to cannon. Next.
I’m not sure two title lines that come out about as often as a likeable Presidential candidate should even have edicts. All Star Superman seems to be plodding along to its own drum beat. The stories are fantastic and the art is superb (I like Quitely’s ugly people), but Superman is still just Superman. Miller is recreating Batman with ASBAR, but is that wrong? Obviously the folks at DC don’t think so, and neither do I. If in the 21st century he wants to convert Batman to Cockman and his foul mouthed sidekick then have it.
Love it, hate it or burn the books in effigy, this is just one man’s take on an old tale. Look at Battlestar Galactica. While it takes elements from the original show, what we have been given over the past five years is a complete reinvention. Some folks pine for the old days, while others have embraced this dark reinvention.
Comics have always been a reflection of our societal values and ASBAR is a direct mirror being held in front of everyone who is not a baby boomer. My age makes me a whipper snapper to Gen X and an old fogey to Gen Y, but one undeniable truth is that we are in an age of cynicism and these demographic groups embody that cynicism with gusto. From our apathy about the government to the dismal fiscal outlook of our future, we are in a time of crisis for our humanity. The world has become a darker place and I’m sure that’s especially true for someone like Miller who as a Baby Boomer looks at the next generation and says, “I didn’t create this Batman kids; you did.”
This is not the Batman we know, nor does this fit in with some pseudo-continuity Miller created twenty years ago. This is Batdouche. Take that for what its worth.
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That to me is a reasonable response by someone who likes ASBAR. Just say you enjoy a psychotic, juvenile, idiot Batman whose adventures are stretched out incredibly thin while being well-drawn by Jim Lee. That's honest. To say you like ASBAR because of all these things you hope and 'believe' might one day happen with the title is conjecture and ignores the crap product that's out there. Optimus is right is simply acknowledging the crap product as something he enjoys, without having to spin depth and profundity where none exist.
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For reading through my non-spaced mess. Will teach me not to cut & paste directly from word.
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I've read a lot of reviews that attempt to defend this title. The above review was easily the worst. The parody idea is at least interesting (although there are several holes with that take), but to see it as some deep character study is ridiculous. There is nothing deep about AS:B&R. Half the review is assuming where the comic might go instead of reviewing the actual comic book.
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anyone know if there will be any more colbert comics?
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OMFG.
This was the comic book that got me into comic books, and I'd utterly given up hope that we would finally find out what happened after #20. And it's been more than 10 years, the last issue came out in '94! I rarely kept up with Rob Schrab's news; I didn't even know he'd worked on Monster House or the Sarah Silverman Show until 5 minutes ago. I'd only just looked SCUD up again because I still haven't yet bought any of La Cosa Nostroid series.
SCUD's story will finally be complete! I may weep openly! -
while the review was certainly heartfelt and I have no doubt genuine,it remains one fans opinion. earlier in the tb the usual nerd knee jerk name calling was going on which of course this being aicn,is expected. i personally think its a horribly written book with amazing art.im not in the least bit interested in where miller is taking it or how it ties into the 'miller continuity'.i recently found the entire run to date on a torrent and got it to see if it was really as bad as i keep hearing it is. its actually worse than i had thought. my point through all this is twofold-frog is entitled to his opinion and calling him names because his differs from yours puts you in the same category as the demented child torturing 'goddamn batman' that miller is writing over at ASBAR. second point-and i said this about 'new day brand again same event' over at the spidey books. Vote with your damn wallet! if the book is trash stop telling the writers and the publishers that its not by giving them your money! if u absoloutely have to have the comic for the art or whatever the case may be get them off a torrent. this is why things dont change in comics. because nerds get up in arms about the shake up to the current status quo or how horrible the current writer is but continue to buy the books.make it stop-vote with your wallets-go get a torrent
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Well, the book really does fit in with the continuity of Frank Miller's other Batman stuff. Read Dark Knight Returns, Year One, and DK2. Read them as a whole, and then read the 8 issues of ASBAR all in one sitting. This is Frank Miller's Batman, and it fits right in with everything else he's done with the character.
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I see what you're saying, and maybe they should have a higher rating on the book... But Daredevil always works best when his life is being dragged through a mix of shit and broken glass. Brubaker is kicking ass all over this book. And Daredevil hasn't been a book for kids for a long long time. Arguably, since the first time they let Frank Miller touch it, but probably since the original issue 47, "Brother Take My Hand," by Stan Lee and Gene Colan. Daredevil has been the superhero comic for an older, more mature mindset for a long time.
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Geppetto got his ass PWNED bitches!!
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Has The Joker shown up in All Star Batman yet? I'm curious to see their take on him.
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He's first referenced (but doesn't appear) in the last two pages of issue #7, and then has his first two scenes in #8.
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on an ongoing title...SUPERMAN...that is...i do love robinson, he gave me one of my favorite if not favorite run ever with starman. so i'm psyched to see him back...oh wait, pysch is on tonight...nice...
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I haven't gotten into it. One of these days, maybe, but not now. I've got the first trade and 1001 Nights of Snowfall. Both are good, but not great. Also, I know Willingham doesn't plan to run the series forever, but does he have a set end date in sight?
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your still in the tb so il ask a question i had about your review. i honestly havent read year one or DKR in quite a few years so my memory of both is kinda fuzzy. in ASBAR wonder woman is portrayed as a huge man hating bitch. this was something(of many) that to me seemed gratingly out of character when i read asbar. does this fit into the 'miller continuity'idea? notice that i kinda came out in your defense so im not attacking u im just honestly curious because i recently read all 8 issues in 1 sitting and my reaction couldnt be further from yours. and just a quick note to the people saying batman 'dry humped' black canary.that looked like straight up fucking to me. slide the tights down,rip the mesh slide the bodysuit over straight up fucking. but i guess its the same as luke cage not being able to get jessica jones pregnant since they did it from behind which must mean it was in the ass.
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Wonder Woman (and Canary and pretty much everybody) never showed up in DKR or Year One. A character in a Wonder Woman costume appears in DKR, but that's Selina, who the Joker has dressed up as WW.
So technically this is the first time we've ever seen the "Dark Knight Universe" (apparently that's what people are calling the DKR Miller continuity) Wonder Woman -- and yes, no doubt she's a far cry from the mainstream DC interpretation, but Miller hasn't previously defined her character/personality within the context of his "pocket" continuity. Though actually she might've appeared in DK2, a story I don't remember all that well because I honestly wasn't very impressed with it. -
see i know i remember superman being kindof a govermen tool in dk but i was almost positive i hadnt seen anyone else from the league.but aso i remember liking the hell out of boh dkr and year one which i couldnt say for anything but the art in asbar.and shit even the art was a bit over the top at times. alfred is buffed out bodybuilder? really?so anyways barking frog let me ask u this-if asbar finishes and it turns out to not be a grand character study but just what it looks like so far-a pile of shit-do u thik that would make you reevaluate your opinion of miller?im not sure if im ready to go the 'whoring,coke snorting,egomaniacal has-been'route just yet but i will for sure say im not reading the same guy that wrote DKR or even sin city for that matter
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Dudes. We met Miller-verse Wonder Woman in DK2. And that was definitely an older version of the character in ASBAR. Also, Miller's Batman always reads best when the whole story is in one book. I hated DK2 when it came out as issues. 3 years later, I re-read it, and it's fucking awesome. Completely outrageous, but awesome.
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and im currently downloading a complete frank miller torrent. at the very worst ill have some cool daredevil to re-read.i want to go back into dkr and year one and dk2 which i vaguely remember reading all at once one lazy saturday afternoon at barnes.i still think asbar is crap.even it does tie into this 'dark knight universe' its crap.frog like i said earlier your review was heartfelt and definately well written but man i think your in for a huge disapointment when it comes to this series and the millerverse.a previous post hit it on the head-just cuz u know phantom menace or attack of the clones leads into and is connected to a new hope doesnt make those movies any better
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First, I did run off and check out DK2 and Wonder Woman actually features prominently -- flipping through it and rereading some of her scenes, it looks like the DK2 WW could easily be what Miller is setting up in ASB&R.
Your new question, I want to cover in two parts -- my opinion on Miller and my opinion on ASB&R.
I don't really have an opinion on Miller. Some of the talkbacks made the assumption that I'm some sort of Miller fanatic and I'm rationalizing ASB&R because I can't bear the thought that Miller's lost the plot. The truth is, I didn't like DK2. I judge the work on (what I perceive as) its merits. Which brings me to the other half of my answer...
I liked ASB&R. I like it even if it's cancelled before #9 is released, and I like it even if I turn out to be completely off base on where it's going and Miller's really just inventing it as he goes along. It's a great fun ride... for me. I was laughing out loud at several scenes, and I guess I'm just not in love with any prior interpretation of any of the characters to the extent that I felt offended by the way Miller was handling them. He did exactly what I love in a piece of writing -- he gave me an entirely new way of looking at something, but a way that still (in my opinion) made sense.
Again, the assumption seemed to be made by a lot of talkbackers right from the beginning that I couldn't possibly be enjoying the series as it is now because my review focused so much on where I thought it was going. The reason for that was target audience. As I said in my review, "ASB&R is a comic for a very small audience" -- I didn't really elaborate beyond that because I think a reader is either going to like what Miller's doing or not like what Miller's doing, and me trying to persuade somebody who doesn't like the book that they should like the book is just silly. So I took the next step and started talking to people who might like the book, and covered something that I think won't be obvious to every reader (who likes the book)... that I see every indication that Miller's planning to do a major character story focusing on Robin and Batman's relationship.
The general outrage at the fact that I enjoyed something that a lot of other people didn't caught me completely by surprise. ^.^ -
As if this whole talkback isn't about it because someone reviewed it positively... But does anyone beside me remember over two years ago, when Miller said in some interview that the series was going to be from the point of view of Robin...? So, of course Batman looks like a fucking crazy person. Of course he "bangs" Black Canary. (and beside that, every chick in Batman's life is a beyond-smoking-hot piece of grade-A ass). This is all through the eyes of a 13 or 14 year-old little dude. Who just saw his Mom and Dad killed in front of his eyes, and was then "rescued" by the crazy-ass Goddamn Batman. ASBAR will entertain some people, and irk the shit out of others, but, I highly recommend going back and re-reading DKR, Year One, and DK2, in that order (the order Miller created them...) then read ASBAR 1-8 in one sitting. You might feel differently. You might not. Or, conversely, read them all in Batman-time chronological order. Whatever works for you...
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when i read your review i fully expected to come into the talkback and see at least 4 posts ranging in levels of civility disagreeing with you and at least double that insulting you for your opinion. hell someone even dusted off the old 'plant' standby which made my day.thanks again for replying.like i said it was a bit of curiosity on my part motivated by having just recently read all 8 issues in one sitting. i guess i could see the appeal it might have to a "very small audience" in the way that i cant peel my eyes off 'I love new york' or 'celebrity apprentice'(goddamn you writers strike). im not invested in the character at all so miller didnt offend me it just sucked(in my opinion) but hey good review nonetheless(it got us talking right)its rounding on 3am here so im going to hit the sack,but you know,ill be here all week
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as soon as my torrent is done downloading.
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"The general outrage at the fact that I enjoyed something that a lot of other people didn't caught me completely by surprise. ^.^"the smiley face should have tipped me off but i replied like a dildo anyways. of course u know its aicn and whaty to expect,you frackin review here! damn tiredness,thats it im to bed
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in frank miller's adaptation of the spirit than his actually current comic book work as it right now. hmm...so much snow.
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There was a query earlier in the TB wondering about the Terra Obscura characters and why PROJECT SUPERPOWERS can use the same characters. In simplest terms, this is the deal: Most of the super-heroes published under the Nedor comics in the 40s have lapsed into public domain. What that means is that anyone can tell new stories based on the characters. DC, Marvel, ABC, Dynamite, anyone can do it. BUT as to the question about Alan Moore's ownership of the characters? Moore absolutely does own HIS VERSION of the characters. Dynamite canNOT go and start utilizing any Terra Obscura concepts in their version. Their version must be based solely on what has lapsed into public domain, i.e., the original Nedor comics stories. And here on out, anyone else who uses the characters has to be careful not to utilize any aspects of the PROJECT SUPERPOWERS series and related projects.
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Hey, Prof, ya got it reduced to a misdemeanor, right? Community service. Like, I do a commercial: "Hey, kids, playing with Molotov cocktails may seem cool but..."How are we comin' on those nuisance lawsuits, Prof? As many of you know, I support my family and pay my taxes with my earnings from nuisance lawsuits.
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THAT'S what you were screaming at me, Buzz? I don't remember that part. In fact, I actually don't even remember you screaming at me. Whatever the case, let the record show that I was the only @$$hole that ever reviewed Archie. FACT!
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Feb 10, 2008 1:17:54 PM CST
That ARCHIE review was the barking_frog ASBAR review of its time
by sleazyg.
highly controversial, as I recall. There were those who agreed with your analysis and found it rather insightful, but then along came a fellow @$$hole (Jon Quixote, I believe) who attacked your stance. Said you'd gotten it all wrong, your thesis was incorrect, and provided a contradictory and equally literary analysis.
Good times. -
I cannot work magic. A felony is a felony is a felony. Especially when she's only 16. And what's this about paying taxes? IRS tells me a different story.
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I reviewed Li'l Archie last year. FACT!
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Next you'll tell me that someone else has reviewed RADISKULL. Dear god, can you people leave me at least one shred of obscure/kitsch comic reviewing to call my own? (I mean, y'all gave Vroom HOUSEWIVES AT PLAY. Come ON!)
And Sleazy, I'd hate to think Jon and his fancy lawyering tricks fooled anyone. My essay clearly and incontravertably demonstrated that Archie was a symbol -- a proxy, if you will -- for the idea of innate and organic bi-curiosity. I stand by this. -
Will always be there for Archie. Veronica will eventually realize that she's in love with Jughead and Reggie will notice that cute girl in the back of geometry class. Seriously, these plot threads have been building for years. All the evidence is there.
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...is actually a repressed homosexual in love with Dilton Doily.
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Maybe in the cokeheaded, edgy mid-80's Archie. The Reggie I know and love is getting all kinds of pussy.
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I was just making that stuff up about the yelling.What's the word they use for my condition?Pathological something.Greggers, was it you that did the Archie/Gatsby juxtaposition? Because that was one of my favorite all time reviews here, along with Bug's BLAH, BLAH,BLAH, and Quixote's "What Would The Comic Be Like If It Were Titled: Q, the Last @$$hole.
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"Hey, kids, if yer ever swinging on a bungee cord from an overpass sign on the 605, make sure it's the right guy in the Testerossa..."
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Learned it from a Parker/Grofield novel by Richard Stark.GROFIELD:"You mean you pay taxes?"THUG:"Sure. So does Parker. Right, Parker?"PARKER:"Yeah."
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...Superninja, Lizzybeth and the Comedian, they, too, will appear?
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i liked his twisted humor.
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Damn, see ya Steve. I hardly knew you.
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Sheesh, he was just a kid when he did all of those old Howard the Duck stories. A freakin' prodigy.
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