Cool News
AICN COMICS REVIEWS FINAL CRISIS! Ennis' CROSSED & THE BOYS! FANTASTIC FOUR! & MUCH MORE!!!
| #14 | 8/6/08 | #7 |
(Click title to go directly to the review)
AMAZING SPIDER-MAN: BRAND NEW DAY EXTRA #1 (One-Shot)
FINAL CRISIS #3
FRANKLIN RICHARDS – SON OF A GENIUS: SUMMER SMACKDOWN! #1
CROSSED #0
THE TWELVE #7
NIGHTWING #147
ETERNALS #3
3 in 1 Review of SPIDER-MAN LOVES MARY JANE V2 #1, RED SONJA #26, & THE AUTHORITY #1
FANTASTIC FOUR: TRUE STORY #1
THE BOYS #21
TRUE BELIEVERS #1
Big Eyes For the Cape Guy presents ONE-POUND GOSPEL V1
CHEAP SHOTS!
AMAZING SPIDER-MAN: BRAND NEW DAY EXTRA #1 (One Shot)
Written by Joe Kelly, Zeb Wells and Marc Guggenheim
Art by Chris Bachalo, Patrick Olliffe and Marcos Martin
Published by Marvel
Reviewed by Stones Throw
This is something you might have missed last week, but it’s well worth picking up. “Brand New Day” has gone from strength to strength after fairly low beginnings, and this is another success for Mr. Steve Wacker, who I think is the guy who deserves the most credit for making something that could have been absolutely god-awful actually pretty damn good a fair amount of the time.
I’m not quite sure what the purpose of this one-shot is, but there are three more than decent stories here, all with superior art, so who’s complaining? First is Joe Kelly and the truly excellent Chris Bachalo, who amazed the hell out of me with his snowbound arc with Zeb Wells earlier this year, and is in similar form here. They’re guilty only of the slight crime of failing to live up to what could be the entire awesome potential of Spidey’s Penguin, Hammerhead’s origin in Italy, which is told in flashback while he’s laying on an operating table after something to do with that stupid CIVIL WAR event. Turns out he has some abusive past, with a father who literally—wait for it—hammered his head. This is slightly more dumb than what I would have preferred, which is the Vito Corleone segments of THE GODFATHER PART II, except with a dude who has an elongated, rock-hard skull. But Kelly’s story is pretty good (Hammerhead commits his first murder in a theater showing the aforementioned Coppola flick), and the new robot Hammerhead at the end looks…interesting. I can’t complain. They flashback to a ‘70s story where Spidey and Doc Ock fight Hammerhead’s radioactive ghost, which is one of the most awesome Spider-Man stories I’ve read.
Next is Zeb Wells, who sadly appears to be off the rota of ongoing AMAZING SPIDER-MAN writers, but is back solo here. Spidey’s fighting the Trapster, but has to be at a fundraiser for Harry, and guess what, his mask is glued to his forehead. What would Peter do? Turns out the answer is to turn it into a bandana, leading everyone to think he’s turned hip hop. This was the slightest tale in the book, but man, did it make me laugh, and it’s nice to see Pat (now Patrick) Olliffe on Spider-Man after he was the lead artist on Kurt Busiek’s wonderful UNTOLD TALES OF SPIDER-MAN series in the ‘90s. My one criticism is with the standardized characterization of Peter Parker these days. Time was Pete was the intelligent, inhibited but spiky bookworm who found a release in being Spider-Man. Now he’s more like the Fresh Prince, taking a swing at a Flash Thompson-alike who insults him, getting thrown out of the party and having a reputation for being completely out of it. This could be meant to represent how people lose their potential and direction in their 20s, but, dammit, I prefer the Spider-Man you can relate to, not just laugh at.
The main reason I grabbed this off the stands, though, was the name Martin on the cover. Marcos Martin is the very best artist Marvel has at the minute (give him a DAREDEVIL or DOCTOR STRANGE book already! Or at least keep letting him draw SPIDEY arcs!) and he’s got a twelve page story here with Marc Guggenheim featuring Matt Murdock, set in between the current events in Spider-Man’s main title.
Apparently writer Guggenheim was once a lawyer, and it really shows here, sometimes to the point of distraction from the actual story. But the web-slinging around the law brings back all sorts of pleasant memories from Dan Slott’s Spidey guest-starring SHE-HULK #4, and Martin’s art shines, especially his Wally Wood-esque rendition of DD. (If you haven’t already, pick up THE ESSENTIAL DAREDEVIL VOL. 1. You won’t regret it, and your life may be permanently changed for the better.) Damn, I really should be reading AMAZING SPIDER-MAN monthly at the moment. Can’t wait for Martin’s issues with Mark Waid.
So, yeah, this is basically three very good Spider-Man stories in one neat package. No, they’re not really “necessary”, but when ya think about it, what does necessary even mean? I have a dream-- that someday comic book readers will realign their definitions of the word to come under “quality”…oh, and that Wacker and Marvel will keep putting out cool Spider-Man stories like these ones. Makes things a lot more fun.
FINAL CRISIS #3
Writer: Grant Morrison
Artist: J.G. Jones
Publisher: DC
Reviewer: Optimous Douche
The thing I find most baffling about this series has nothing to do with the story itself. What boggles my addled brain, is why anyone would feel that this series needs two cover treatments. On one hand you have Jones delivering stunning iconic characterizations that engulf the page in a Norman Rockwell, Alex Ross orgy, while on the other hand you have a cover that is 85% margin with a landing strip of minuscule picture in the middle. The only people that I could imagine shunning the stunning imagery of the full spread front make their living by saying “fries, perfect, always”, or require a cane and a German Shepard to walk around the block.
Given my strong feelings about covers and the fact I’m a sucker for blondes in skimpy outfits, I naturally chose the cover adorned by the jailbait fantasy herself, Supergirl. Aged fanboys will remember the last time Supergirl and the word Crisis came together on a cover, the midriff baring powerhouse was sans pulse and being carried noodle bodied by a weeping Big Blue. This mortal coil juxtaposition between “what is” and “what was” bitch slapped me with a FINAL CRISIS epiphany.
This is not CRISIS ON INFINITE EARTHS. I don’t think I’m coming late to the table with this revelation. The intertubes and chatter at my LCS seem indicative of the fact people expect FINAL CRISIS to be a continuation of something, whether it’s the crisis from a generation ago, IDENTITY CRISIS, INFINITE CRISIS or, dare I say, COUNTDOWN. Perhaps FC was promoted as such, but it most certainly has proven to be something in and of it self.
The larger part of my epiphany was to make a choice on how I viewed this title. I could continue to let marketing ploys and editorial gaffs ruin my enjoyment of this book by diabolically forcing me to find connections where there obviously are none, or I can just read the damn book. I chose to just read the damn book with all predispositions left at the door and I’m grateful I did. Grant Morrison is delivering his own CRISIS, a dark foreboding that is not best delivered with the collision of worlds but rather a blanketing of darkness that is wafting across the DC Universe slowly suffocating all that is good. In my review of issue one I questioned whether a noir mystery was best for rebooting an entire universe. Question answered, yes, it is. And even if the Universe doesn’t “start over” at the end of the series (which, I’m sort of doubting by what’s happening in all of the main character books), I don’t care. FINAL CRISIS is a good story that is leveraging the past, present and future of DC exquisitely.
Like the past two issues, Morrison teases us with morsels of answers while laying breadcrumbs of questions for us to follow into future issues. Libra makes a power play, the government wants to question the Question, DC’s three big guns are sidelined, Flash One and Flash Two finally slow down weeks into tomorrow, and as I have suspected for years the Internet is used as the harbinger of humanity’s ultimate demise. Each sub-story left me thirsting for more. There are many that have found this type of cocktease tale-weaving to be too confusing for a monthly book. Now, after three issues I can say emphatically, we’re spoiled by trades and we’re just not used to what Morrison is trying to accomplish. As readers we’ve become too accustomed to the tidy four issue arc or the toss away one shot in our monthlies. This book embodies the serial nature of comics: a set-up page here, or a splash page there that doesn’t give you the immediate gratification of an answer, is something I’m finding damn refreshing. If you want your stories wrapped up by the end of the comic, I invite you to revel in the madcap shenanigans of Archie, his pal Jughead, and the two smoking hot chicks that must have braille-like herpes because they are hanging out with perpetual fucktards Archie and Jughead.
I will admit there were a few moments I could have lived without. I’m not sure what is happening with the Super Annoying Teen Team from Japan, but I would like to see the lot of them roasting in a pit on Apokolips when all is said and done. Also, why the hell is Supergirl’s cat pissing on her laundry basket? I’ve owned two cats and they don’t spray without sand. My only logical conclusion is that the Kryptonian menstrual cycle is silicon based. I would also love to know Green Arrow’s Viagra bill. Every time he and Black and Canary make an appearance the artist or the writer alludes to the fact that they were just doing God’s business. OK we get it already--they are hot and lusty. But even the hottest and lustiest of couples takes 5 minutes from fucking to join a bowling league or bridge club. I saved these nits for the end because that is all they are: nits. Would I have done things this way, probably not, but I won’t fault Morrison for the choices simply on the fact that every other part of the book was just so damn good.
When Optimous Douche isn’t reading comics and misspelling the names of 80’s icons, he “transforms” into a corporate communications guru. Optimous is looking for artistry help, critical feedback and a little industry insight to get his original book AVERAGE JOE up, up and on the shelves. What if the entire world had super powers? Find out in the blog section of Optimous’ MySpace page to see some preview pages and leave comments.
FANTASTIC FOUR PRESENTS: FRANKLIN RICHARDS – SON OF A GENIUS SUMMER SMACKDOWN!
Writers: Chris Eliopoulos and Marc Sumerak
Artist: Chris Eliopoulos
Publisher: Marvel Comics
Reviewer: Ryan McLelland
I think the hardest thing about reading this book was the title. Just saying FANTASTIC FOUR PRESENTS: FRANKLIN RICHARDS SON OF A GENIUS SUMMER SMACKDOWN is nearly enough to put me to sleep but I do know that the only long-winded thing about this adventure of Franklin Richards done by the awesome Chris Eliopoulos would be the name (and perhaps this sentence). Eliopoulos has always known how to make me giggle like a schoolgirl with his Desperate Times series so picking up another issue of Franklin Richards is a no-brainer.
Eliopoulos – who provides art and co-writing duties – and co-writer Marc Sumerak continue to make comic book gold with this one-shot that does not disappoint. With a Peanuts meets Calvin and Hobbes setup combined with a Marvel Universe backdrop, Franklin Richards is great for kid readers but witty enough to make grown fanboys smile with glee. I really wish this was a monthly title because Franklin Richards is quite possibly one of the best books Marvel is producing and a welcome break from whichever Civil Evolutionary House of Present Past Skrull War Invasion crossover is out this week.
Five stories are packed into this one-shot that has Franklin Richards and his voice-of-reason robotic sidekick H.E.R.B.I.E. on fun adventures that range from saving The Thing in the wrestling ring to trying to resurrect his dead hamster into the latest Marvel Zombie to H.E.R.B.I.E. trying to land a date with Roberta, the Fantastic Four’s robotic secretary.
Now sitting back and reviewing the issue does not do it justice especially as these short vignettes only run about 5 pages a piece. The themes presented are quite fun – one in particular has Franklin Richards simply trying to vie for attention from his father, Mr. Fantastic, who is too busy working on an invention. Franklin uses a De-Ager gun and causes his father to revert to Franklin’s age. Mr. Fantastic finally gets a chance to not worry about the world and gets to play with his son until the effects wear off. You can see the hurt in Franklin’s eyes as he realizes that now that his Dad’s grown again play time is over--that is until Reed sees that hurt and takes time out from inventing something that will save the universe to play with Franklin.
The Franklin Richards series adds a bit of heart to Marvel’s First Family. Eliopoulos continues to deliver some outstanding content for readers that are a bit out of the box – a much-needed diversion in today’s Marvel Comics market. It’s a book I love to read and one that I can read with my own four-year-old. Now if we only get a monthly series or a TPB (or both) I’d be truly happy.
Ryan McLelland has worked in movies and comics journalism for the past several years before joining the @$$holes here at AICN. Ryan’s comic work has already graced comic shelves with Arcana’s PHILLY, WISE INTELLIGENCE, UPTOWN GIRL, and THE SENTINELS ANTHOLOGY. He rarely updates his blog but when he does it can be read at www.eyewannabe.com
CROSSED #0
Writer: Garth Ennis
Artist: Jacen Burrows
Publisher: Avatar Press
Reviewer: Ambush Bug
Garth Ennis is hit and miss with me. Some of his work, he takes with dead seriousness. HITMAN, PREACHER, PUNISHER MAX, and his war stories fall into this category. I love this Ennis. This Ennis makes the types of stories I can't put down -- the types of stories I hate to get to the last page of. This Ennis is one of the finest storytellers of the comic book medium. This Ennis writes brutal poetry in graphic storytelling form.
Then there's the MARVEL KNIGHTS PUNISHER, THE PRO, NICK FURY MAX, and THE BOYS Ennis. I don't like the work from this guy. This guy goes for the lowest common denominator, settling for fart jokes and homophobic themes instead of quality. That Ennis, I could do without. Every time I see a new comic by Garth Ennis, I ask myself "Which Ennis is it going to be?" Will I finish this book wanting more? Or will I finish it and want to wipe with it? Although CROSSED is a tiny little read (11 pages, but it only costs a buck, so that's cool), it does give promise that this is going to be the Ennis I like showing up.
The book starts out ominously, as a bloody man holding the lower portion of a spine limps into a diner. The waitress doesn't know what to do with him. The patrons are shocked and disgusted. The narrator is talking as if technology is a thing of the past and that this scene in particular was the beginning of the end for the world that we all know. What follows is a bloodbath as the bloody guy bites off the nose of the short order cook and everyone runs outside to see the world coming to an end. Yes, this is another "end of days" style story, but Ennis holds back on revealing much in this #0 issue. Instead he keeps the reader in the dark as to what the real cause of all of this chaos is. Shit's blowing up. Zombies (I think they're zombies) are fucking the living in holes they chewed out of them. Dogs and cats are living together. A bear is doing the lambada. Real end of the world shit going on.
OK, I lied about the dog and the cat and the bear. But you get my drift.
So we have the spark that sets off the end of the world. We've seen it a bunch of times, but the thing is, we haven't really seen it through the demented eyes of Garth Ennis. And if the carnage in this book is any indication, we haven't seen anything yet.
What I liked best about this book is that, aside from the zombie fucking, Garth is wearing his serious pants while writing this one. It's not hamster up the rectum, super powered prostitute, Punisher running Wolverine over with a steamroller Ennis. This is Jesse Custer narration with Punisher MAX style ultraviolence, and war story type reactions to the whole situation. This is serious Ennis. This is good Ennis.
But this book wouldn't be as awesome as it is without the art of Jacen Burrows. Vivid angles detailed grue, and jaw-dropping wide-screen panels depicting shit you've never seen before. Burrows has a great eye for detail and a capable hand at making characters look differently. His style reminds me a lot of Gary Frank and since he is probably one of my favorite artists in the biz, that should be taken as the highest of compliments.
Like I said, Ennis is keeping mum about what is the cause of all of the chaos unleashed in this issue. Is it demons? Is it mass hysteria? Is it voodoo? A meteor? Bad Chinese food? PMS? Don't know. And the narration suggests that even they don't know the cause. Like THE WALKING DEAD, this seems to be about survival in a world gone to shit. The burned crosses in the faces of the zombie/madmen guys is a cool design. And this looks to be a cool book. For a dollar, it's worth it to check this one out. If you're an Ennis fan and know what it's like to love one book and hate another one of his, I think you'll be pleasantly surprised with this one.
If madmen fucking guys in knife wounds is something you would call pleasant, that is.
Ambush Bug is Mark L. Miller, reviewer and co-editor of AICN Comics for over seven years. Check out a five page preview of his short story published in MUSCLES & FIGHTS 3 (AVAILABLE NOW at Muscles & Fights.com.) on his ComicSpace page. Bug was recently interviewed here and here at Cream City Comics about indie comics, his own artistic process, the comics industry, and other shades of bullsquat. Look for Bug’s follow-up this Fall in MUSCLES & FRIGHTS!
THE TWELVE #7 (of 12)
Writer: J. Michael Straczynski
Penciller: Chris Weston
Published by: Marvel
Reviewed by: BottleImp
I don’t want to be overly negative, but this issue was a bit of a letdown after the level of tension that had been growing from the first issue to the barely-glimpsed slaughter of patrons at a gay bar on the last pages of issue #6. I guess I had been expecting a little more action to break out from that point, but apparently Straczynski intends to keep a lid on that pot until he builds the suspense to its boiling point. Nothing wrong with that; I enjoy a well thought-out mystery tale, as long as the story remains interesting and the plot twists and turns rather than moving forward in a straight, predictable fashion…and herein lies my problem with this issue.
As a fan of “The Twilight Zone,” EC comics, and Agatha Christie and O. Henry stories, I have read and seen a lot of twist endings. Unfortunately, that tends to ruin certain thing things for me—namely movies, television shows, and stories with twist endings. Nine times out of ten I end up thinking to myself (or leaning over and whispering to my girlfriend, which she hates), “I bet I know how this is gonna end.” And I’d say that a good eight times out of ten, I’ve guessed correctly. The bitch of it is that I’m never really consciously thinking of what the twist might be, it’s just that my mind has been molded by the media I enjoy reading and watching to instinctively look for such plot twists.
Without giving any spoilers, I’m just going to say that I THINK I know who committed the murders at the bar, and how it was done. It’s really not that puzzling as to WHO when you look at how many clues JMS has left us. The HOW is a little trickier, but there are a few hints that were sprinkled throughout previous issues (and a knowledge of these Golden Age superheroes as they were originally published couldn’t hurt). This seemingly transparent mystery is why this month’s issue left me a little flat. HOWEVER…
THE TWELVE so far has been the most intricately plotted, engrossing comic that I’ve read in years. This murder mystery within a murder mystery may not be as easily solved as I thought—after all, I have been wrong about twist endings before. As I see it, there are two possibilities. One: the obvious solution could be a red herring. Two: the solution is as I have guessed, but it’ll be presented in such an amazing way that the simplicity doesn’t matter in the context of a great execution. Also, we can’t forget that the series still hinges upon the larger mystery of the death of the Blue Blade, so maybe I should be less concerned with the various plot threads that are beginning to be wound up, and instead look at the story as a whole.
Anyways, this issue was still the best comic I read this week—Captain Wonder (who already had the most tragic backstory of the Twelve) is given another helping of guilt to add to his already-heaping pile by his ex-sidekick, now a desperate 75 year-old man looking for a miracle to cure his cancer and make him strong again…a miracle that Captain Wonder does not have the power to grant. The characterizations remain strong, and Weston’s artwork (especially the faces) remains impeccable. I’m following this series to the end, no doubt about it. I just wish I could shut off that nagging voice in my brain that insists on trying to ruin the mystery.
NIGHTWING #147
Writer: Peter Tomasi
Penciler: Don Kramer
Publisher: DC Comics
Reviewed by Humphrey Lee
Even since one Mr. Peter Tomasi took over writing chores on NIGHTWING (you'll also know him from GREEN LANTERN CORPS a little further up the rack) it's almost felt like a little homecoming for myself and this title. Like getting reacquainted with an old friend. I haven't talked about this run much at all so far, obviously something I'm here to rectify right now, but what I did happen to talk about was how it felt like at the least, it seemed like a sort of "fresh start" for the title, if not Dick Grayson himself as both have been kind of aimless for the past few years. Between making the focus more personal in and of the life of Dick Grayson himself and broadening out to show how much of a cornerstone he is in the DCU what with his interaction and relationships with those that inhabit it, this title has started to feel a lot more in touch with the elements that made Chuck Dixon's extended run on the series the classic that it is. Now, with the R.I.P. storyline from the main Bat-titles cutting its way into the works here, it looks like it's time for Dick to spend some time with his more immediate family...
Or, y'know, for this to be pretty much unrelated completely except for a throwaway line referring to what's happening with the Caped Crusader in that particular storyline. Almost the same thing. But honestly, I hope this new story arc stays that way, as I'm sure there'll be plenty of time for whatever is happening in that particular storyline to inflect itself and its happenings on the books around it once it gets, well, wherever the hell it is going. But like I said before, this book has been all about the self-actualizing of Dick Grayson and his life and Tomasi continues to confront Mr. Grayson with these aspects as he finally plays the Two-Face card - not something to be taken lightly given the history between these two characters - and something played up very moody and with lots of tension, just the way I like it. Mostly though, this issue’s confrontation is there to setup the what the rest of the issue is to be, if not the whole storyarc for all we know, as Two-Face leads Nightwing to the aid of an old friend and flame of his back in another life who is about to have life-threatening problems as she is about to testify against some rather bad men.
The rest of the issue is pretty straightforward: Bad men go to hurt old friend, Dick puts his life on the line to help despite his long-running hatred of Harvey Two-Face. But obviously this was all done to play up the character traits I said that Tomasi and Co. have gone out of their way to play up as they reinvigorate the character. One aspect in particular that I always like to see, utilized very well this issue, is Dick's almost euphoria-like joy that he exudes as he does what it is he does. It's almost always seemed, to me at least, that more so than any other of his tights-wearing peers Grayson gets the absolute most feeling of victory and contentment when he saves the day, and that's something that has been employed exceptionally well in this run so far, and this issue is no different. And obviously it works so well in building him up even more as he, without second thought, jumps in to help someone he doesn't even know at the behest of probably his most hated of foes.
The cliffhanger of this issue is also rather elegant in its simplicity. With that big ol' bad banner hanging across the front of this issue you can't help but assume that something "rippling across the Bat-verse" is going to branch off into something here with its ramifications, but this story stays firmly in the realm of Nightwing's begrudging aid of Two-Face, which results in some rather gunshot woundy results. Not terribly unique in the slightest, but always shocking in the "how will they get out of this?" manner when it comes to characters like this that are less super powered and more vulnerable in their flesh and blood. Between this peril, the wildcard factor that is Two-Face lording over the whole situation, and the R.I.P. event lurking in the shadows as well there's definitely a sense of "anything can happen" surrounding this book right now. I'm just glad we have a writer handling the character again that will at least handle him properly as he's guided through this proverbial minefield.
Humphrey Lee has been an avid comic book reader going on fifteen years now and a contributor to Ain't It Cool comics for quite a few as well. In fact, reading comics is about all he does in his free time and where all the money from his day job wages goes to - funding his comic book habit so he can talk about them to you, our loyal readers (lucky you). He's a bit of a social networking whore, so you can find him all over the Interwebs on sites like Twitter, The MySpaces, and a Blogger Account where he also mostly talks about comics with his free time because he hasn't the slightest semblance of a life. Sad but true, and he gladly encourages you to add, read, and comment as you will.
ETERNALS #3
Writers: Charles & Daniel Knauf
Art: Daniel Acuna
Publisher: Marvel Comics
Reviewer: Ambush Bug
I've given the Knaufs a pretty hard time for their writing attempts on IRON MAN. I found that title to be boring, slowly paced, and devoid of anything involving character or flair. I was shocked back on my shitter to find out that these were the guys who wrote HBO's CARNIVALE. I expected better and the Knaufs failed to deliver anything good to that title for me.
It's funny what a change of subject matter can do. ETERNALS is a damn fine book. It has two warring fractions after the same thing: power. It's got super-powered characters with curious character traits. There's Thena the noble mother, Ikaris the dedicated hero, Ajak the one that's willing to bend the rules, Druig the evil plotter hungry for power, and Makkari the chosen. Each character plays their role in this gigantic drama that isn't unlike CARNIVALE.
CARNIVALE had two sides working for a similar goal, one evil and one noble. It had cool characters with other-worldly powers. It dabbled in the supernatural, the occult, and biblical prophecy. All of this is present in ETERNALS as well. If you liked CARNIVALE, then there's a pretty good chance you'll like ETERNALS as well. Maybe The Knaufs were just waiting for the right fit and cutting their teeth with IRON MAN. Whatever it was that went on between the transition from IRON MAN to ETERNALS, it was good.
This issue continues to follow both sides as they try to recruit new Eternals who have been buried in mortals' subconscious minds. Neil Gaiman has set up a nice (although not necessarily new, since it's been done with Asgard and Olympus numerous times in Marvel history) premise for the Knaufs to have fun with. This race for power is shadowed by Makkari's visions of a coming Horde and a scary-sounding "swing of the fulcrum."
This issue delivers on the big thrills. Seeing two Celestials fight in a giant splash with people and animals running in panic below is truly beautiful. Artist Daniel Acuna showed he had chops when he drew UNCLE SAM & THE FREEDOM FIGHTERS and FLASH, but he's never shown this caliber of talent. The aforementioned splash will make you drool big puddles of fanboy spittle.
But the Knaufs don't forge the small stuff too, like a seemingly innocent conversation between Zauras (the ruler of the Eternals) and Thena's son. These scenes are written with great care and help ground all of this heady, metaphysical Celestial stuff that is often hard to relate to. By peppering in these quiet, down to earth moments, the Knaufs do what Grant Morrison often fails to do: give the reader some kind of bearings to stand on while all of this cosmic stuff is going on.
My faith in the Knaufs is restored. I must admit, I was a bit leery picking up ETERNALS. I did so, honestly, for the art alone at first. But slowly, I began to remember why I tuned into HBO every Sunday for a few years for my CARNIVALE fix. They may have had a rocky start with IRON MAN, but after reading the ETERNALS, I think the Knaufs are transitioning from TV to comics pretty well.
Where’s the beef? Not in the usual places…
A 3 IN 1 Review of
SPIDER-MAN LOVES MARY JANE V2 #1
RED SONJA #26
& THE AUTHORITY #1
A 3 IN 1 Review of
SPIDER-MAN LOVES MARY JANE V2 #1
RED SONJA #26
& THE AUTHORITY #1
By Rock-Me Amodeo
It’s nice to know where talented writers are, and they show up in the darnedest places. A good writer on an unfamiliar series is most likely STILL a good writer, and thus I found myself picking up THREE books I probably never would have otherwise.
SPIDERMAN LOVES MARY JANE SEASON 2 #1
Writer: Terry Moore
Artist: Craig Rousseau
Colorist: Guillem Mari
Publisher: Marvel Comics
Most of you probably recognize Terry Moore’s name from STRANGERS IN PARADISE and his new series, ECHO (also an excellent book that came out last week – if issue 5 didn’t get an immensely favorable review, I would be very surprised.) But Terry has another book, and that’s SPIDERMAN LOVES MARY JANE SEASON 2. I never picked up an issue of the first run, though I know many people liked it. So this run may be better or worse, I can’t judge. What I CAN tell you is that I enjoyed this issue: the writing, the artwork, the everything. It’s very hard to write “teen.” I thought for a moment Moore was going to disappoint, when he had them making references to Rico Suave, wondering if kids today even know who or what that is. I later quizzed a few of my nieces and nephews, all confirmed teenagers, and they assured me that Suave is still part of the under-20 lexicon. Anyway, a few panels later, he had them texting stuff that I knew was certified teen, so I knew Moore continues to stand on solid ground. (Hey, I barely understood how teens talked when I WAS one, and it took me a long time to catch up – just wanted to make sure I was still treading water…)
Then, before I knew it, Moore had moved to a poignant scene that was so well played, so smooth, I didn’t notice it until it had almost passed. Fortunately, Rousseau’s artwork was light and playful; the story didn’t become morose, despite its dark underpinnings.
RED SONJA #36
Writer: Brian Reed
Artist: Walter Geovani
Colors: Vinicius Andrade
Publisher: Dynamite Entertainment
Next up is Brian Reed’s RED SONJA. You may know him from MS. MARVEL and THE CIRCLE (an excellent but sadly short run) and a bunch of other stuff. I have picked this book up from time to time before, but now that Reed is here to stay, I plan to make it a regular habit. If you didn’t know, Sonja’s been rebooted, and is now a secretary in Arkansas, but she wore this chain-mail bikini to a Wal-Mart opening, and was using her sword to cut the ribbon, when…Just kidding. She’s been rebooted to a time period perhaps 20 or 30 years ahead of where she was, and beginning a cycle that has shown a softer side. A welcome change before the inevitable hardening of her spirit. The thing that I like, besides the excellent artwork, is the fact that this is NOT a retcon. It’s the same Sonja, same warrior, even if it’s in a new body. But she’s further on the path of her life than we have ever seen her before, and who knows what Reed has up his sleeve. I wouldn’t be surprise if she goes through several cycles of failure as a warrior, and winds up closer to our own time. Still, I’m just as happy to see her buckling new swashes in ye olde past.
The rules are being re-written, and some much needed life has been breathed into this character.
THE AUTHORITY #1
Writer: Dan Abnett and Andy Lanning
Artist: Simon Colby
Backup Story Writer: Cristos Gage
Backup Story Artist: Trevor Hairsine
Publisher: DC Wildstorm
The last book I visited is THE AUTHORITY, penned by the “stellar” duo of Abnett and Lanning, and if you don’t already know them from NOVA, I can’t help you. Now, I’ve never read a full issue of THE AUTHORITY in my life, mostly because they always seemed like a huge rip-off of the Justice League, and worse, super-powered snobs and elitists who really got off on the fact that rules rarely applied to them. I picked up a few issue of Giffen’s MIDNIGHTER, and while it was well-written, it only reinforced my feelings that they all think they’re better than everyone else. Well, the whole team just got handed a world full of humble pie, and the stick has been removed from their collective wazoos. Couldn’t have happened to a nicer bunch of folks, and for the first time, I found myself actually caring about the characters.
Shame about their planet, though. It’s an apocalyptic mess. But the status quo has been completely changed, and the dynamic of the book really had me rooting for them. Even Midnighter. So again, though I know very little about them, I will pick this book up.
Even if the story wasn’t excellent, the pencils might have convinced me, as well. Between the writing and the artwork, I almost felt I was reading an old issue of PLANETARY (again, if you don’t know what I’m talking about, I can’t help you, but I bet other talkbackers can), before Snow and crew would arrive to save the day or proclaim the situation lost. But Planetary isn’t coming to the rescue; it’s up to the Authority, if they can rise to the occasion. As I devoured this issue, the sense of magnitude and scope for the whole thing…well, let’s just say, I was impressed.
The backup story is penned by Cristos Gage, whom you might know from THUNDERBOLTS. While I wasn’t as drawn in as the previous story (this one is a man on a mission regarding someone named “Lynch”) it was still quite good (though exposition heavy), and again, it’s neat to already know from the writer’s name that I’m most likely going to read something good. I was not disappointed.
Dante “Rock-Me” Amodeo has been reading comics for thirty-five years. His first novel, “Saban and The Ancient” (an espionage/paranormal thriller) was published 2006. He began writing for AICN Comics in 2007 and his second novel (“Saban Betrayed”) is due 2008. He’s often told he has a great face for radio.
FANTASTIC FOUR: TRUE STORY #1 (of 4)
Written by Paul Cornell
Art by Horacio Domingues
Published by Marvel
Reviewed by Stones Throw
Ever like to play fantasy creative teams? My SUPERMAN book is a jam between Michelangelo and Orson Welles. On BATMAN we’ve got Raymond Chandler scripting David Mazzucchelli.
Alan Moore writing THE FANTASTIC FOUR is another dream pairing of creator and title. Like every pure-blooded comic book fan, I absolutely love the Lee/Kirby FF but even to me it’s apparent that they haven’t substantially moved forwards since those glory days, and it seems Moore and his mind-bending concepts and near-mystic storytelling ability (as well as his knack for good-natured heroes displayed in his later ABC days) would be a perfect, progressive fit for Marvel’s First Family.
Of course, barring a lightning bolt to the brain, or a sudden, collective decision to stop buying WATCHMEN, that’s not a situation that’s ever gonna happen. But Paul Cornell, who I am told is doing sterling work on Marvel’s new CAPTAIN BRITAIN series, has come up with a very Moore-like (Moore-lite?) concept for this miniseries.
The basic set-up is that the collective realm of the imagination and fiction (like Moore’s Immateria in PROMETHEA, or, apparently, the works of Jasper Fforde) is under threat from mysterious forces, leaving the FF unable to relax in their favorite works of fiction—Sue can’t read to Valeria, Johnny can’t watch “Beach Volleyball Inferno”, Ben feels weird just thinking about “Of Mice And Men”. (not as idiot-savant as usual, Reed has an inexplicable passion for JOSIE AND THE PUSSYCATS. Whatever.) Sue, in a new character bit, turns out to be a voracious reader, and the FF enlist the help of a Stan Lee-like Willie Lumpkin, who, bizarrely, is the best-read human on Earth, to journey through the Immateria, or whatever they’re calling it. This is a good excuse for some fun Moore-like concepts like reading each other’s word balloons, meeting beings who recognize they’re comic book characters and having to work their way through real-life panels.
But the real enemy of this book isn’t the troll-like monsters invading “Sense And Sensibility”, it’s the relentlessly jokey tone of the script. The Achilles heel, or Kyptonite (li’l comic book reference), of Marvel miniseries used to be ssllloooooww pacing, now it’s corny jokes. I hate to say it, but Moore woulda taken this stuff seriously. Cornell puts endless wisecracks on every page, most of which are okay, but which half undermine any gravitas the already-pretty bizarre threat might have had. There’s no way you’re going to make your audience take your plot seriously when the characters themselves are constantly laughing at it. I think maybe Grant Morrison is the only superhero writer today who can put serious, natural characters into huge, over the top situations and make it work, and I thank him for that. (Remember to check out FINAL CRISIS, folks!)
Cornell isn’t best-served by the art from Horacio Domingues either. There’s some big concepts here, and what’s probably needed is some artistic consideration of the fact that WE are actually looking at a comic book, just as comic book characters are acknowledging they’re in a comic book crossing over into other fictional works in comic book form (follow that?), rather than cartoony energy. Maybe some Moore-style grids and panel transitions were in order, to use that name again.
It’s pretty good, and the ending is the excellent “Reader, I clobbered him”, but don’t expect them to put enough effort in to do something great.
Man, that Alan Moore though.
THE BOYS #21
Writer: Garth Ennis
Artist: Darick Robertson
Publisher: Dynamite Entertainment
Reviewer: Ryan McLelland
Point blank THE BOYS is exactly what life would be like if superheroes walked our Earth. Stupid costumes aside our heroes would all have larger-than-life egos, curse like sailors, and be completely fallible. Garth Ennis and Darick Robertson once again deal out a knock-out issue that shows how attitude and ego in a superhero can bring more damage than any super villain could do.
Continuing on with the ‘I Tell You No Lie, G.I.’ storyline, Wee Hughie is listening to a secondhand account of the superhero team The Seven and what really transpired in trying to stop a plane from hitting New York City on 9/11. America’s jets were ready to blow the plane to kingdom come but were told to back off so The Seven could swoop in and save the day.
Led by the very Superman-like Homelander, the team is ready to climb aboard to the jet without giving a second thought in the world. Forget hostage negotiating and forget even having any semblance of a plan – they are ready to kick butt simply because they wear super-keen spandex.
Of course in having no plan the rescue of the passengers on the plane goes anything but smooth. The Legend continues to tell Hughie the tale of when the going-gets-tough group who was supposed to save the day caused their own terror on those poor travelers that fateful day.
Even while not featuring The Boys themselves in this issue it is quite enough to see how badly a superhero team can mess up and how everything can’t always be “Superman flies in to save the day with the rest of the Justice League”. This issue has everything go wrong and you believe thanks to Ennis mesmerizing with every word, punctuated greatly by Robertson’s stunning artwork. I always wished that superheroes walked among us but seeing how they could act in THE BOYS makes me truly glad that they don’t. It would be a sad day to see our heroes trying so hard and yet costing us so much.
TRUE BELIEVERS #1
Written by Cary Bates
Art by Paul Gulacy
Published by Marvel
Reviewed by Stones Throw
No, it’s nothing to do with Stan Lee. TRUE BELIEVERS is about these fucks who dress up as like Spider-Man, Doctor Strange, Daredevil and other familiar names and make prostitutes injected with Mutant Growth Hormone fight to the death in gladiatorial-style arenas. Then there’s this mysterious super powered team called the True Believers who want to expose this underground scene (which happens to involve a U.S. Senator, don’tcha know), etc.
I know, not really what I was expecting from a new Marvel series either. But this is a pretty good one. I dig the dark tone that Bates constructs, which feels a lot more Vertigo than what you’d usually expect from your Marvel universe, and also the way we escalate up from a simple kidnapping to super powered gladiatorial combat to Tony Stark, Director of S.H.I.E.L.D. to a plot involving the Fantastic Four. Cool stuff. Most writers wouldn’t be able to escape from a nasty, exploitative tone given the subject matter, but this one, though dark, has a sense of fun and adventure throughout, and the ending, though perplexing, is a nice cliffhanger.
Most comics today, it’s either insultingly easy to understand what’s going on, or incomprehensible as a result of decompression or over-reliance on continuity. Not so with TRUE BELIVERS. When we start off we have no idea who the protagonist is or why she’s being kidnapped by a guy in a MISSION: IMPOSSIBLE-style mask and his dwarf companion. The details get revealed to us in the course of the story. By the end it’s still not entirely clear who the True Believers are or what they want (other than the truth to out, of course), but I sure am interested in finding out. Job done by Bates.
Gulacy’s art fits the book well. A bit scrappy in places, but it has a dark and spiky tone that’s great for this series. I’m looking forward to seeing more.
My only reservations after a quality first issue would be the use of the big-name Marvel heroes. I’m not that interested in what’s going on in their main books at the moment, but it sure would be nice to see a series set entirely in the underbelly of a super powered New York (sorta like Ed Brubaker and Sean Phillips’ amazing SLEEPER at Wildstorm), without having to rely on Fantastic Four guest appearances and that kinda stuff. When we cut from some gritty cyber-punk stuff with the True Believers to the FF all sat in front of the TV together (don’t they ever spend any time apart?) at the end, it’s probably the worst moment of the book. Let’s see the focus put on the main characters, rather than hovering around the blockbuster stars.
Still and all, this is what we want to be seeing from Marvel. New names. New characters. New concepts. A few risks. I’ll be there for the second issue.
ONE-POUND GOSPEL VOLUME 1
By Rumiko Takahashi
Released by VIZ Media
Reviewer: Scott Green
Boxing comedy ONE-POUND GOSPEL is minor Rumiko Takahashi. Fortunately, there are some real gems among the artist's minor works. While it lacks the hook or formula engine of her most popular titles, it is an effective showcase of her award winning talents.
If you spent time in a comic shop in the mid-early 90’s, and weren't too informed about the international scene, the manga you might know included AKIRA, maybe LONE WOLF AND CUB and definitely Rumiko Takahashi's martial arts relationship comedy, RANMA 1/2. A decade later, during the boom, with anime on Cartoon Network and manga dominating bookstore shelves, the title to know was Takahashi's story of a modern girl and a half-dog demon boy from Japan's pre-unification Era of Warring States - INU YASHA. At a given point during her exposure to North American audiences, Takahashi has generally been one of the most popular manga creators, if not THE most popular. However, beyond that, no manga creator has been as popular in North America as Takahashi, as long as Takahashi.
With RANMA 1/2 running 36 volumes and INU-YASHA running 56, especially given the formula driven nature of the works, and the natural inclination to hate on what's almost institutionally popular, Takahashi starts looking more like a one woman industry than a dynamic artist. However, even if Takahashi has milked her popular works for super-decade spans, even if her die-hard fans haven't embraced the conclusions to these epics, there is still a deservedly recognizable greatness in her craft. Bringing together memorable characters, informed by her training under Kazuo Koike (LONE WOLF AND CUB, CRYING FREEMAN) and one of the great eyes for conveying physicality on the comic page, Takahashi won those huge audiences and huge serialized runs by connecting to her audience in a way that few working in the medium can equal.
More than her long running franchises (INU-YASHA, RANMA 1/2, MAISON IKKOKU, URUSEI YATSURA) ONE-POUND GOSPEL closely resembles Takahashi's short explorations of curious people in mundane situations and mundane problems in curious situations, collected under the "Rumic World" banner. The series only ran four volumes, though, infamously, she started the manga in 1987 and didn't finish it until 2007.
The odd couple of ONE-POUND GOSPEL is Kosaku Hatanaka and Sister Angela. He's a young, professional boxer whose lack of self discipline when it comes to eating his way out of the flyweight class is driving his coach into an early grave. She's a novice at a nearby convent. In terms of a relationship, Sister Angela has the rare ability to lead Kosaku out of the temptation to gorge himself, at least until he passes the next food vendor.
Gifted with natural talent and luck, Kosaku has an innate upside that justifies his trainer's hopes, making him the focus of the local boxing gym despite his attachment to food and blasé attitude about staying at the weight class that his frame can competitively support. Here's a guy who occasionally works hard, almost always undermines himself and still has a considerable shot at winning a given match. When the coach laments that Kosaku is a "hard guy to like," it's hard to disagree. Consequently, Takahashi chooses not to direct ONE-POUND GOSPEL into sports manga territory. While competition does serve as an existential scalpel to reveal the bare truth about Kosaku and his opponent, ONE-POUND GOSPEL is not a Hajime no Ippo/Fighting Spirit or Ashida no Joe. One volume in, the manga has already presented evidence that there is no feedback loop weighed by the outcome of the fights. Kosaku's victory is not necessarily a step forward and defeat is nothing crushing, or even stimuli from which he can learn.
Instead of a goal driven journey, ONE-POUND GOSPEL functions as dramatic situation comedy. Given his reputation as an underachiever with natural talent, some fighter or their manager will decide that Kosaku is the perfect opponent to serve as a statement: a declarative introduction to the world of professional fighting for one newcomer, a chance to show that a veteran on a cold streak can still win a fight.
The strength of this approach leverages the strengths of Takahashi as a storyteller. The retinue of opponents, each with their own personal stories and connections, allows her to create new characters, exploit what they have to offer, then show them the exit before their novelty wears out. Whether it is the comeuppance of an evil-eyed fighter who skeezes his way into bad situations or the cutting comments from a fighter's no-nonsense wife, the characters are broad, but rewarding. Takahashi might telegraph a particular outburst from the moment that a scene or a character is introduced, but to some extent, that's the point. People watching is always more tantalizing when it's obvious that someone is about to get a drink poured on them, or a shouting match is going to commence at any moment.
Much of this is achieved with the blurred line between the credible and the cartooned in Takahashi's illustration. Abstracted, expressionist faces are married to bodies that carry a necessary realism as they precisely convey elements like Kosaku's yo-yo-ing weight. Rather than present short hand, presuming that the reader will meet her half way by imagining the details, she uses every visual tool at her disposal to sell the effect of her story.
At the same time, Takahashi has a rare skill for leveraging how manga is read. Anticipating how the reader will process the pages of her manga, she's the equivalent of film a director who excels at both comedic and action timing. Her pages use simple grids without the exotic designs of some manga artists, but the manner in which she dictates the time by tuning the size and position of the panels puts the reader in the perfect position to feel the impact of the joke or the in-ring action. A full page image of someone being knocked to the canvas of a practice ring might not be anything extraordinary on its own. Set up with a quick panel of a punch being ducked, then revealed with the turn of the page, Takahashi has put discernable heft into the image. Later, there is a sequence in which, as Kosaku is being pummeled in the ring, a cross that Sister Angela is praying to falls over. Modern comics and movies might be full of these parallel transitions, and if the technique might be distracting in some cases, Takahashi employs it with an unaffected naturalism that perfectly fits into the beat and tone of her stories.
The weakness, as evidenced by the fact that it took Takahashi two decades to complete the work, is that it is difficult to get worked up about a story that inherits its slacker protagonist's aimlessness. To Sister Angela and to his coach, Kosaku is a project, but one that backslides as soon as he's out of sight. There are no stakes, not only because of Kosaku's indifference to success and resistance to the proddings of those seeking to better him, but because there is no sense that any improvements might stick.
Takahashi specializes in these dead-ends. See the fiercely preserved status quos of RANMA 1/2 or INU-YASHA. Without the circus of RANMA or the mythical questing of INU-YASHA, the apparent immutability of ONE-POUND GOSPEL sits in center focus. Kosaku is too given to squandering his gifts and the faiths of other to root for. He's too decent to root against. He's not developing. Ultimately, the provoked Given that Kosaku is not a character that attracts sympathy, ONE-POUND GOSPEL 's run of a, for Takahashi, brief span of four volumes is not necessarily disappointing. However, Takahashi is a manga artist who knows how to entertain, and, in carrying out her craft, she offers plenty to admire and enjoy.
Scott Green has been writing for AICN ANIME for close to seven years. If you like what you see here and love anime & manga, be sure to check out his latest AICN ANIME column here.
JONAH HEX #34
DC Comics
JONAH HEX by Palmiotti and Gray is always good, so consider this another glowing recommendation for this consistently good book. But it was the art that made me want to write this cheap shot. I want to live in this Old West; an Old West where the only women have plunging bust lines and enormous bodice-meat. I know women in comics are often depicted in an unrealistic manner, but Mark Sparacio’s art puts the steps towards more realistically proportioned women in comics back a few steps with this issue alone. It’s beautiful artwork. The muted colors by Rob Schwager gives it a romance novel quality. And don’t get me wrong. I certainly don’t mind looking at all of that cleavage. But there was so much of it in this issue that it stood out enough for me to waste about a hundred words on it here. - Bug 
PATSY WALKER: HELLCAT #2
Marvel Comics
I caught Kathryn Immonen’s whimsical rendition of Patsy Walker a few months back (yeah, there were several of us that bought MARVEL PRESENTS.) Based on that, I picked this up. Hellcat’s been an Avenger, a Defender, a fashonista and had two husbands from hell (one literally). But she’s never really been entertaining…until now. Let me tell you, I read half of this issue, mouth agape, wondering if the narrative and weirdness was ever going to let up. It didn’t. Now, in all honesty, it’s not really my cup of tea, but let me tell you why I’m recommending it. I never really got into APOCALYPSE SUITE either, which was much loved by people smarter and cooler than I. But this book FEELS like that kind of “not exactly sure what’s going on but I’m definitely interested” kind of vibe. Also, David LaFuente’s pencils are excellent and bring a trippy feel to the whole endeavor. When the “over world” is laid bare about halfway through, I really wanted to explore. And we do. Plus, we get a small but fabulous fashion show. Fabulous, I tell ya. Bottom line, if you like your action with loopy stream-of-consciousness narrative…starring a chick that may be more than a little crazy…check this out. - Rock-Me
ROBIN #176
DC Comics
This was an OK issue of ROBIN. Fabian Nicieza has the unlucky job of picking up the pieces after writer Chuck Dixon stormed off the title. Nicieza does a decent job of showing how Robin is teetering on the edge of losing his innocence and becoming more like Batman. Nicieza does an especially good job of amping up the paranoia, as Tim doesn’t trust anyone any more with all of Batman’s Morrison-induced craziness and the Spoiler’s unexpected resurrection. What stood out to me in this issue, though, were the references to what’s going on in the “Batman: R.I.P.” mini-event that is running through all of the Bat-titles. As with NIGHTWING this week, this book skirts around what’s going on in the crossover and only vaguely references how it involves the main story of the book. It’s as if, along with all of the readers of Morrison’s BATMAN, no one really knows what the hell is going on with the title. But since it’s supposed to be a crossover, lines like “Bruce’s involvement in the Black Glove conspiracy” or references to the Black Notebooks are about all the writer is able to say or do about the subject. I know the guy is a good writer and he’s got mad inventory of cool ideas, but maybe someone should ask Morrison to come down from his cloud long enough to explain to the rest of us (and especially the DC staff) just what the hell is going on. - Bug 
HERCULES: THE THRACIAN WARS #4
Radical Comics
Yeah, I know, normally this should be in our Indie Jones section, but I’ve had a hectic week and wasn’t able to check out enough indies to warrant its own section, so here it is in the Cheap Shots. Not to be confused with the equally cool THE INCREDIBLE HERCULES, Radical’s version of the character has been grounded in reality for most of the miniseries and characterized as a brutish but somewhat mortal man. Well, according to this issue, he’s been saving his strength. In a truly phenomenal action sequence, Herc shows an enemy army just why he’s known as a Demigod. I loved the berserker rage illustrated here with brutal
-
+ Expand All
-
God I love Final Crisis!
-
Aug 13, 2008 6:25:17 AM CDT
Morrison already wrote a sequel to CRISIS ON INFINITE EARTHS
by renonevada2000
It was his run on ANIMAL MAN.
-
the latest versions of The Authority or Wildcats? I gave up on both a while ago, with all the minis and different versions and apparent lack of direction.... Also, anyone know what other comics are a part of this reboot? I just haven't paid any attention to the Wildstorm universe for some time.....
Thanks for the reviews this week, already added Crossed and True Believers to my Midtown queue for next week....
I didn't get much last week.... I dropped Cable, 'cause there was an issue and a half worth of progress in the first five of the new series, but they suckered me in stating that the new one was not to be missed. Instead, it was a fucking recap of what had led up to the new series... Ugh. Fool me once, shame on you, fool me six time, I'm a fuckin' retard.
Also picked up Avengers/Invaders.... it okay.... but with a two month hiatus before the next ish... I just don't know... might be getting the ax. It's good but not great, and I've been trying to cut some of the fat of my list. -
Morrison is a one-trick pony, a one-hit wonder, a flash-in-the-pan.
He should have disappeared on a high-note when he finished with Animal Man. -
Main problem with it is, the first three issues of... seven? are nothing but build-up. It looks like they might have finally kicked into gear at the end of #3. The individual threads are mildly interesting (although Super-Team Japan and the "New" New Gods aren't doing much, neither one has been established enough previously or here to be that interesting). Yeah, not everyone read Morrison's Seven Soldiers/Mr. Miracle. But at some point you got to start pulling the threads together. Maybe it's finally happened: we'll see.
-
The Boys isn't the juvenile half-assed waste of time the Bug claims it is. Do I see a critic smackdown brewing?
-
Hulk is complete garbage. It's the worst book on the market. Please stop encouraging Jeph Loeb. For all of our sakes.
-
I subscribe to his Bad Signal e-mail list, where he talked about it extensively before release, and his name's on the COVER for crying out loud!
So while it's good, it's certainly NOT good Ennis. I like Ennis, but as a writer Ellis blows him out of the water.
That said:
1) Both gentlemen have similar last names that start and end with the same letter, and tackle a lot of similar themes.
2) Both have done previous work for Avatar, where they worked with Jacen Burrows.
The mistake is not beyond the realm of impossibility.
Newsarama made the same mistake, but I was thinking and hoping you guys would correct it. -
Have you read CROSSED? Have you bought it? My cover says GARTH ENNIS in big letters, matching the writing credit in big letters on the interior front cover of the book. I understand the confusion because both writers write for Avatar and yes they have similar names and also yes, we've been known to mess up from time to time. But this time ain't one of them. If Ellis wrote CROSSED, then they forgot to tell the publisher, because I'm just going on what the book is telling me.
You may be thinking of the similarly themed BLACK GAS & the sequel, appropriately titled BLACK GAS 2, which came out about a year or so ago. Check the facts, mdf2. I did this time. -
um... the cover is shown on the page above you. Unless Bug photoshopped that fucker.... hmmm.... Is there a Clone War sized conspiracy affront on AICN Comics? Inquiring minds, um, couldn't give a fuck.
-
The librarian ends up with egg on his face, comitting the same sin he accused others of.
I double-checked, everywhere and you were right. I'm so sorry. It is Ennis.
And Warren WAS boosting him, so I obviously did get it mixed up with Black Gas 1 & 2.
You seem a really decent guy and I'm sorry I just put you through that. I should have gone with my first instinct which was to say nothing.
-
Civil discourse, I could cry...
-
....General Ross
-
What a strange, awesome book.
-
Wow? Wasn't it a few months ago where you guys were trashing BND. How weak-kneed you've become.
It's crap. Pointless crap.
You're better off reading Archie. -
...that said, most of us HATED the concept behind BND, and a few of us said we were willing to extend an olive branch after a suitable period of mourning.While we in the league are a band of brothers (an anthology of @$$holes?) our opinions are individual, not collective. Some still hate it, others not so much. Personally, I'm kind of on the fence, but respect the effort being given to the book, and I certainly respect the efforts of the INDIVIDUAL writers and artists, who had nothing to do the editorial cluster-fu that was BND.
-
Could someone explain the whole "after Chuck Dixon stormed off of Robin" comment? I was happy that he had returned to the book since it has been mostly crap since his original run. What happened?
-
I personally don't see anything wrong with the placement of the 'cones' from the cover. Their way below his pectorals. There are four of these I think, two placed above each pec, and two below. You can see a third one high up on his left breast. Still not a fan of Mcginness (sp?) though. I don't like his proportions and invents too many muscles.
-
All the classic Justice league annual Crisis with Earth 2 were good. Everything that has come since, including this total waste of paper Final Crisis has been total dog shit. I read the first one & I had no idea who the fuck have these shitty characters were. Morrison is living off past sucesses. He should retire to writing silly crude lymerics on restroon walls.
-
"I did not quit."He actually had to leave all his commitments, not just Robin, but was far enough ahead on his writing that they were staggered (including the STORMING PARADISE series which is still ongoing, I think.) To give some level of comparison, Dixon talked about Jim Shooters reign at Marvel. He said, "Shooter was very dictatorial with strict rules for writing and drawing superheroes. The difference between his reign at Marvel and the current one at DC is that Shooter was successful at raising circulation and longterm planning."Contrast that with: "DC, currently, is run from the top down in a way that makes Jim Shooter’s aegis at Marvel look like a hippie commune."Reflecting on the whole mess, Dixon wrote: "’ve worked under tyrants and I can say that I’d prefer to work under a talented, knowledgeable tyrant with a successful plan than a directionless gladhander with a ouija board any day of the week."Make of it what you will. But whatever happened, it wasn't peasant.
-
darned lack of editing feature...
-
darned lack of spell check in subject lines for FireFox...
-
great name for a band, BTW...
-
Are you thinking of Crecy, a Avatar Ellis comic with a cross on the cover?
-
"Now, I’ve never read a full issue of THE AUTHORITY in my life, mostly because they always seemed like a huge rip-off of the Justice League, and worse, super-powered snobs and elitists who really got off on the fact that rules rarely applied to them. I picked up a few issue of Giffen’s MIDNIGHTER, and while it was well-written, it only reinforced my feelings that they all think they’re better than everyone else." I'm sorry... but did you just accuse a comic book of being bougie? Also, do you really not know who Lynch is?
-
It's a distinct possibility.
I've read Crecy, and it is indeed awesome.
But Black Gas had to be in there too. Because while I was looking at the covers -- and completely blanking on Ennis's name prominently displayed -- I was thinking 'OK, but why is Ellis going back to the well with the zombie-style stuff? It's not like him at all?'
Of course, now knowing conclusively it is Ennis, that just makes this whole thing worse.
And again, as a person who makes a living helping people find the correct book and author, it's humbling to make a mistake like that.
Hope I wasn't too disruptive or anything.
-
Aug 13, 2008 9:45:07 AM CDT
"Point blank THE BOYS is exactly what life would be like if supe
by joenathan
Really? Including their obsession with poop, butt sex, rape and dick and fart jokes? I mean, maybe a few because Ennis certainly is, but ALL of them? Would all ovf them be Gay rapists or Junkie perverts? All of them? I have only skimmed The Boys, so could someone let me know: IS there a character who got shot in the face and know their face looks like a butt? I hope so, because that NEVER gets old...
-
'Because while I was looking at the covers' -- that means the covers of CROSSED, of course.
And it was the time I looked at them before the mental block got taken out of my head -- and thank everyone for that.
-
And no, I didn't accuse the comic of being bougie (I assume you mean "bourgeois" and not esophageal dilatation.) Rather, I've always though of the CHARACTERS in such a manner. I could be wrong, but my exposure has been admittedly limited.Likewise, I've never heard of Lynch, but based on the one story, I'm interested to know more. Hey, if they can suck a neophyte like me into the Wildstorm universe, they might really be onto something.
-
I think in this ONE case, I can probably speak for every reviewer here and say: no sweat.
-
You guys do good work.
-
You accuse comic characters of being uppity... not of having been written and portrayed as uppity, but just in general. I mean, isn't that like accusing a chair of being snide? That lamp thinks its so much better than me, fucking lamp...Ah, Wildstorm Neophyte, that makes sense. Lynch is Wildstorm's Nick Fury.
-
"I'm so sorry"=Pussy!
c'mon, this thread is TOO civilzed for a TB'er! I"m lookin @ u rock-me! -
Well, cool! Like I said, I look forward to finding out more, something The Authority has never inspired in me before. Color me proletariat.As for the characters, how else could I mean to color their traits, except as "written?" I think that's a safe point to infer in any similar conversation, that when one describes a character, one is describing how they have been written. Give me a break. I think it's counterproductive to any discussion to split syntactical hairs, since I know what I was saying, and you knew what I was saying. Right?:>)
-
You lookin' at me?Are YOU lookin' at ME?If i need crap from you, I'll squeeze yer stinkin head!!!!**how am I doing?**
-
I could guess at the inference, duh. But the way its presented sounded like you were accusing an inatimate object of "thinkin' it was better than you and shit." So, I laughed. At you. Ha. Ha-ha-ha.
-
the last few issues have been great. hopefully they can keep it up.
-
FC #3? Best. Cover. EVAR. Yes, I'm not ashamed to admit that I have raging lust for Kara "Superjailbait" Zor-El. If they ever make another live action Supergirl, they better make it good and they better cast some super hot young thing who can act and will gladly do nude scenes and let me bad touch her forever as she begs for more LaserCock.
-
Imagining the odd concept of brainless, two-dimensional characters, thinking they're better than me...well, I hope you can appreciate the delicious irony here, considering the fact that you're making a point of letting me know you're laughing at me.Now I know you really ARE The Authority on such matters!
-
That was a good review of FC, but I am not enjoying this book. Despite being a Morrison fan, I find this title ponderous. Also a bit confusing, as DC wants to be all Silver-Agey, yet throws out this bleak storyline. The Crisis it most reminds me of is Identity, and I didn't like that one either. The original is still the best. The review even points it out by comparing the two Supergirls. Libra? Yawn. Flash stuff. Yawn. FC doesn't suck, but it doesn't interest me at all.
Speaking of bleak, I have read the Authority forever, even during R. Morrison's lackluster run. Abnett and Lanning don't compare to Ellis or Millar, two writers perfectly suited to the Authority. In fact, Millar was my favorite Authority writer ever. Midnighter and Co. are much better suited to Millar than, say, Reed and Sue et al. I don't like all these destroyed worlds. The story itself is ok, and clearly this sort of thing is what A and L love to do, they've been doing it since Legion Lost.
Acuna is the main reason to buy the Eternals. I find it terribly slow and mildly interesting. I'd really recommend waiting for the trade because then a reader could know this story is going somewhere and ending somewhere, and I think it would be much more interesting that way. I am not familiar with the Knaufs' other work, but I see this book being quickly cancelled.
Now, I suppose it's my homo sensibility, but I am greatly enjoying Hellcat. Not that it is so memorable, but it is fast moving, nice to look at, and very entertaining. It's different from any other comics I read, and I generally like minis, since they are long enough to tell a good story but short enough to end the story before it drags out.
I loved this month's Jonah Hex. There was a lot packed into one single issue. Although the art wasn't as good as the earlier issue witht the kid in the snow, this month's story was way more interesting than that other overrated issue. -
Ok, I posted before reading the other posts, and Joenathan, that post about the Boys and Arseface is friggin hilarious and spot-on!
Also, Laserhead...you are probably right! Duh to me! Good Spoiler. While Red Hulk is ridiculously over the top, I totally enjoy it. But then, I am not usually a fan of the Hulk, who is rather a boring character and that is ultimately why, IMO, the Hulk movies never really do that well or are that good. -
How can you put Preacher on one level and the Boys on another. For that matter Hitman in Ennis's early run was out there as well. And Nick Fury Max had a lot to say as well about the politics of modern warfare and the complete disregard for the people caught in the middle.
-
When it has things like the Hulk punching out the Watcher. That's not even "Ha ha" funny. That's just retarded.
-
--in FC. Yeah, yeah, I get it. All they do is fuck.
-
Bug, so you like Crossed, but have you checked out his other Avatar work, like 303 and Chronicles of Wormwood? Going from what you said, you probably would prefer 303. Wormwood, however, was great. Even the sequel, which was admittedly weaker than the original, had something going for it. Like the title character actually doing a DVD commentary which related to the story's narrative. That's something I like about Ennis, how expertly he weaves in those little details of life into his stories. Like his YouTube monologue in Crossed.I would also rank The Boys amongst Ennis better stuff. Although the most recent storyline, I Tell You No Lie, G.I. is kinda boring, slowing down the story for almost nothing. It's just been four issues of exposition, basically. It reminds me of the Reaver-Cleaver New York story arc that happens early in Preacher. I also found that one boring, but stuck through it and overall, I'd say Preacher turned out pretty good. So I'll stick with the Boys.
-
Heh. Screw the book; I'd pay good money just for a ticket to watch Byrne's head explode every time he had to look at the script.
-
because, I bought the first three or so and dropped it, since then, like I said, I've looked it over and I just don't get it. When I look at this book, I just see puerile, sophmoric crap of the worst stripe. Predictable, lame and mean spirited, most of all, Ennis's deeply set geek self-loathing dripping like putrid bile from each page. I just don't see even a glimpse of an inkling of anything near deserving the praise this book seems to get. So... What is it? What makes this comic good? What is it? What theme is Ennis tackling that he hasn't already beaten into the ground and then ass-fucked to death? I mean, is he really deconstructing superheroes or does he just hate himself for writing them? Don't get me wrong, I enjoyed Preacher and I'll drool and chortle over a poop joke as much as the next guy, but if 3 pages go buy in that book that doesn't have at least one reference to poop or butt sex or rape or chicks with dicks, then I'd bet there was a two page advert in there somewhere... And really, a gerbil in the butt joke, um... yeah, last time I heard that I laughed so hard I fell off my dinosaur... How edgy of Ennis to devote several pages to it. so come on, you Boy-lovers, let's hear it. Tell me how on Earth you can consider thais insipid, unispired, rehashed trash to be worthy of any praise at all, outside of Robinson's pencils? Explain it to me, because I don't get it.
-
Rock-Me, I have to say that the WildStorm Universe is one of my guilty pleasures. Although I'm more Wild(Cats) than Storm(Watch) (the ancestor of The Authority), I think the way the intelligence stuff is handled in WS makes it a funner place than it should have been. If you care to bother, there are a few series that I believe were the high-water marks for this universe:Point Blank - Sleeper v. 1 & 2. Point Blank is a mini-series about Grifter and Lynch and a surprise villain. The mini led into a spinoff series about a minor character, Holden Carver , aka The Conductor, a super-powered government agent stuck undercover in a super-powered criminal organization. Personally, I believe this to be Ed Brubaker's best work, way superior to his Criminal, Gotham Central and Catwoman all wrapped together. Plus Sean Phillips elevates the art of page layout by several steps during this series.WildC.A.T.S. v1 15-20 (James Robinson), v1 21-34 (Alan Moore), v. 2 8-28 and v3 1-24 (Joe Casey). Robinson and Moore turn in some solid mainstream stuff, then Casey grabs the ball and just runs with it, creating a series which, in my opinion, is as important to today's comic as Steven Grant's original Punisher mini-series was.Kev,, More Kev, The Magnificient Kevin, A Man Called Kev, The Midnighter: Garth Ennis. In this series of mini-series, Ennis develops a character as endearing as Tommy Monaghan was and relentlessly makes fun of The Authority.But if it's not you kinda stuff, just forget I said anything.
-
I LOVE those kinds of posts, saves me time and money. If it's well written, I'm generally interested. Now that I recall, I actually DID pick up some Wildcats, back in the 90's when Jim Lee first came out with them, and we readers were REQUIRED to purchase anything drawn by artists with the last name Lee (Jim Lee, Jae Lee...Paul Lee, even...)I also picked up A MAN NAMED KEV a while back, not knowing it was part of the larger continuity, and liked that as well (but not enough to seek out said continuity.)Muchos Thank-os.
-
You should read Ellis's Stormwatch and his Aliens vs Stormwatch one shot(all available in trades?. Those lead into the creation of the Authority, which, like someone else said, the first two volumes of are great. As for Lynch, I don't know, did anyone read the whole Team 7 story? I think it was plagued by delays, but it was kind of cool, if I remember right.
-
It's the only crossover with a mainstream hero book the Aliens property ever did where they actually kill the shit out of ongoing characters and the team book is forever changed. You'd never see the Aliens eat Jimmy Olsen or rip Commissioner Gordon in half, but StormWatch got the shit kicked out of 'em.
-
"What are things that tend to repeat themselves, Alex?"
-
That book lived up to the movies: The Aliens were portrayed as dangerous and good characters died because of it. Clearing the slate in such a cool way created an excellant story point and resulted in some excellant creations. I wish Marvel would have had the balls to do something as radical with World War Hulk.
-
...and so, having nothing to add to that topic, I like to have fun. Maybe make you smile. Believe me, I'm completely uninvested in whatever debate you had. No big.But don't make the mistake of presuming what I think.
-
I presume:tacos
-
Nailed me in one, Joenathan! Man, I wish I could take lunch, and there's a Taco Bell calling my name!
-
Is have them fucking WHILST adventuring. Like, say, they're in the midst of a fight with the League of Assassins, and are suddenly so overcome with lust they start fucking right there. This would no doubt really put off the villains who would either be turned-on or sickened, but either way, more or less transfixed by the situation, and far too preoccupied to fight, thereby allowing the overly libidinous duo to unless some kind of Double Super Whammy Cum-Shot Multiple Screaming Orgasm Attack on all and sundry. You know she's a screamer, so that would be something to see.
-
thereby allowing the overly libidinous duo to UNLEASH some kind of Double Super Whammy Cum-Shot Multiple Screaming Orgasm Attack on all and sundry. You know she's a screamer, so that would be something to see.
-
Pretty much for the reasons you stated and the reasons I still enjoy ASBAR: I sometimes like to be puerile and sophomoric.
Does it get to be too much at times? Absolutely. As I was reading the story in Russia and as much as I enjoy porn (grab your dick and double click for porn..porn..porn..), I really could have lived without seeing that chick go after her hoo hah with the dildo. Granted it wasn’t graphic, but it was certainly alluded to and I think quite heavy handed.
This is why I just don’t read Ennis stuff back-to-back. Nor would I feast on a steady diet of Miller with ASBAR.
Now, with someone like Johns I can just go from one book to another without a breath. It all boils down to personal taste. War & Peace will always be heralded as a great book, but fuck if I can even get past the first page. -
Yes, its all about personal taste, BUT... I was looking for more of a "why does it deserve critical praise" type of answer. Everybody is allowed to like something stupid and shitty just because they like it, thats fine, but The Boys get reviewed somewhat positively and I just don't get why. Does someone, anyone, out there thinkEnnis is doing something groundbreaking or original?
-
Just wondering. I mean, all you do is try to rip on AICN Comics and draw attention to yourself by doing so. It's not like there aren't other places for you to talk comics. Why here? (I really want to know) I'm all for debate, but your pathetic and pitiful continuation of labeling everything as "polite debate" is just that. Do you enjoy comics? Why? I'd love to talk about that.
But really, if you hate the reviews and the reviewers, isn't there any other place you can find that suits your needs? It's a big internet out there.
And while we're on the subject of "winning a debate", how exactly did you win, may I ask? And what did you win exactly? And what did your mom think when you printed out that awesome set of posts and pasted it on the fridge with such pride?
This is a message board. A talkback. It's no race. There are no winners. You didn't win. You just proved to be uninteresting and everyone but you moved on to the next message board.
Not that I have to defend Buzz (because I know he can handle himself), but it's most likely that he realized what kind of person he was talking with and smartly chose to be the bigger man and move on.
It's all opinions here. There are no winners. Last week, I dangled the "I will ban you " carrot, but now I'm just kind of looking on flabbergasted. It's just kind of sad the pomposity at work here. I mean, are you really that uninsightful not to see how lame you sound when you claim victory over a talkback debate? You've got to be fucking kidding me... If you have to scream how much of a winner you are, JA, chances are you're not.
That said, I have to say, I like BND. And I'm willing to forgive some of the crap that went on at Marvel during and after CIVIL WAR because of the cool stuff that spawned form it. I also agree with Joenathan about the Boys (well, said, Joe Nat).
Jeff, flame away. Tell me how mature and right you are. Tell me how crazy smart you are and waste your time writing long posts in response. I'll let you "win" this debate too. So sad...
Meanwhile, I'll chat with Joenathan about our new common ground in our dislike for THE BOYS. -
I meant a light-hearted jab, but I think your ego is such that even the slightest nudge is more than you can handle. Joenathan and I went back and forth, and it was no big deal for either of us. You could learn from him.It's kind of funny, until you show up practically begging someone to argue with you. Uhn, no. I think I'm done here today, I can't stand to watch you hurt yourself.
-
......will most likely take over for bruce in the bat-suit. just a guess. and i know, i know, you might come back with: "but tim is becomming more batman like by the second, he is all dark and brooding." but see, here is the beauty, think about how cool it will be to have the role reversal; having a sullen and dark character in the robin suit, while the guy in the bat suit is a bit more optimistic and bright.
-
I don't like to blatantly plug my other site, but since Bug is pulling the ban card I can't resist.
I have a place where all we do is insult one another. Come on over to theybannedme.com and join in the flaming fun. We even have a comics section. Right now it's just filled with my reviews, but please come fill it with verbal acid. -
That exchange deserved it: a big, old fashioned "LOL." Please keep up this lively banter!
-
Yoiu acted smug and superior, declared everybody else too stupid to be in the room with you, and we all decided you were a waste of time and effort. I had real world responsibilities to meet, and feeding the trolls was pushed to the wayside. You fall somewhere right now between boring and sickening me, so if you were going for dull nausea, congrats--mission accomplished. Other than helping the corner pharmacy sell more Pepto-Bismol, though, your contributions are of no value whatsoever.
-
But I'm still bored, and you're still acting like a schmuck. Once again, just like last week, I'm not "giving up"--I'm just sick of feeding the trolls and off to do something more constructive, like watching my toenails grow.
-
......really, i do. so lets do it, what shall we debate? only thing is, we gotta make it quick. the wife is cooking dinner and i HATE eating cold food. so ready, set, go!!
-
It's always some kind of intervention group for Albertson: self-proclaimed expert. Booooooo-ring.
-
makes my job easy.
-
I read the column every week but never post, but I have to today to thank you for banning Mr. Albertson. The talkback is now free of potentially lethal levels of self-satisfied smug, and he can finally get his nut off about how the everyone will reject him for his staggering intelligence. Win-Win for everybody.
-
I've received quite a few e-mails and MySpace messages that cats do in fact piss in places other than sand.
I guess I got lucky and had genius felines.
I'm still going to contend though that despite her insane hotness, Supergirl is secreting something strange if the cat is solely pissing on the laundry basket. Perhaps Kryptonians sweat catnip. -
if we all sit around and talk about what a douche albertson is (no offense, optimous) if someone, somewhere will hear the sounds of a sad fanboy screeching "They said I was MAD at the talkbacks. MAD I TELL YOU!!!!" before his head pops open like the overinflated ego it contains.
-
....just finished dinner and was kinda looking forward to more "polite debate". oh well, at least the chicken was good and hot.
anyway, on to more serious questions. for example if an over inflated ego explodes on the internet alone, with no one around to hear it, does it actually make a sound? -
Agreed. Green Arrow and Black Canary need to stop having so much sex. Or at least, let's have Dinah get preggers as a result of a broken condom arrow.
I can't really comment on THE BOYS current arc because I stopped reading it a while ago. It took me a while, but I've been trying to stop buying books I continually dislike on a consistent basis. Last time I read the book was when the armored guy was fucking everything. And I'm not trying to be all upity here, but, it just got to be lame seeing Ennis endless fixation on anal play. It was pretty obvious that Ennis was setting out to reach new lows with his first issue when he had all of the heroes in a mass orgy. I don't mind the violence, but it was just gratuitous for the sake of being gratuitous with little depth. Later, Ennis tied to inject some weight, but by that time every orifice was filled and every cape shat upon. I was just tired with Ennis' constant super hero bashing.
I get it. Ennis doesn't like capes. He's driven that point home in many different comics. The guy can still write some pretty damn fine stuff (exemplified perfectly in PUNISHER MAX), but even his Punisher stuff has become a bit predicatable and tedious following a paint-by-numbers formula of Issue 1) Introducing a new person/thing to piss Frank off. Issue 2) Issue dedicated to enemy or victim where Frank hardly makes an appearance. Issue 3) repeat guidlines from issue 2 except swap victim with villain or vice versa. Issue 4) Shit starts happening, usually a kick ass action scene leaving Frank in a predicament or false sense of secutiry. Issue 5) Frank guts/shoots/blows up/throws/icepicks/mutiliates/tickles the villain to death usually ending with a bit of insight into Frank's character. It's a good formula to follow, but he's done it over and over. The result continues to be awesome, but predictable nevertheless.
THE BOYS may have improved. If so, good for the fans who stuck with it. I just don't think I'm interested in the book anymore. -
I agree. I think that's where they're going with the RIP storyline. Either Todd or Grayson is going to be the next Batman. Could go either way, but it would be interesting to see a dark Robin and a lighter, more stable Batman for a change. Todd as Batman would open up a whole other bag of cats with Robin and Batman not getting along at all and being at odds. Not sure which scenario I like better. Both have promise.
-
chicken.
-
I picked up #21 today based on the review above, and I think it was an interesting concept, that of a botched superhero effort, but executed to ridiculous degrees. I think only an idiot would effectively let themselves be run over by a plane and not know it would depressurize if you ripped the door off or smashed the windshield open. Bursting ears by shouting too loud, the confusion and panic I liked, but the rampant idiocy and cowardice of The Seven was just pushed too far to be believable. This is my first taste of this title, and it'll probably be my last. Outside of the JLA/Hitman special, I'm not a fan of Ennis.
-
...the only thing about jason todd as batman is that it is a bit "been there, done that, bought the variant cover". it would kinda be like az-bats all over again in my eyes.
i dunno, i just got this feeling that the tomasi run on nightwing is leading up to something big for grayson. two storys arcs in and allready the 'wingster has tangled with talia and two-face, a couple of "top shelf" rouges from the bat-gallery. that HAS to mean something is afoot. -
I was kinda looking forward to seeing Albertson self-destruct. Now I can't read the posts. Oh well...
-
And wish he'd go back to being dead. I really saw no reason for his resurrection. Maybe they can bring back Uncle Ben and Jor-El while they're at it.
-
And if you prefer your Ennis in small doses, than go easy on the Kev stuff. It has fairly graphic humour and some recurrent potty-jokes. I would also not recoomend Brubaker's Authority: Evolution. Love the Bru, but he still can't do supergroup dynamics as well as loner hero.I'm also glad is wrapping up his Punisher Max. It was damn good but it's time to put that horse to sleep. For those who don't like his brand of graphic violence/humour, i'd recommend either his War Stories for Vertigo, his 303 for Avatar or his Dan Dare for Virgin. All great storytelling. Unless you also can't stand army stories, in which case then Ennis is definitely not for you.Final Crisis is good. Not Morrison's best, but still hella entertaining. The problem is they put "Crisis" in the title. I haven't read any DC since Identity Crisis apart from some Teen titans here and there and so do not particularly care for their mega-continuity. But Morrison can still spin a good yarn.
-
"a ‘70s story where Spidey and Doc Ock fight Hammerhead’s radioactive ghost," - *sigh* They don't write them like that anymore ...
-
they actually have something to do with the plot (supergirl cover when she's only in one bloody panel? Lame.) and they look really cool and different compared to any other covers out there. But, hey, if you like pin ups, go nuts.
-
It's a big (red) machine smashing shit and it looks purty. Not every comic has to be astonishingly introspective. I have no idea why people bag on it so much - it had the Watcher getting punched out. That's so awesome. Damn Watcher, showing up all the time, watching. Bout time someone smacked him the hell out.
-
glad ambush dug his take on mj and spidey...as for the red hulk smashing the watcher...everyone needs to thank loeb for totally effing with marvel canon...cuz unless i missed something, the watchers are basically as powerful as galactus...but due to their code, do not use their power...so any hulk punch would be like an ant trying to kick the shit out of you or me...oh, whatever...i know it was a geek moment....so....IGNORE MEEEEEE
-
Yeah, I'm on board too. I have to agree with TallBoy about how not every comic has to be introspective. I think we all got so used to more psychoanalytical and serious takes on Hulk that a book with a Hulk just smashing the shit out of everyone and everything took us all by surprise. It's fun to read. It looks fucking beautiful. And way back in the talkback, Laserhead said Red Hulk is General Ross. Very interesting call, man. I like that and I second that.
-
Before Season Eight came out, even before Astonishing X-Men came out, I knew Joss Whedon rocked on the comics page as hard as he did on the small screen. I knew because I had read a little story that, even though took its damn sweet time to come out, I consider to be one of the great comic book stories. Fray.In the current Season Eight story arc, Time Of Your Life, Buffy has been thrown in the future and, in what could very well have turned into putrid fanfic, meets (and fights, of course this is a comic book so the good guys fight first THEN cooperate) Fray. If any one had been wondering about this series, I'd say that TOYL is a perfect jumping on point. Karl Moline, original penciller and co-creator of Fray, is just firing on all pistons. His line is crisp, cartoony yet creepy. His page layout helps move the story along without being too flashy and drawing too much attention to itself. And the reveal at then end is just amazing, in a you think you know but we'll still pull a fast one on you kind of way. But what kicks this issue up one notch is the small meta-commentary that gets sneaked in during a Buffy/Fray conversation, where the Slayer muses about how she should have treated the english language better now that she see how it devolves in the future. Meta-commentary is hard, near impossible, to pull off, and Whedon does it effortlessly. I think I'm almost starting to like the comic better than the tv show...>br>bacci40 - Not only is Terry Moore one of the most underrated writer AND penciller in the biz (I dare anyone to read a trade of SIP and not pick up the rest of the series) he is also one of the best businessman out there. He created Abstract Studios to fit his creations and lives comfortably off of it, not owing anyone anything. He moved to Image when it seemed right, backed off when it didn't fit anymore and bet and won on TPB's becoming more important than monthlies. You just have to respect the man. Plus, SMLMJ really is a lesson in great storytelling.
-
I don't mind graphic humor at all or excessive violence, in fact, I prefer a book with liberal or at least ready amounts of both. I love deconstructing superheroes and seeing what makes them work and my favorite heroes are always the fallible ones, but that’s not what Ennis does. He pretends that he does that, but really he just whines on and on about how much he hates superheroes. It’s the same old dirge each time. And now, just like his arseface clones, just like his butt sex jokes, and just like his use of rape as a shock joke, he’s tired and played the fuck out. He's like the old grunge rockers of the 90s whenever they were on MTV, oh, how horrible corporate rock is, it was just so awful doing press, oh woe is me, the rock star. Why didn't they just stop being rock stars then? Or more so, he’s like Lucas, always talking about the Art film he’s going to do, the real project he’s always wanted to do, the thing that really matters, but he’s just been too busy dealing with the low brow stuff to get to it. Well, why doesn’t he? I’ll tell you why, its because they're all bullshit, that’s why, just like Ennis, they’re all total fucking whack off bullshit liars. They don’t have the sack or talent to do anything else. Ennis knows this and it eats at him. It shows in his work. To top it all off, Ennis’s super hero hatred is also rooted in the fact that he's just not any good at writing them, he’s derivative and repetitive and his bag of tricks is as transparent as a zip-loc baggie and he’s really, really bitter that he’s not talented enough to successfully write anything else. I don’t know why people still buy his crap, its just the same tired, old meat whore joke painted fresh to cover it’s rot. It never ceases to amaze how many comic book fans there are out there who really do love dick and fart jokes and a never ending grab bag of ass sex… very suspect, I guess Chasing Amy was a bit spot on… I mean, if Ennis’s numbers are any indication, the crowd must be huge, because while Preacher was a great idea, well done at times, but mostly rambling and it may have changed Vertigo (for the better) it only did this by virtue of existing and being different from the previous offerings, certainly (In retrospect) NOT by being anything revolutionary. He can’t be still riding off that, right? So, what’s the appeal? Why do people keep reading a guy who thinks that they and the things they like are beneath him, despite his lack of talent and simmering hatred over his awareness of this fact? Its like being friends with someone who keeps trying to nut shot you, what’s the appeal? Bottom line: If Ennis hates superheroes so much, why doesn't he just quit writing them and move on?
-
I'm not much of a DC guy, so whats the time-line on Jason Todd vs. WinterSoldier/Bucky? Bucky came back first, right? Maybe? I think thats how I remember it, maybe I'm wrong, but I've always thought of Jason Todd as just DC riding Marvel's idea's coattails.
-
I won't speak to the whole superhero hate thing, but I do love Army stories (being ex-Army myself, an NCO and then an officer.) And thought his fascination with being absolutely graphic in almost everything kinda turns me off, I abso-bloody-lutely LOVED what he did on DAN DARE. He really approached the character with the proper reverence and respect, and it showed.
-
I think Punisher MAX has been one of the great comic runs of all time, but I fall into the category of really disliking the "other Ennis." I have both trades of 'The Boys' and just can't find anything enjoyable in there. It's not clever, and it's not deconstructing anything-- it's just puerile and quite stupid in many of its plot points. But you read his War Stories and Punisher MAX and 303, and its like he's got a split personality.Could somebody go back in time, copy Albertson's meltdown, and post it here? I'd really like to witness that.
-
Seven Soldiers. Really.
-
I've always thought of Jason Todd's resurrection as Winnick riding on Loeb's coattails. One bad writer riding another bad writer's coattails, in other words.
-
I don't think it should be considered as a direct sequel.
Rather a continuation of giving the second string charachters at DC more prominence.
We saw it come to some fruition with this latest opening and the apperance of Frankenstein. -
zzzzz.....zzzzz.....zzzzz...
The Authority has been a boring rehash of itself far too many times. They need to be retired. -
Winnick is like Liefeld, just a deformed oddity that no one even wants to touch, let alone question their attendance, but Loeb... I mean, Long Halloween was fine (blatant Godfather/Goodfella rip offs aside) but he's just so schlocky and heavy handed otherwise. Is ANYONE still reading his Ultimates? Is there ANYONE actually looking forward to Ultimatum? When was the last time he did something… “good”? Smallville is where that fucking guy belongs.I also really enjoyed Ennis's Punisher and likewise his Fury, but with Punisher, I felt the first, I don't know... 12 issues were great, but then the recycling started and suddenly it was like Punisher was just the retarded, face shot sibling of Preacher, Fury was like that too kinda. New dress, same tired old crackwhore. I think Ennis blew his wad on Preacher and all we’re getting now is a smear of smegma. Snooze fest. I've heard his war stuff is good, but at this point anything from Ennis falls into the same category as McG's Terminator for me. Its gonna take alot of good stuff, before I'm going to stop just automatically assuming that its going to be crap. I loved Seven Soldiers, warts and all.
-
Yes, they are obviously familiar templates taken from established characters and can quickly and easily become a ridiculous parady of themselves, but what they lack is the drowning weight of continuity and that makes them exciting or at least gives them the potential to be exciting. They're free to do anything, if they've got a good enough writer. I'm really excited to explore Wildstorm's new status quo.
-
So now he is banned, and I had to resist taking the bait when he claimed to have won the debate last week. But I have to give him credit for one of the most clever logins of all time, when I first saw it I didn't even realize it's the Comic Book Guys real name, and I consider myself a Simpson expert.
I loooved Seven Soldiers. Just loved it, although the end was disappointing. I loved every single one of the minis. If only FC were a continuation of that. It just doesn't seem like that's what it is to me. Yes, there is a lot of attention to secondary characters, but I usually love that kind of thing. Maybe it's just my hate of bringing back long-since dead and replaced characters. But I'm cool with both Bucky and Jason Todd.
And, well, here I go again Joenathan. Although I agreed so much with you on Ennis, I am dropping all my Wildstorm Titles, because all this postapocalyptic crap just doesn't float my boat. So no more Authority or Gen13 for me. I do agree that the use of Authority as freed-up templates of DC icons makes them way more interesting (to me) than the Justice League. Plus, they have the best gay characters in all of comics.
Final Question for Laserhead. If you didn't like the first gn of The Boys, why did you buy the second. I actually dropped that crap after one issue, just exactly for the reasons Joenathan points out. Ennis sure was good on Hellblazer, back in the day. Now, he does indeed coast on the very good, but over rated, Preacher. -
All they've ever really been (for the most part) is a weak Marvel/DC rip-off. They've got some good characters and ideas, but a meandering editorial direction generally lacking in cohesion, a good amount of somewhat lazy and unfocused third tier talent and some short sighted creative decisions have really stunted their Universe, I feel. When it was good, sure, it was great, BUT that’s always seemed few and far between. Titles like Planetary aside, they've always been in Marvel/DC's shadow. I think this shake up of the status quo is exactly what they need, something that not only removes them from the pack, but sets some firm ground rules that determines their direction as a universe. Yes, it may be narrow somewhat in its demands, but honestly, how many ways are really left to make the classic superhero/secret identity set up fresh? I’m a fan of the dystopian in general, for the most part, (hence my initial love of Old Man Logan) so I’m already interested, but to me, really, I think taking this chance is something you almost NEVER see comics do and at the very least, should be supported at the start to show our approval of new and exciting story risks instead of the same old tired re-hashes. Of course, whether or not the idea is executed… well, that depends on the creative teams. This reminds of my main problem with Marvel, though, despite being a Marvel zombie, and that is: the Real World. Being set in the real World or too close to the real world always digs at me… just a little. I mean, why isn’t Reed marketing his inventions like the Fantastic Car? Why isn’t he curing Cancer? Why is SHIELD allowed to police the World? They’re U.N., right? So why does it seemed linked directly to the U.S. government a lot of the times? Why aren’t the Initiative more involved in American foreign policy, for good or ill? Where were the Avengers on 9/11? These are all uncomfortable questions that I don’t spend a lot of time on or like broaching, BUT… they’re still there and the lack of an answer paints the heroes in a bad light, so really, for my own ease of mind, I would like something big to happen to the Marvel-verse, like say… the Earth is taken over by Aliens… ahem… that firmly removes them from our time and our world, something hugely destructive like Wildstorm is doing so that I don’t have to be uncomfortable with the insanely high level of selfishness Reed displays by everyday by wasting time exploring the fucking negative zone while AIDS ravages Africa. Doesn’t this bother anyone else? I mean, yeah, its comics, but still. I guess I like my comics kind of real, but not in the real world.
-
The whole Club Darkside and what happened to the New Gods thing was put in place as a major unresolved plot point of Seven Soldiers. At the very least I'd say FC begins in Seven Soldiers. As long as you completely ignore Death of the New Gods and Countdown.Can you really not get past the first page of War & Peace? It's not difficult, it's just long. Nobody seems to mind length when Stephen King is drawing a simple story out to 700 pages. Try the new Pevear and Volokhovsky translation. It's awesome. I don't mean to be pretentious, I just want to increase literacy.
-
I got the trades at the same time. Leap of faith. Sometimes faith fucks you.
-
I though that that first Strangers in Paradise paperback was pretty weak. It's not a promising start. It opens with some wacky accidental public nudity and ends with a small-dick joke (and, come to think of it, more public nudity). The characters, at least as introduced, are pretty two-dimensional: Francine is a self-loathing basket case and Katchoo is a cliched, predatory, man-hating lesbian. The plot is practically a sitcom (complete with dream sequences and a pervy neighbor) and there's even poetry. And David has the dumbest haircut ever (mercifully gone by the second book). Don't get me wrong, it improves dramatically after that as Moore finds his feet, but I wouldn't have picked up the subsequent books, based on Volume One, if I hadn't already picked up the first three in one go.
-
most of the people I got hooked on SIP (I used to work in a call center where you were allowed to read in-between calls. When I started there, no one was reading comics. By the time I left, I'd say a good 70% of the employees were either buying trades or borrowing them off of each other.)Anyways, I was saying that most of the people I got hooked on SIP either started hapharzardly in the middle of the story, or at best on I Dream Of You. As did I. The first thing I ever read of Moores was SIP v2 #14. So I agree. The Antartatic Press series was a bit amateurish. But considering this was the dude's first ever attempt at doing the pamphlet form of comics, that he drew and wrote all this at night on his kitchen table on less-than-professional grade paper, I'd say he did well enough.Now that you make me think of it, I'd say Terry More's real trick is that he keeps improving. The improvement between the AP SIP and I Dream of you is amazing. Same thing is happening in Echo. Issues 1-3 were well enough done, but not necessary so good that I'd have stuck around for a no-name creator. Issues 4 $ 5, however, just up the whole game by several levels.
-
that's issues 4 & 5, not 4 $ 5. Thank you
-
Ok, so first off, if you don't like The Boys, I'm not getting on your case. I understand that it is not to everyone's tastes, so I'm not trying to convince anyone here.Is The Boys juvenile? The humor of bad taste and the violence gratuitous? The sexual situations overly graphic? Yes. But I personally think it works. I think it's funny. What Ennis tries to illustrate is how power corrupts. And he's doing it in comic book form. And what genre rules the comics market? Superheroes of course. So if you wanna show how the people in charge are corrupted in comic book form, you do it using superheroes. Were pirates or elves stories the most preponderant genre in the comic book field, he might be using those to make his point.But the real heart, the real star, of The Boys is not The Seven or Butcher, it's Wee Hughie. Hughie is just a normal, good character trying to make his way as best he can in a fucked beyond belief world. I can relate, y'know? And if you're a Simon Pegg fan, it's even more of a hoot.Is it Ennis' best work? No. Does it out-Preacher Preacher? No. The first issue was but a teaser, not a story (compared to Preacher #1, one of the best first issues ever). The last story arc was nothing but 4 issues of exposition. But I'm still entertained and I'm sticking with it.And if you still mistakenly believe that all Ennis ever does is variations on stuff like The Boys, again, check out Dan Dare or Crossed (only 1$ for the preview!!!) and then talk to me about it
-
See, I don't see the "Power Corrupts" theme you claim, because the Hero seems to be portrayed as super powerful, righteous and infallible, despite his vices and perversions, in fact he's lauded for those flaws. So really, I think its more reasonable to claim that this book is about the hollow falsehood of celebrity culture and the reality of the people it props up, but even then it seems less a sociological statement and more of a bitter, anger driven attack. Which just makes the book seem even more lame... What? Is Paris Hilton REALLY not worth the press, Garth? Really? What a revelation. Wow, is it obvious day at Camp Stupid already?
-
I'm not familiar with that one. If it's along the lines of Ennis' War Stories and Punisher work, I may be interested.
I'm not as against THE BOYS as Joenathan, but what boggles my mind is how Ennis can write so well in the Punisher and then serve up crap like DICKS and THE PRO. Although, I guess he can do whatever he wants because both seem to sell. It'd be interesting to see the numbers comparing Ennis' more serious efforts compared to his gratuitous ones. -
It's about an old Russian soldier who was around and serving when there was still a USSR, a man saddened by the current state of his country and its soldiers. When all his men are massacred by western forces in what amounts to a clean-up operation, he goes to America on a mission of vengeance. Good Ennis, though I don't much care for Jacen Burrows' art.
-
303 is defenitely in the War Stories half of the equation, but set in modern times.JoeNathan, no, the 'hero' (and here you're either talking about Homelander or Butcher, but what I say applies to both) is not "portrayed as super powerful, righteous and infallible, despite his vices and perversions, in fact he's lauded for those flaws". The 'hero' in The Boys is someone who has so much power, he believes himself above anything, sets his own rules and does whatever the fuck pleases him, right or wrong. In a way, you are are right that this critique would also apply to our modern celebrity culture. Those who play and win at this game, who have the emotional and mental development of an average teenager, are indeed imbued with a sort of power and, 9 times out of 10 will use it in an egocentric way. And yes, I believe that Paris Hilton and her ilk still need to be denounced in a world where reality-tv is considered the pinnacle of pop culture.
-
I think that's a pretty fair assessment of SiP and Moore's progression as a storyteller. Like I said, as let down as I was by Volume One, I was eating a bit of crow by the end of I Dream of You. It was a drastic improvement (though Moore's linework was always beautiful, but even that got better over time). I still wasn't crazy about the poetry or prose sections, but you could tell he was growing more confident as a writer and artist. The relationship drama and the more noirish, serious element of Katchoo's past could have easily come off as laughable, but I think Moore naviagtes it well (or at least with more grace than if he'd done it without those clumsy initial issues under his belt). I think he's the kind of writer who gets better when he's allowed to spend a lot of time with the characters; to me that's why his brief stints on non-creator-owned stuff (I'm thinking of Birds of Prey specifically) were never all that good, and explains why people grew to love the Francine-Katchoo-David dynamic so strongly despite the iffy beginning. I suspect the same thing will happen with Echo (I read #1-3 in one sitting and will be doing the same with 4 and 5). So far it's only okay, but I do give him credit for running in the oppposite direction with his SiP follow-up (and Jeff Smith, too, for that matter, with RASL).
I'm hesitant to say The Boys is entirely without merit; it is a damn fun read, even if it is sort of Ennis-by-numbers. I think that Tek-Knight storyline epitomizes my feelings on the series: it's a story predicated on homophobic jokes and truly vile scatology, but there's that thread of acceptance (mainly pushed by Butcher, of all people) that momentarily makes you forget you're reading a story about a guy compulsively fucking everything he sees. It's a weird and uncomfortable contrast, but I don't think it works as well as the same thing did on Preacher (or even Punisher). There's a big part of me that wants to say Ennis just throws thos elements in to defray criticism, but he's been at this long enough that I think he knows what he's doing and knows that even the broadest farce (and a big "fuck you" to superhero fans) needs a kernel of, you know, actual sympathetic humanity. -
"If you want your stories wrapped up by the end of the comic, I invite you to revel in the madcap shenanigans of Archie..."
What I do like out of my comics are coherent narratives that don't stumble along drunkenly reaching for something to fall against. Jesus, this story is a fucking joke. I read an interview where Morrison stated that Final Crisis is the sequel to Seven Soldiers of Voctiry. Alright, I picked that up. THAT series was a fucking joke. If the ending of FC is anything like the ending of Secen Soldiers, we're gonna be left scratching our heads and only the honest among us won't be fellating Morrison. Morrison is just cashing in on his popularity. DC is cashing in on Morrison's popularity and the popularity of anything labeled "Crisis." Idiot fanboys are lapping this shit up. Three issues in and it feels like prelude. A fucking $12 dollar (and tax) prelude. Once Morrison is finished with this, he's stated that he's leaving super-hero titles behind (excepot Batman). Translation, he's milked the fans for all their worth so now he's gonna go back to doing shit no one will read (except Batman, cause he's gotta keep his name out there somehow). Thank you, Grant fucking Morrison!
(I'd drop this shit right now, but because I had it on my pull list, and my dealer has already ordered through #6 and I'm locked in through then. Might as well go until the end, ay? At least I'll feel justified in bitching so much about this series.) -
I was referring to Butcher, Arkhangelsk, the Homelander is just another boring retread of the tired, old "superman is an asshole" trope. Oh, is he a racist and misogynist? How edgy... ANYWAY...As for the Seven soldiers/Final Crisis hate, how exactly are the two series a joke? You never go into anything but vageries. Lets get into it, because I bet you've got nothing but Morrison hate to rely on. I can't help but wonder if perhaps the complexity of both series is what truly fosters your anger? That perhaps the lack of easy spoonfed answers is what really upsets you. Also, the reason Morrison gets to write these big crossover and major character books now is because lots of people read the "shit no one will read". Maybe you should check them out, try a few difficult stories on for size, for once, give your mind a work out. The Invisibles is fantastic.
-
The beginning was awesome, as were all the minis, as I have stated. But the end was confusing and a letdown. Since I enjoyed everything leading up to the conclusion so much, I could overlook the weak ending, but so far FC hasn't been anywhere near the 7 Soldiers, and I am disappointed to read that Morrison actually considers FC a sequel. BTW, Barry Allen is not in 7 Soldiers. The 7 Soldiers have barely appeared in FC, and only Mister Miracle seems to have much to do with it.
-
Besides green Lantern, I have dropped most DC titles from my list. There is zero ground level appeal to the stories as they are all tied in to some maxi. Iron Fist, Captain America, Daredevil, Nova and other marvel titles can make sense without the constant multiverse shaking, character dying/rebirthing goings on. The time traveling/multiverse gimick really ruins a comic for me.
-
People saying that Morrison's work is confusing just, well, confuses me. Sure, the final chapter of Seven Soldiers was a bit rushed and could have used more breathing room, but confusing it wasn't. Same goes for anyone who's ever blamed The Invisibles of being non-sensical.If you CAN'T understand The Invisibles, it's because you don't WANT to understand it.I'll admit that Final Crisis is far from being Morrison's best, but it's still a great story.Butcher is the Homelander. They're just different sides of the same coin. Wee Hughie is the balance. And Ennis actually likes Superman, re: his guest appearances in Hitman.
-
Thats what I took it as. I will admit the ending of Seven Soldiers was a little loose, but it was also obviously opened ended and we all knew Morriosn was doing this, so I assumed Mister Miracle's rebirth was just the bridge to FC and that, for the most part, the "sequel" aspect of Final Crisis is just him, not nessecarily the whole of Seven Soldiers. I assumed, with Darkseid being involved, that Mister Miracle was reborn because his work wasn't doen, as highlighted by the fact that Seven Soldiers never really wrapped up.Who claimed Barry was in Seven Soldiers? Not me.
-
Bloody Hell in America was my favorite.
Butcher/Homelander: Being the same side of the coin just illustrates Ennis's self hatred to me. They're the same, but Homelander is scum and Butcher is The Man. Why? Whats the difference between the two of them? Is it the cape? Is that what Ennis hates? The tights? The costume? The celbritism? The false proclamation of selfless civil service? Butcher is lauded for these same foibles and yet minus the little bits to show him in a bad light. No racial epitaths, no rape, nothing, so I don't buy the meta-statement. I think its nothing but superhero hate which is the part I just don't understand. Why not quit writing them? Stick to your war comics. Write a novel, just quit whining about how silly it is to wear a costume and fight crime as if we're all not already aware of that fact. -
...is most often due to the artist being unable to convey the information Grant wants in a single panel. I'm speaking of latter day Morrison, who jams every panel with as much content as possible, layering things more than he used to. When I've had the chance to compare his scripts to the finished artwork, I often say, "THAT's what that was supposed to be?!?" Tony Harris is dropping the ball this way in R.I.P., where almost every scene is a clue. Morrison's ideas and story aren't really confusing; it's just that some major plot points are conveyed only through visual cues (see FC), and most of his artists don't seem to give those visual cues the focus necessary to be understood as plot points.For the record, I am thoroughly enjoying FC... but... these first three issues could have been one issue.
-
I'll put the bloat of the first three issues of FC on editorial as opposed to writer.
Shit Countdown (the parts of it worthwhile) could have been about 10 issues in total. And 52, c'mon 26 would have been just enough.
Double the books though, and you double the cash. -
No one loved 7 Soldiers more than me, but to say the finale was rushed? It came out so many months late! How could that be rushed? That is part of the problem...if it stuck to a schedule/deadline, then fine, it could be rushed.
Of course Barry wasn't in 7 Soldiers. Seven Soldiers was good. He's in FC. FC is less good.
I stand by my assertion that the end was confusing, and not because I don't want to understand, and not because I'm dumb. I'll buy the claim that the artist can't draw everything Morrison is trying to convey, but then that is partly Morrison's fault, too, IMO.
I will also buy that Mr. Miracle is the link between 7S and FC, but then FC isn't really a sequel. -
Every time I read one of Morrison's high concept stories like 7 Soldiers and now Final Crisis and RIP, I sense that there really is a miscommunication going on between the writer and the artist. I always feel as if there are a few crucial panels missing from the equation. I don't know if it's because of the artists he chooses to work with or maybe that artists (and fans for that matter) are just too scared of looking stupid by saying they don't understand what's going on, but since this has occurred with different artists I think it has to do with Morrison's difficulty in communicating what he wants the image to be on the page adn here he's going with it. It's not that I don't get what he's doing, it's that often times I feel as if what Morrison sees as his story and what's on the page aren't exactly the same. It may not be morrison's fault (and ultimately it isn't) since he is so close to the project, he may not realize that the panels seem plot-holey. In that case, its the editor's job to try to read the story without his page long inside explanation of what's going on to see if the mesage is clear. Somewhere along the way, someone is dropping the ball and the readers are the victims here because I'll bet with better communication, there would be a more compelling story going on. Comics are often best told in bold strokes. If Morrison is going for the subtle, then he damn well better communicate them to his artist as clear as possible. if not, a lesser artist and probably a good artist can miss it. The result is the final issue of 7 Soldiers and major portions of FC and RIP.
-
In fact, by the end of the first issue, I was reasonably sure that the end of THE BOYS will entail Wee Hughie needing to take Butcher down for being well over the line. Will Hughie succeed? Fair question, and I think having him fail would be a more powerful statement than having him win. But I have little question at all that while Butcher and his mission may have been righteous initially, by the end we'll see he's no better than those he takes out.
Which, it seems to me, is Ennis starting a metacommentary on his own work over in THE PUNISHER--we all know Frank Castle is far worse than those he's taken out, but he's doing it for the good guys. Does that automatically make him one? Does it counterbalance his being a sick, violent, murdering, heartless machine? I think The Butcher's being used to explore that very dilemma, and I think in the end it'll be Wee Hughie vs. The Butcher, last man (if any) standing. -
does anyone here read Criminal? Issue #4 of v.2 also came out last week. Any noir lovers out there?
-
Exactly. "Panels missing" is the recurring feeling I've had with Morrison's work since he returned to DC.
-
Phil Jimenez never seemed to have a problem... but I agree, I think at times, Morrison oversteps the amount of space he has available, or his artist may not get it or sometimes Editorial is too constraining or sometimes its a combination. BUT thats comics, they're not novels, a little filling in of the blanks is sometimes needed. We'll see on the metacommentary, if so, then I'll congratualte him, but I don't believe it and yes, Butcher is The Man, he walks in everywhere and owns the place, he threatens whoever he wants too and gets away with it. Things go his way by sheer force of will. He's not The Man in the sense of the police (although he kind of is, to superheroes at least) hes the The Man like Shaft was the man. Can you dig it?
-
I know exactly what you mean, but I think Garth's intention is to set this guy up so that he seems that way on the surface but deep down he's abusing his power and people loathe him for it. You can only be a cocky, smartassed, superpowered bully for so long before it starts to rot you from the inside. Butcher *seems* like The Man at first, but I'm absolutely certain that he's not, and I'm also certain that's intentional.
Readers Talkback
User Login
Top Talkbacks
- Whitney Houston 1963 - 2012 -- 171 total posts 169 posts
- AVENGERS enemy revealed as pink boardgame pieces... You might suffer some form of elation... SPOILERS!!! -- 157 total posts 111 posts
- There's a STAR TREK video game that is going to lead into JJ's STAR TREK 2 apparently... -- 138 total posts 75 posts
- Here's The Red Band Trailer For Drafthouse Films' THE FP! -- 67 total posts 67 posts
- To Commemorate The 3D Release Of STAR WARS EPISODE I: THE PHANTOM MENACE, George Lucas Wants You To Know...Greedo Shoots First!! -- 479 total posts 62 posts
- New JUDGE DREDD post production footage pops up -- 59 total posts 59 posts
- Does ‘SNL’ Rhyme With ‘Deschanel’?? Learn Which SATURDAY NIGHT LIVE Vet Hosts After Sexy Zooey!! -- 62 total posts 59 posts
- HANNA's Saoirse Ronan to boss around seven little people -- 48 total posts 45 posts
- Friday Brings SWEEPS DAY NINE!! Gab Here About Tonight’s FRINGE!! Plus Einstein on TIM, Wiig On PORTLANDIA, MAHER, CLONE, GIFTED, GRIMM, SPARTACUS, SUPERNATURAL, GOLD RUSH And More!! -- 116 total posts 32 posts
- SPACE 2099!! -- 181 total posts 30 posts