| #14 | 8/6/08 | #7 |
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
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
