| #49 | 4/28/10 | #8 |
Hey folks, Ambush Bug here. Got a short little column for y’all this week. But it’s better than nothin’! Enjoy!
THE WALKING DEAD #71
Writer: Robert Kirkman Art: Charlie Adlard Publisher: Image Comics Reviewer: Optimous Douche
There are many things I admire about Robert Kirkman. His ongoing support of indie comics in both words (remember his comic con manifesto) and deeds (two series now that have run for the past five years with nary a hiccup in production). His unique ability to drop minor plot seeds that he tends and germinates over time until they take on a life of their own (remember the garbage bags from INVINCIBLE). Most importantly though I admire his ability to rectify his past mistakes; WALKING DEAD #71 is the epitome of this attribute.I came into WALKING DEAD late in the game. Zombies were never my bag, and I‘m embarrassed to say that I also gave this title the Heisman because the pages were sans color. I know, I’m a bad Optimous. Despite my reservations, it was almost impossible to ignore the cacophony of voices that praised this title. So on the day the tenth volume dropped, I picked up volume one. Two hours later I was back in my car zipping to the comic shop to pick up volumes two through nine. Later that week, I was buying up every single issue that had come out after the collected issues. I was officially a WALKING DEAD zombie.
Now, even though I wasn’t reading WALKING DEAD, I did keep up with the Internet chatter, being the conscious douche that I am. The only truly disparaging remarks I could ever find regarded something about time spent in a prison…too much time apparently. Once I dove into the trades, I couldn’t get what all of the fuss was about. Granted, it was a respite from the action, but it seemed appropriate if Kirkman was going to stay married to this title for the long haul. I then remembered how I was reading the title, and the stark difference of digesting a story in one sitting instead of painfully waiting month after month for it to appear on the comic shop shelves. Looking at “The Prison” in that light, I will say the time our living refugees spent in apocalypse arcadia was probably a little long, but not egregious.
Given this history, you can imagine the explosion of fanboy angst when our weary travelers found a fully functioning community of living human beings on the outskirts of Washington D.C. a few issues ago. Comments like, “Fuck me, more lessons in farming!” or “Oh good, everyone can start whining again” spread like wildfire across message boards and Web sites.
So, what’s changed this time that’s allowed me to stay out of this mire of bitching? This new sanctuary and specifically this issue have brought out a new evil in our central characters that I don’t think they’ll ever return from.
Again, I didn’t have a problem with the time spent in the prison. When dealing with an ongoing book there will always be ebbs and flows. Shit, we still haven’t forgiven the industry as a whole for the massive ebb known as the 90s. What I think Kirkman is doing differently this time, though, is that he’s moving the central characters forward. Things happened in prison, but the central characters barely changed. Rick and his wife were still Rick and his wife. A few folks died, but we didn’t really care about them anyway. No one really grew, they all just merely existed. Now, I will say when Rick’s wife died at the end of the arc, the malaise up until that point made her death all the more powerful and gut wrenching.
But let’s talk about the now. There were two key pages in this story that I believe signify the beginning of the end for this tale. All of the central WALKING DEAD characters crossed the line of sanity long ago; now they are passing the lines of morality as well. Some are going to call this shift out of character, to which I say poppycock. It’s merely the natural evolution of life after the apocalypse.
As omnipotent readers we know this “Stepford” town of creature comforts is hiding something. We’ve seen the conversations between the town’s founders that allude to skullduggery beneath the surface. Our heroes, however, don’t know this, which makes Rick’s character choice at the end of this issue all the more unsettling. Up until this point Rick has always been the bedrock of optimism. Even in the wake of losing a limb, he has always held to the tenets of the society that once was if for no other reason than to be a role model for his son Carl. Now it seems Rick is no longer content to play by the old rules; in the final word balloon Kirkman shifted Rick from protector to conqueror. Perhaps I’m reading too much into things, but I don’t think so. If (when) the shit hits the fan, there is going to be a shift in power, not an abandonment of the town all together.
The rest of this issue explores Carl’s loss of innocence and the fact this kid is going to be a whole bucket of neurosis in the coming years. Yes, Kirkman even elevated a scuffle between two children to palpable danger and dramatic tension. But I guess even in the real world when kids fight over a loaded weapon there should be pause for concern.
I really do believe this is the beginning of the end. Even if the universe is able to persist, Rick has just stepped on to a dark path that I can only see leading to a new ruling class or an abyss of darkness that he will not be able to crawl out of.
Optimous is lonely and needs friends. Even virtual ones will fill the gaping hole, join him on Facebook or he will cry like a newborn kitten.
JUSTICE SOCIETY OF AMERICA #38
Writer: Bill Willingham Art: Jesus Merino Publisher: DC Comics Reviewer: BottleImp
You know the great thing about Nazis? They make the perfect villains. You always want their schemes to fail and for the protagonists to beat them into a bloody pulp. And there’s no way that you can be forced into feeling any pity or sympathy for them… ‘cause they’re Nazis. Seriously, the only villains that might, might have a tiny edge above Nazis are killer robots, and the only reason for that is because the heroes can smash the robots until they’re reduced to Erector set pieces and the audience can revel in this wanton destruction without the twinge of uneasiness about our own bloodlust that comes when we take savage joy in the old ultra-violence of a flesh-and-blood villain getting the shit kicked out of him. So yes, Nazis are pretty much awesome when it comes to villains to hate.Therefore it comes as no surprise that the current plot of JSA is a Nazi-hating good time. Willingham is adeptly using that old comic book and science fiction standby of the Dystopian Future—twenty years from now, the American Reich has found a way to neutralize super-powered beings and has taken control of the entire world. The heroes who remain are slowly being executed one by one by the Nazi regime under the command of Jeremy Karnes, aka Kid Karnevil, a Willingham creation from his SHADOWPACT series and a featured player in recent issues of JSA. Karnes was introduced as a sadistic, amoral psychopath who liked nothing better than to inflict pain, so this latest incarnation as the American Reich’s new Hitler is the perfect culmination of the character’s previous appearances. Willingham does a good job in this issue of balancing plot exposition—the whys and wherefores of how the Nazis ended up in charge—with the storyline’s momentum. The plot has been a “fill in the blanks” situation that threw the reader directly into the Nazi-ruled future, so having Mr. Terrific relate the history of the past two decades to his interrogator works well to bring the reader up to speed while still advancing the plot. Merino’s artwork remains a good fit with the writing; his work is nothing flashy or groundbreaking, but his drawing skills are tight and his compositions keep the visual flow of the story moving nicely without any confusion.
I do have a couple of quibbles with this comic, mostly about the writing. Though I like Willingham’s plots, sometimes he tends to get a little too wordy, especially when it comes to using narrative captions. Comics are a visual medium, after all, so I’ve always felt that the “show, don’t tell” mantra should be respected. Now in this issue’s case, I can forgive most of the narrative text, since the history leading up to the Nazi regime needs to be told to the reader, but I’ve seen how easily Willingham falls into the trap of over-dependency on those little letter-packed boxes. Just look at the two-issue Dr. Fate/Mordru “filler” story from a few months back and you’ll see what I mean. My other nitpick is that many of the Justice Society’s members are getting the short shrift in terms of facetime. Part of the blame for this can be leveled at Geoff Johns and Alex Ross for loading the team up with waaaay too many members (a new Mr. America, for christsake?), and this sprawling roll call was alleviated in some respects by dividing the Society between the JSA and JSA ALL-STARS titles, but I still get the sense that Willingham has more characters than he knows what to do with. That leads to things like the current storyline, where Mr. Terrific is the only JSA member to be featured and the supporting cast is rounded out by Superman, Batman and Blue Beetle, and the fact that Obsidian is once again used as a plot device rather than as a fully-rounded character, being the inexplicable power source of the machine which robs superhumans of their abilities. These are small, nagging negativities that pop up while I’m reading and don’t do too much to detract from the overall quality, but my opinion is that Willingham needs to address these issues and not fall into the same rut that he did with the aforementioned SHADOWPACT, a series that ended up collapsing under the weight of its own boredom.
For now, though, I’m on board with Willingham and Merino and the rest of the JSA crew, and looking forward to next month’s issue to see if those dirty Nazis finally get the bone-crushing, back-breaking, testicle-stomping beatdown that they so justly deserve.
When released from his Bottle, the Imp takes the form of Stephen Andrade, an artist/illustrator/pirate monkey painter from the Northeast. You can see some of his artwork here. He’s given up comics more times than he can remember. But every time he thinks he's out, they pull him back in.
X-FORCE #26
Writers: Craig Kyle & Chris Yost Artists: Mike Choi & Sonia Oback Publisher: Marvel Comics Reviewer: KletusCasady
HOLY SHIT!!!! That’s what I say almost every issue of this fucking comic and this ish is no different. Whether it’s Wolverine grating people’s faces into cleanly cut lunchable type slices, X-23 going medieval on a group of guards after they’re doused in that trigger scent, the resurrection of a certain apocalyptic figure who showed his wide mouthed self in SHIELD #1 (you have to look close but he’s there), or this issue where {blank} gets {blanked} through the {blank}. I wasn’t really into the Necrotia stuff because I thought it was kind of a knock off “Blackest Night” (even though the ending to that gave me a “meh”) plus I’m not really into Clayton Crain’s art work. Some stuff looks cool but for the most part I can’t fucking see anything; everything’s so dark, not to mention peoples’ heads look kind of disproportionate to their bodies, but I digress. This comic is fun and always has me drooling for that Holy SHIT moment every week.I know some people don’t like all this X-Men crossover stuff but to me it makes sense. Not to long ago mutants were a force to be reckoned with. There were tons of them and most of them were pretty capable of handling any flesh bag such as ourselves; mutants were feared and somewhat respected because people didn’t want to be filleted by some kid that could turn you into a sardine with a simple gesture. Now, the mutant numbers are scarce and they pretty much have to band together or be systematically picked off by any number of evil forces with an unlimited supply of hater-aid. Basically I don’t believe these crossovers are forced, it’s really just a natural progression of mutants trying stick together to live. One crossover I didn’t really like was the “Messiah War”, mostly because nothing really happened except for the resurrection of said wide mouthed immortal with help from another resident bad ass with metal wings ( I like to be vague). This issue continues the story of Hope returning to the present time and all the hoopla surrounding this. I like this issue because even though this is tied into a larger story Kyle & Yost still manage to make this feel like a regular issue of X-Force while seamlessly tying into larger story. The members of X-Force are their usually badass selves but they get a lot less face time, but that’s to be expected with all these X-teams interacting and working together on different fronts in order to keep Hope safe. Speaking of Hope, please don’t make her Jean Grey…let her stay dead at least for another decade, plus wouldn’t it be weird if Cyclops’s son raised his reincarnated wife from a baby only to have her grow older and remarry her surrogate father’s father thus making her, her own surrogate granddaughter (I think that’s how it would work…shit makes my head hurt). This issue will please X-Force fans but you’d obviously have to be reading the entire story line to get the full effect of {blank} getting {blanked} through the {blank}. I love Choi & Oback’s artwork; its so smooth looking I feel like it should be for video game or something. It’s like Clayton Crain if he gave up the black eye shadow, wallet chain, and big Jencos and adopted a cleaner emo life style draped in the latest tight jeans, v-neck ensemble. What I mean is Choi & Oback’s artwork is very similar to Crain’s but its clearer, cleaner, and because the colors are more diverse, you can actually see what the fuck is going on in a panel. The one thing I do like about Crain is that his gore (sooo much of it in X-Force and I love it!) is rendered pretty well and looks pretty cool in some places…but Choi & Oback always look good all of the time.
Man I like this comic, its really hard to get an audible unplanned verbal reaction from me with a comic (in regular life too as I tend to mumble a lot) but I swear X-FORCE has hit me upside the head with shit I wasn’t expecting in at least 12 or so issues out of the 26 that are currently out. I also am a fan of 2/3 of the X-crossovers that have happened recently and I feel like they have more of an organic feel to them than some crossovers (I looked at you with squinty eyes DC…I love DC but damn if they don’t shove an event down your throat and up your ass simultaneously). The artwork is great when Choi & Oback are on the case but Crain on the case is like Matlock trying to solve a mystery in the dark( I don’t know just roll with it!). I do think that Crain is kind of acquired taste because there’s a guy I work with who loves X-FORCE and Crain’s art as well so what do I know. I think X-FORCE is ending soon (I think its coming back with a new creative team) but if it does end pick up the trades cause this shit is a wild face-slicing, blood splattered, Wizard of Gore type of fun ride, so get on and hold tight…that’s a weak ending…how about grab your clean undies bub and watch for the SNIKT!
SUPERMAN: SECRET ORIGIN #5
Writer: Geoff Johns Artist: Gary Frank Publisher: DC Comics Reviewer: William Now THIS is how you do a comic book. Great story, exposition, action, artwork, teaser as to what’s to happen within the next issue. If the best qualities in a comic book can be placed into one issue, this is the model that should be followed.I’ve been following this series ever since it first started, being such a huge Superman fan. Knowing that it’s been quite a few times that the Superman origin has been rehashed by DC, it was still surprising to see how refreshing everything still feels. Geoff Johns has been able to take into account all of the previous incarnations of the Superman mythos and incorporate them into a well adjusted mesh here. None of it feels repetitive, but rather is more like a different look at the same side of the coin, so to speak.
This issue deals with Lex Luthor essentially declaring a personal vendetta against Superman. Knowing that the “alien” is slowly (but surely) stealing the spotlight from him, and still very skeptical about his true intentions, Luthor decides to enlist the help of Sergeant John Corben in order to bring the Man of Steel down. Designing a specially built suit of armor for Corben, and combining it with the Kryptonite that Luthor now knows can harm Superman, it’s up to the Man of Steel to stop this attack while simultaneously keeping his image clean from an ever-mistrusting public.
What I’ve loved about this series is how “real” Johns has kept the world around Superman. I liked the idea that when the public is first introduced to a man who can literally fly at supersonic speeds, lift entire buildings, shoot lasers out of his eyes and so on, they seemed frightened of him at first. This is something that I felt was missing from the Donner movies. Despite the number of times that Superman can show he’s here to help, it’s only natural to assume that anyone who can lift mountains with the ease of an afterthought is to be feared. I especially liked Johns’ angle with the US Government, and how in this issue General Lane (Lois’s father) decides to “interrogate” him in order to find out why he’s truly here. No doubt if someone like Superman truly visits Earth one day, after seeing all of his fantastical feats the President of the United States would on the one hand gladly welcome him as an adopted son of this country, while on the other prepare immediate contingency plans should he ever decide to go rogue. Johns has also kept Luthor’s rise to power very real too, keeping the notion alive that Luthor’s empire derives from both a mixture of his business, social and technological savvy. No stupid “mad scientist” mantra involved here. Luthor is a ruthless businessman first, a scientist a close second. How Johns represents him is how I believe Luthor is at his finest.
The artwork by Gary Frank--what can I say except that he remains the BEST Superman artist around? What Jim Lee was to X-Men, what McFarlane was to Spider-Man, Gary Frank is to Superman. His beautiful nod to Christopher Reeve works very well in his portrayal of Superman. I especially like how he draws his Clark Kent, as the reader is literally staring at Christopher Reeve from the Donner movies. Lois Lane has never looked so hot as well. Frank definitely knows how to draw his women, and when he places Lois in some short skirts and shows off her sexy legs, is it any wonder Superman finds her so attractive?
I highly recommend this issue (and in essence this series) for any Superman or comic book fan in general. And it only looks to be better from here as no doubt Bizarro, Batman, Metallo, etc., all still have a part to play in it.
SPIDER-MAN MARVEL ADVENTURES #1
Writer: Paul Tobin Artist: Matteo Lolli Publisher: Marvel Comics Reviewer: Johnny Destructo
I was blissfully unaware that this new #1 was just a continuation of the previous series, and was impressed that it just threw the reader into the story and even introduced a new character who was Peter's love interest: Sophia Sanduval. I dug it that they didn't feel the need to throw everything at the reader all at once! Turns out, I'm dumb. A quick Google search cleared up the fact that this was all coming from the previous MARVEL ADVENTURES SPIDER-MAN series and that the crumbled relationship between Gwen and Peter, Pete's new girlfriend who also knows his identity....all that stuff was just a continuation. Aaand my interest immediately began to plummet. I was excited about a new Spidey continuity that was having its way with the storylines a la the “Spectacular Spider-Man” cartoon (which is fantastical, btw. You should be watching it) and that I was getting in on the ground floor. Then I was bummed to discover that I was getting in on the FIFTH floor.But I shouldn't let any of that detract from my initial experience of the book, which was really positive. The dynamic cover shows the potential buyer that the story is going to be taking place with a teen Peter Parker doing the nerdy high-schooler bit, and the art inside got the job done (though truth be told, the faces and hair were all a bit too cartoony, while the Spidey action stuff was pretty awesome). The story has Spider-Man tracking down and systematically annoying the Torino crime family, as well as a crooked judge who's been on the take from them for awhile, in exchange for letting made men walk.
The book doesn't talk DOWN to kids, like so many other all ages books I've flipped through. An adult can and should check this title out if they're Spidey fans. It rides the line between the 616 Spidey and the Ultimate Spidey stuff. It's adult enough to be a solid read for adults while not trying too hard to be hip. I'm definitely curious to read more about the relationship between Pete and Sophia; it's nice to have a Peter that's having a relationship with someone OTHER then Betty, Gwen or MJ (my fave bit in USM was when he was dating Kitt;, I love when they let Spidey explore the other females of the Marvel U.)
Adults, don't be scared by the ALL AGES tag on this book. Check it out--if you like Spidey, chances are, you'll dig this!
Though I'm already tired of reading the word "Gwenterviews". Gah.
