| Issue #18 | Release Date: 8/24/11 | Vol.#10 |
(Click title to go directly to the review)
Advance Review: JUSTICE LEAGUE #1
Advance Review: JUSTICE LEAGUE #1
BIONIC MAN #1
SUPERMAN BEYOND #0
FF#8
Advance Review: VESCELL #1
BRIGHTEST DAY AFTERMATH: THE SEARCH FOR SWAMP THING #3
Advance Review: FLASH GORDON: INVASION OF THE RED SWORD #4
HELLBLAZER: BLOODY CARNATIONS TPB
CTHULHU TALES OMNIBUS: DELERIUM TPB
GREEN LANTERN EMERALD WARRIORS # 13
XOMBI #6
CHEAP SHOTS!
Advance Review: In stores today!JUSTICE LEAGUE #1
Writer: Geoff JohnsArt: Jim Lee (pencils) Scott Williams (inks)
Publisher: DC Comics
Reviewer: Optimous Douche
Caution, this review will spoil more than Irene’s attack on America’s refrigerators.
Catharsis.
Above all else this first entry into DC’s new 52 feels like a purging, as if the old DC universe has been smashed into smithereens like Samsonite luggage inside a gorilla’s cage. Yes, the remnants of the old are still scattered about this storyline, but make no mistake, that is our baggage. Johns and Lee have effectively created a new ground zero with JUSTICE LEAGUE #1. It is now up to us to decide whether we will share in this collective amnesia, or vehemently hold on to what is no more. Personally, I prefer to live in the here and now, even when the here and now starts five years ago.
We’ve all seen the preview pages of Batman running from Gotham’s finest, allowing us old timers to easily recognize that we are in a time before the Dark Knight was Jim Gordon’s parachute. What we didn’t get a glimpse of from that morsel a few months ago is how drastically Hal Jordan has been transformed inside this new world. Brash, arrogant and almost whimsical are how I would describe Hal’s new demeanor and in this I see why this reset was so damn necessary. Time irreparably damages us all, including our favorite fictitious entities. Think about everything Hal Jordan went through during his existence in old continuity. At one point in time, which I believe scholars call the Silver Age, Hal Jordan was a fun guy. Then a few life changes happened: decimation of the Corps…possession by a spiritual entity…killing millions of people…decimation of the Corps. I think about how affected I was when I found out my dog has hip dysplasia; I was bummed out for days. Take that minor psychological effect and multiply it by a billion to begin to understand that when Hal Jordan was “resurrected” into a human form a few years ago, why he could never again be truly human. The same could be said for Batman or any other hero over the past few years; the events that made them who they were also made them wholly inaccessible to humanity. As much as we want to look up to our heroes we also still want them to once have understood the mortal condition.
I now understand BACKEST NIGHT; it was like the Amish tradition of Rumpspringa where the kids party their asses off before living a life of prayer and butter churning. BLACKEST NIGHT was like letting the DC pall of darkness and foreboding go on its own Rumspringa, so the universe could emerge from the darkness and once again embrace virtue, goodliness and optimism that should be the bedrock for anyone we collectively designate a hero.
Hal Jordan actually “plays” with his constructs during this encounter with Batman and the subsequent clean-up of Gotham from the baddie he and Bats are chasing in this issue. Fire trucks put out blazes, but also smash across roof tops as Hal forgets that not every construct should be used for the same job. Again…inexperience and whimsy, much like a teenager doing donuts in a parking lot the first day they get their driver’s license. There’s a truly inexplicable glee in the dialogue and mannerisms of Hal that will make fans of old smile (especially you Silver Age folks) and (assuming this strategy works) new fans laugh at the cavalier attitude of this ring wielder space protector.
I was worried when I read in the solicits that the first issue was mainly going to be the Batman and Green Lantern show, but then again I was thinking “old skool, yo”! Batman’s surliness, serious and utter abhorrence of flair was a wonderful “Odd Couple” dichotomy to Hal’s playfulness and utter disregard for any earthbound authorities.
Together the two chase Batman’s foe into the nether realms of the Gotham sewer system. Now, here comes the big spoiler. As this entity affixes something to a wall when cornered by Bats and Greenie, they utter one word before blowing themselves to smithereens suicide bomber style.
Darkseid! (Nice nod to Johns in the dialogue for phonetically spelling out, with some good old ribbing, this age-old grammatical cluster).
Post-Crisis (OK, really post-Morrison), the JUSTICE LEAGUE has been brought together because you know…there’s always been a JUSTICE LEAGUE. The worst example was post-IDENTITY CRISIS, when the trinity was picking out new members with photos like I used to swap baseball cards. The JUSTICE LEAGUE has always had a solitary purpose that simply got lost over time: a banding of the greatest heroes to face only the most dire of threats! It seems simple, but alas the phenomenon of giving B-listers time in the sun bastardized this mandate to no end. No more, it seems--Darkseid is as big and bad as they come.
Of course, our heroes have no idea what the hell a Darkseid is, this being genesis and all; however, the little alien box (I’ll bet my precious taint that it’s a Mother Box even though it’s never implicitly stated as such) left behind sends our heroes to Metropolis to look for answers from the only known alien on Earth: Superman.
On their way to way Metropolis inside a big green jet, the two pass over a football field. Here we get to see the everyman POV to reaffirm that no one knows what to make of this new meta phenomenon. What’s important here, though, is that playing on the field is a young running back hotshot named Victor Stone.
Everyone has been pretty @$$ed up about new origins for their favorites, Cyborg being no exception. For now, I sure don’t see it. Victor is still doing sports to rebel against his scientist parents. Perhaps more will change later, but for now this isn’t really that drastic of a change.
After this interlude the two land in Metropolis thanks to, as Hal describes it, his “alien GPS” to finally find Superman. Or, in this case, Super Young Man might be more appropriate. End scene…
Of course, the story is way richer than this review. Johns leverages his keen skills in dialogue to truly build a world that is ours today and seeing these heroes for the first time. Some of our heroes know of one another (especially Batman, who it looks like will have the same panache for paranoia and absolute control of information he had in the old DCU), but knowing of and truly knowing is a chasm wider than the Grand Canyon. Lee’s art is sharp and has truly matured over the years. Face differentiation? Check! Action – not posing? Check! A Superman that is finally young without looking like Christopher Reeve? Double check! Lee exceeded my checklist of expectations in spades.
Now, what will be truly interesting is the question of what’s next. I’m hoping as the other titles start churning off the presses next week, the decision to set JUSTICE LEAGUE five years ago and every other book in present day doesn’t paint the universe into a complexity corner. I know there was decision made to hold on to old continuity simply from the titles that have been announced. If you have four Robins still, guess what, you still have old continuity. I’ve been a proponent of a reboot for years, especially after reading SUPERMAN: EARTH ONE, and JUSTICE LEAGUE fits the bill, even though I personally would have started over with just ACTION 1 and DETECTIVE 1 and let the rest of the universe build organically from there as it did so many years ago. But then again, I don’t have to worry about revenue so my ideals can have the luxury of purism. But after reading JUSTICE LEAGUE I want the rest of the universe to have the same feeling of newness for purely selfish reasons. I hope beyond hope that the same confessional purging I felt after reading JUSTICE LEAGUE stays strong with all of the new titles, because this was not only a warranted move by DC, it was most welcome.
Optimous has successfully blackmailed fellow @$$Hole BottleImp into being his artist on Average Joe. Look for Imp's forced labor on Optimous brain child in mid-2011 from COM.X. Friend Optimous on FaceBook to get Average Joe updates and because ceiling cat says it's the right thing to do.
Advance Review: In stores today!JUSTICE LEAGUE #1
Writer: Geoff JohnsArt: Jim Lee (pencils) Scott Williams (inks)
Publisher: DC Comics
Reviewer: Professor Challenger
CAUTION: SPOILERS ABOUND
“Hold on a second...you're not just some guy in a bat costume are you? Are you freaking kidding me?!” – Green Lantern to Batman.
Well, as expected, I am clearly not the audience that this comic book is intended for. I really tried to just enjoy it on it's own merits, but it's such a lousy piece of work, I find it impossible to generate any sense of enthusiasm for it or for anything else on the horizon of the DC overhaul. I hesitate to call it a “reboot” or a “relaunch” anymore since nobody on staff there seems to be able to consistently define what exactly they are doing other than marketing it in contradictory ways.
This is the first issue of the JUSTICE LEAGUE. It is also the first issue of the “New” DC. DC 3.0 if you will. (DC 1.0 being everything up to CRISIS and DC 2.0 being everything post-CRISIS up to post-FLASHPOINT.) It is also one of the most stilted, disjointed inconsistent messes I've read from DC this side of FINAL CRISIS. The story, as it is, starts in Gotham City with Batman chasing after a monster (who looks somewhat like Sleez from John Byrne's ACTION COMICS days) who turns out to be some sort of minion of Darkseid and blows himself up for no real obvious reason. Well, I take that back. The reason is he is the plot complication that draws Green Lantern to Gotham so he can meet Batman. See, GL is the protector of this space sector and got tipped that an “extraterrestrial” threat had appeared in Gotham. So, he flew straight away to check it out.
Yeehaw! Green Lantern? Meet Batman. Batman? Meet Green Lantern. Much awkward exposition and insipid back-and-forths between the two of them. Apparently, in DC 3.0, GL is (or was 5 years ago, when this was set) is a moron and talks way too much. I had high hopes that in DC 3.0, maybe Batman wouldn't be an asshole. I was wrong. Batman 3.0 is a vigilante who works outside the law and there's a monster running across the rooftops, so understandably the Gotham City Police Department is chasing after both of them. Which is their job!! But that doesn't dissuade asshole-Batman from calling them “idiots”....for FRIGGIN' DOING THEIR JOB!!!!
The two of them, Batman and GL, make the brilliant deduction that since the suicide bomber was an extraterrestrial, then they should team up, hold on to the Mother Box left behind, and head to Metropolis to talk to that “Superman” guy that “they say” is an.......”alien.” Which also makes me wonder, looking at these pages again, just exactly how Batman realizes that the Mother Box is not a “bomb” but more like an alien computer. How much experience does this Batman have with alien technology? They just watched “Sleez” blow himself up, why wouldn't they be more cautious with that thing?
Interlude with Vic Stone. These pages of the football game and the spectators in the stands are the stiffest and most lackluster pages in the book. This is when this title could have really benefited from someone who has a stronger ability to move back and forth between action and personal/emotional moments.
On into Metropolis where moron GL instantaneously gets his ass kicked by a red and blue blur. Last panel is our first “exciting” view of Superman 3.0.
This comic has a lot riding on it. Essentially, it sets the tone and spirit of the v-notched-high-collared DC 3.0. The world I found myself in was younger for sure, but it wasn't much different in tone or spirit than DC up till now. I found myself surprised that this was written by Geoff Johns. It didn't feel like Johns to me. The dialogue was terrible and the manner in which it unfolded just did not flow naturally or organically to me. It felt like it was cribbed off a flow chart of plot and character bits. I got no sense of passion or thrill. The interaction between GL and Batman was terrible. GL delivers exposition out the wah-zoo and comes off stupider than Ryan Reynolds' version of Hal Jordan. Batman just groused his way through the scenery with his grouchy, stubbly chin. This sense of each of these characters (GL, Bats, Supes) approaching each other like they're comparing genital-sizes rang false and immature. These are our heroes now. Are they supposed to be 14 years old? They seem to talk at each other like they are. The retelling of Vic Stone's pre-Cyborg life was dull and uninteresting. Whereas, in the original NEW TEEN TITANS series, the character of Vic Stone and his family dynamic was one of those elements that endeared him to me. In this comic, I didn't recognize him as the Victor Stone I once knew. It was just a generic “troubled” character.
I think Geoff Johns was attempting to swipe from SEVEN SAMURAI/MAGNIFICENT SEVEN to create a classic story of how 7 disparate characters could all get drawn together against a common enemy. However, with the use of Darkseid as an other-worldly “god” who winds up drawing our characters together, he actually absent-mindlessly just cribbed from Marvel's AVENGERS for the JUSTICE LEAGUE version 3.0 with Darkseid filling in for the Loki role.
I was really hoping for something more substantial and truly new in approach. This was, unfortunately, just the TACO BELL JUSTICE LEAGUE, where they look at the ingredients they already have on hand, mix them up and rearrange them, and claim an “all-new” menu. But it's really just the same old tacos and burritos.
Artistically, I found the comic to be mostly sketchwork-level with massively overdone coloring work. Much of the action was hard to follow. The flow of the work from panel to panel was inconsistent and was at times distracting. The details on Batman's annoying armored costume come and go from panel to panel. GL has irrelevant seams and/or armor on his chest and arms that makes no sense with the rest of the costume where the boots and gloves look like cloth. Either go organic like the recent film, or cloth like in 1.0 and 2.0, or go construct-armor style. The inconsistent blend of the two is distracting. Superman looks like Ultra-Man now.
I've seen some of Jim Lee's pencils, which were stronger than the stiffness and sketchiness here, so I may have to lay blame on Scott Williams' inking for some of my disappointment. The color work made some panels not only difficult to distinguish what was happening, but just plain hurt my eyes. I'm not sure why some modern colorists don't realize that just because you CAN do photoshop effects doesn't mean you HAVE to do them. In fact, that last page reveal of Superman is an example of terrible texturing and effects unnecessarily intruding on what should be the most exciting panel in the book.
I was honestly planning on getting the trade for this book because I usually like Geoff Johns's writing and Jim Lee's art. But now, I think I'll just move on to something else.
Reading this comic reminded me of a line from The Who when they sang “Meet the new boss/Same as the old boss.” And remember the title of the song? I hereby nominate “We Won't Get Fooled Again” as the theme song for the DC Comics fans.
Prof. Challenger was beloved by many, despised by a few, but always lived his life to the fullest. Never did he miss an opportunity to pet a puppy, kiss a pretty girl, or ignore a hobo. He is survived by a long-suffering spouse, 2 confused children, a ridiculously silly dog, and a pompous fat old cat. The things that brought him happiness in this life were his comics, his books, his movies, and string cheese. Had he passed from this plane of existence, he would expect the loss to the world to be severe. As it is, however, he has not passed and has no plans to pass for quite awhile. So visit his website at profchallenger.com and read his ramblings and rantings and offer to pay him for his drawrings. He will show his appreciation with a winning smile and breath that smells like the beauty of angels.
BIONIC MAN #1
Writer: Kevin SmithArtist: Phil Hester
Publisher: Dynamite Entertainment
reviewer: Optimous Douche
Not only am I surprised this is a good comic, I’m surprised this was written by the modern-day Mr. Smith. For a few years now Jersey’s favorite Gen X son has faltered on a few titles, not producing bad comics, but certainly not living up to the genius of his run on DAREDEVIL or the joy I personally received during the early days of GREEN ARROW. BIONIC MAN succeeds for one overarching reason: Mr. Smith has once again remembered what made him famous – creating indelible characters. Dante and Randall from CLERKS will forever remain in the public consciousness because, unlike later characters in the View Askewverse, they were real people first and flesh bags of idiosyncrasies second. Likewise with this new modernized Steve Austin: he’s as real as they come. To encapsulate this issue in one concise statement before I begin my expected verbal diarrhea, Smith remembers that for us to give two shits about the bionic we first need to learn about the man.
Make no mistake; even though Smith explores the pre-bionic days of Steve Austin in this inaugural issue, this is far from an exercise in bloated word balloons and talking heads. Smith deftly moves between setting up Steve for his infamous six million dollar operation while infusing that for which we all take our weekly Wednesday trips to the comic store – balls to the wall action.
Actually, not one word is spoken for the first four pages of the book. When I opened page one I was truly expecting a shot of a man in a red jumpsuit with white striping, certainly not a cybernetic ninja making mincemeat of security guards and scientists. Hester and Smith did a great job with this sequence, making each panel more powerful than the next. This isn’t just action; it is a cleverly calculated attack on the lab where we will presumably see Steve Austin shuttled off to in issue 2 for the melding of man and machine.
After the attack is over and our mysterious villain for a later day is absconded into tomorrow’s plotline, we are taken to meet our first old friend from the 70’s series: Steve’s handler, Oscar Goldman. Oscar and a surly general await the arrival of Steve Austin to test out America’s newest stealth bomber wonder. The interchange between the General and Oscar Goldman is golden. Both lament the need for civilians and the military to work together on the project, which is an age old debate, but Smith makes it fun with his usual panache for witty barbs.
Flash to Steve Austin, civilian test pilot, ramping up for his very last fight with a nervous stomach morning constitutional. This was by far my favorite part of the book. The relationship Steve has with his fiancée about bathroom usage and the shyness some men experience in their betrothed smelling their vapors was dialogue straight out of my life. There’s also a playfulness of young love (not young people in love – important distinction) that Smith was able to bottle and capture, again with very few words.
The rest of the book is expected, especially for those that know the story of the bionic man, but Hester’s visuals make it more than worth the ride. As Austin climbs to new heights in this experimental bomber of course shit is going to go wrong, but Hester provides a beautiful balance between the elation of climbing into our stratosphere and the sudden panic of imminent death.
Seriously, this is not your father’s Bionic Man, but Smith shows more than enough reverence for the source material to make old timers happy. Being an unabashed Smith fan that has seen every movie and read almost every comic, BIONIC MAN shows a phenomenal maturation of him as a writer. He still has that playfulness with words that made “Clerks” and subsequent and other dialogue-heavy projects such a success, but he has learned to be more concise and respect the fact that comics are a true balance of visualization and words.
SUPERMAN BEYOND #0
Plot & Script: Tom DeFalcoPlot & Pencils: Ron Frenz
Inks: Sal Buscema
Published by: DC Comics
Reviewed by: BottleImp
I’m not sure how it came about, but whenever the words “future” and “comic book superheroes” are added together, the resulting sum almost inevitably works out to be “dark dystopian wasteland.” Think about it—in most instances when readers get a glimpse of their favorite characters’ existence some twenty to fifty years down the road (comic continuity time, of course), the brightly colored spandex and blue skies have been replaced by tattered leather dusters and blood-red vistas. For whatever reason, comic book writers who open up the hidden door of the future prefer to reveal a dark nightmare world rather than a more positive outlook. And maybe they have a point; after all, nothing kills an intense sense of involvement with fictional characters than seeing those characters placidly leading nice, uneventful lives. But still, just for variety’s sake, I’d like to see a vision of Superheroics Yet to Come that doesn’t go all Goth on me. Which brings me to SUPERMAN BEYOND.
Don’t let the sterile, austere cover (by Dustin Nguyen, I believe) fool you—the Superman within has nothing in common with this image of a cold and monolithic deity, save for their mutual preference for monochromatic costumes. The future depicted in these pages might be slightly darker than the present-day DC Universe—Metropolis is referred to as a “cesspool,” swarming with small gangs and petty criminals—but at the core of the story is a Superman just as bright a beacon for truth and justice as was ever written. Co-plotters DeFalco and Frenz explore a theme very similar to the one chosen by Bryan Singer when he made “Superman Returns”--that of an outsider searching for a way to connect to his adopted world. However, where the film moped and plodded, SUPERMAN BEYOND almost skips along in its exuberance. DeFalco and Frenz give the readers a Superman who feels lost and alone, bereft of his ties to humanity without Ma & Pa Kent and Lois Lane, but doesn’t let that alienation alter the core of his being. The Superman of this comic possesses all the strength, nobility, and humility that have been at the heart of this icon since his creation.
And I believe I mentioned the exuberance? DeFalco and Frenz put their best Mighty Marvel feet forward in the telling of this tale, delving into Superman’s inner turmoil while in the midst of an outward slugfest with the Absorbing Man-like Armorgeddon. This menace is clearly nothing more than the McGuffin to put the septuagenarian Superman up to a challenge, but the writers manage to instill a shred of humanity in their villain that elevates his character slightly above a mere plot device (think Sandman from “Spider-Man 3,” only not as crappy). Frenz and inker Buscema give their artwork an energy that once again brings to mind the classic Marvel comics I grew up with, lending a much-appreciated jolt of dynamism to DC’s signature superhero. As an added bonus, Frenz and Buscema’s slightly simplified, slightly cartoony drawings provide an excellent bridge between the so-called “realistic” comic book art that the average reader has come to expect and the super-stylized Bruce Timm designs of the “Batman Beyond” television series that spawned this future version of Superman. Just as Timm and Paul Dini made sure that their animation represented the purest forms of those iconic characters, it’s fitting that SUPERMAN BEYOND, based on their work, should maintain that tradition in the depiction of its titular hero.
As I write this DC’s “New 52” is looming on the horizon, and sadly, it doesn’t look as if the company is planning to continue telling stories set in this decidedly non-dystopian future. The real tragedy is that by melding the faithfulness of the animated series Superman with the thrilling Marvel storytelling mastery of DeFalco, Frenz and Buscema, SUPERMAN BEYOND ends up being one of the best Superman stories I’ve read in years. Anyone who wants one last glimpse of the Last Son of Krypton before he starts sporting unnecessary kneepads and armored boots, go get this issue and bring back some of that childhood joy of reading a genuinely fun comic book.
When released from his bottle, the Imp transforms into Stephen Andrade, an artist/illustrator/pirate monkey painter from New England. He's currently hard at work interpreting fellow @$$Hole Optimous Douche's brainwaves and transforming them into pretty pictures on AVERAGE JOE, an original graphic novel to be published by Com.x. You can see some of his artwork here.
FF #8
Writer: Jonathan HickmanArt: Steve Epting
Publisher: Marvel Comics
Reviewer: MajinFu
I knew Black Bolt was eventually going to come back after his untimely demise near the end of “War of Kings”, but a dismal two-parter taking place in the middle of Hickman’s epic FANTASTIC FOUR run isn’t exactly what I had in mind. Luckily, this issue continues the Future Foundation’s assault against the various alternative Reeds, led by many of the Fantastic Four’s most dangerous villains. Yes, it’s a bit of a ridiculous premise, but it makes for one of the most entertaining issues I’ve read in weeks, and serves as a rousing return to form.
Steve Epting is back on art duties, returning the visuals to their former glory. While this issue does have its share of action, Epting really shines in the quieter scenes, and it’s good to see Hickman knows when to pull back and let the artist’s excellent expressions drive the characters and tell the story. His darker tones also enhance the narrative, which is largely focused on a group of supervillains kicking ass, a point driven by the heavy shading and deep blacks which contrast with the colorful costumes.
Yes, the villains get plenty of moments to shine, including the Wizard’s clone Bentley, who looks to have a budding relationship with Valeria. But the best part of this issue has to go to Doctor Doom, who wallops Reed (no, the other one!) so hard, I couldn’t help but feel bad for the would-be world destroyer. The story isn’t over yet, and this issue looks to be ramping up to a huge finale that will have ramifications not just for the Fantastic Family, but their nemeses as well and maybe even the moon! Once again with this issue, Hickman and Epting have reminded me why I am such a huge fan of the Fantastic Four and I look forward to the next, where Doom will surely be opening up another can of whup-ass on Reed.
Advance Review: In stores today!VESCELL #1
Writer: Enrique CarrionArtist: John “Roc” Upchurch
Publisher: Image Comics
Reviewer: Optimous Douche
VESCELL is a blender of high concepts pureed into a smoothie of sex, sci-fi and magic.
Say what? Yes, that was my exact thought after I traversed the voluminous 37 pages in this inaugural issue. Part of this is my fault; I skipped the welcome boxes that explain why a corporate strong-man shoots guns straight out of Buck Rogers, yet drives a car that looks like something my Father was taken home from the hospital in. But there were so many other things happening in this densely packed issue, I just went with it--as I think most people will. Even though one would have a WTF moment in some parts, Carrion weaves such an engrossing tale, the “why” of this world easily slips into the ether unless you really belabor the point or are a comic reviewer.
In the world of VESCELL, a nether realm of magic and demons has collided with our own. This is probably the only fault I can find with VESCELL (well, aside from a few spelling and grammatical bugaboos that I assume were in the reviewer comp and will not hit stands)--it drops you into this world after this fairy nether realm collision has taken place. Personally I would have loved to see the first days of the world discovering magic and the paranormal. If you think Hurricane Irene and that bullshit we called an earthquake caused panic, you could only imagine the first time a person comes face-to-face with a long dead relative or a fairy. But no, these events have already transpired, leaving the book to launch from the corporatization and the cottage industries that grew out of this world-changing event.
VESCELL is the name of a corporation that can take your mind and transfer into any body (note – I purposely didn’t say anybody) you could imagine. The wealthy and well-to-do have come to use this technology to satiate vanity, run from trouble or--as is the case with one couple--switch bodies when one really wants to be a woman and the other partner really doesn’t care what gender they respectively are, simply that they remain together (that last one would have given the show “Cheers” a whole different twist). Agent Mauricio “Moo” Barrino serves as our lens into this world and as an escort of sorts, protecting those that are about to be body swapped.
Serving as the antagonist is this brave new frontier as the yin to VESCELL’s yang is CYBERCAN, a company that is also able to transfer the mind and soul of individuals, but instead of into flesh they transfer people into machines. Think Haley Joel Osment, not Robby the Robot.
VESCELL is not for the puritanical. The underpinning of sex is tied to each and every case that Moo is fortunate enough to escort, which leads me to believe one of two things: either all the rich people in the world are walking libidos or this collision with nether regions made us all really really horny. I didn’t mind this approach, but I’m also as far from a puritan as Ron Jeremy. However, I realize not all sensibilities are the same, so some might find this groinal compass a bit heavy-handed. You’ve been warned.
The true charm of this world comes from the women in Moo’s life. On one side you have his fairy partner, a cute little pixie with more sass than Gigette after snorting 12 lines of pixie sticks. She goes from cute to kick-ass in a millisecond and you can’t help but wonder why she and Moo have never tried any interspecies relations. And perhaps they would, if it wasn’t for the spirit of his long lost love that was absconded to the nether worlds and can now only appear ethereally unless Moo does some black magic that allows her to occupy the bodies of hookers for short periods of time.
Weird? I know…but on the same token, weird can be good given enough time and patience. It’s clear that Carrion is in this for the long haul though. All the central characters have a want that is as clearly telegraphed as tomorrow’s plot lines. Moo’s fairy friend wants to be as important as his disembodied girlfriend. The girlfriend wants to be able to come back to earth permanently instead of one hooker at a time. Moo wants to find out more about VESCELL’s true purpose and is also playing double agent with the authorities that now relegate all of these new magical shenanigans.
And again, that is where I want to either see a prequel that sets up this world or certainly get more explanation as to why things are the way they are in issue 2.
The art was great in some parts and in some places could use some work. Upchurch knows his cheesecake and is unafraid to serve generous helpings throughout this tale. It’s never too much though, yet still sexy. Again and again I was reminded of the WWII version of bawdy: just enough skin to tantalize, but not enough to be put on trial by McCarthy. I will also say, though, that some of the panels felt static; sometimes Moo’s face and expressions seemed out of place given the rest of the scene’s tonality. There was also one panel where his neck seemed more stretched out than Reed Richards playing the game periscope.
VESCELL has me hooked with its underpinnings that blend sci-fi and magic. And Moo is a character I think I can really get into, assuming I can learn a little more about him in coming issues other than the fact he likes big-breasted red heads.
BRIGHTEST DAY AFTERMATH: THE SEARCH FOR SWAMP THING #3
Writer: Jonathan VankinArt: Marco Castiello
Publisher: DC Comics
Reviewer: The Writing Rambler
So I’ve had the pleasure of being able to read/review all three of the BRIGHTEST DAY AFTERMATH: SEARCH FOR SWAMP THING issues for AICN and boy does this final issue end with a glorious bang. Yup, those are the exact words I would use to start a review if I lived on the Bizzaro planet of Htrae, where everything is opposite. Unfortunately I don’t and for the third time DC readers are given a jumbled, messy story that has no real meaning or explanation towards the reintroduction of John Constantine and Swamp Thing to the mainstream DCU.
This third and final issue of the limited series was supposed to be the conclusion of Constantine’s journey searching for Swamp Thing and the newly resurrected Alec Holland, but instead were given more of the same confusing runaround with no real furthering of the story. Random appearances from Madame Xanadu, Batman, Superman and Deadman (who I assume was thrown in to remind us this is still supposed to connect to BRIGHTEST DA) add to the “chaos” of this series. To put it simply there is no point to this book other than being a three part reminder that Constantine and Swamp Thing are part of the DCU again. From Constantine’s odd change of heart at the end of the book to Batman’s horribly cheesy comment about EPA regulations, this final issue seems like a culmination of bad ideas put to paper.
There’s not much new or unique about the book’s artwork other than it is consistent with the first two issues. Marco Castiello returns to take the reins back from Renato Arlem, who handled the second issue, and while he does a good job depicting the mess of a story that we’re given, I did find it funny that his version of Batman here just made me think some drifter stole Batman’s costume and is pretending to be him. I don’t know, maybe it’s just me but something is off about this story’s caped crusader.
I do have something positive to say about this book and that is I’ve finally come to peace with the cover art. If you’ve read my past reviews on this series you’ll know I’ve been pretty annoyed how the covers so far have both misrepresented the content and then mostly copy and pasted the previous issue’s artwork. Well, with this issue we finally get a cover that has something to do with the content within, so I guess that’s a good thing, right?
Overall, this entire series has been a huge disappointment to readers who were anticipating learning more about John and Swamp Thing’s place in the current DCU. When you couple this with the fact that this series is also supposed to be the wrap up to a huge event like BRIGHTEST DAY you realize how much of a failure this really is. All I can hope is that with the relaunch of the DCU upon us we will be given much better stories for all of the characters involved.
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Advance Review: FLASH GORDON: INVASION OF THE RED SWORD #4-POWER
Writer: Brendan DeneenArtist: Eduardo Garcia
Publisher: Ardden Entertainment
Reviewer: Prof. Challenger
“FLASH GORDON?!” – King Crax of the Fire People
“Uh...yep, that's me. Unless you want to kill Flash Gordon. In which case, I hate that guy too.” – Flash Gordon
In a week in which one major publisher blitzes the comic shops with their insanely over-hyped relaunch, there's a slight...ever so miniscule....chance that some lesser hyped comics might get overlooked. In this case, one that might get overlooked might be Ardden Entertainments current FLASH GORDON series. So, let me take a moment to remind you that this comic is also available today at your local comics retailer.
I hear a lot of grousing (and sometimes do the grousing myself) about the absence of fun and adventure in modern comics. I keep looking forward to this series every month precisely because it fills that void. It is possible to tell a serialized adventure series in comics without on panel rapes, graphic beheadings and amputations. It is possible to entertain the hell out of your reader without rotting corpses and psychopathic over-the-top villains. It is possible to tell a long-form story in serialized form that is complete on its own yet continues the larger story and it is possible to do proper character development without crossovers and tie-ins. FLASH GORDON demonstrates this every month, consistently.
As it should, this comic moves from cliffhanger to cliffhanger each month and is a thrilling ride every time. The invasion of the planet Mongo by the bloodthirsty humans of The Red Sword is in full force right now and our heroes (and villain) are separated and struggling to survive. As the anticipation builds in the story, so does the anticipation in the reader as to if and when our team will reunite and quell this invasion. More importantly, how can they rebuff the Red Sword without reestablishing Ming as the powerful Emperor of Mongo?
The difficult thing is to write about an issue like this without overly spoiling it, but at the end of the previous issue, Flash found himself abandoned by his “partner” Ming (no surprise there) to drown in a flooding cave. Since the comic is eponymously titled, it should come as no surprise that Flash figures a way out of his predicament, but then he finds himself once again face to face with a fire-breathing dragon. This creatures seem to be rather common on Mongo.
Dale Ardden, Vultan, and his daughter Talon meet a race of men I, at least, am unfamiliar with – The Power Men of Mongo--another fascinating extrapolation of beings in that The Power Men are cyborgs on the run from the brutal rule of Ming. Threads of story are picked up from the FG: MERCY WARS and Queen Fria of Frigia.
In other words, a whole lot happens in this one comic book. And this has been the pattern for the entire series. This is seriously one of the best-paced books out there, as are all the Arrden and Atlas comics, in that it mirrors the active storytelling of the old movie serials but actually involves the reader in the lives and the personalities of the people of Earth who are stranded on Mongo, but especially those who are native to Mongo.
Ming is missing from this issue, but his presence is like an umbrella covering the entire proceeding. The series is called FLASH GORDON, but Ming is the character who keeps it focused at all times.
Every time I review this series, I always make a point of complimenting the art. The thing about the artist, Eduardo Garcia, is that he came on to this series following an artist who had already established the look and the style for it. That's a tough place to find yourself in as an artist. What I have noticed from issue to issue is that each successive issue begins to look less like Garcia is trying to match that earlier style and more organically Garcia himself. And that's a progression that I whole-heartedly approve of. I enjoy his work and he's a fantastic graphic storyteller. I also will take a moment to rave about the color work once again. It always strikes me how otherworldly Mongo seems. It really looks like the reader is viewing these scenes through the light of a sun and planet quite different from our own. And these color and lighting choices are deliberate and effective. If you're already reading this series then you know what I'm talking about. If you haven't picked it up yet, this is a good time to jump in because you can get all four issues and be up to speed before the next one comes out.
HELLBLAZER: BLOODY CARNATIONS TPB
Writer: Peter MilliganArtist(s): Guiseppe Camuncoli, Stefano Landini, & Simon Bisley
Publisher: DC Vertigo
Reviewer: Humphrey Lee
One of the concessions I had to make to myself recently, in the wake of deciding adding more student loan debt for a MBA would a good idea, is that I had to give up one of my more (honestly) needless buying habits: double-dipping. At some point or another in my life, it came to the point where several books I was buying, for want of knowing what was happening month in and out and being of high enough a quality that I wanted to display volumes of them on my bookcase, I’d get the title in both floppy and trade paperback (TPB) form. Excessive? Yeah, but it’s an easy habit to fall into, especially with HELLBLAZER here, as John Constantine was a character I got into via TPBs and has been one of my absolute favourites since, to the point where I just had to read his adventures monthly, as I did for just about a decade. And, while admittedly gluttonous, this measure actually sucks a bit as, at least with Peter Milligan’s run here, Johnny Boy maintains that month-to-month energy that a lot of books seem to have lost in a “write for the trade” era.
BLOODY CARNATIONS here is a pretty hefty tome of Hellblazerness that really established two things in my mind about this run, a) being that, man, this really has been going on quite the while and b) it has now become pretty highly relevant between the actual events within combined with that length. This volume really brings to a head the bulk of what Milligan has made the emphasis of his run, that of Constantine in love. But while the beginning of the run had introduced us to a new lady love in John’s life, Phoebe, in true Constantine fashion that all went to bollocks, with someone new stepping up to the plate, to the extent of John being enamored enough to pop the question--all while being rife with the bugfuck insanity you expect from a proper Constantine tale.
This particular case of madness brings about another one, which was great from a nostalgia standpoint of Milligan writing Shade The Changing Man again, my own personal first experience with his writing as well as being the run that apparently made him a name in the industry. And it all leads up to, with some psychedelics here, a little time jumping there, a succubus, some demons, and so on, to the big change and a first in John Constantine’s life: marriage. It’s really got all the things a John fan should want and expect to see in a good Hellblazer run, especially with some hearty emphasis on continuity and old-school players coming back, for better or for worse, for the long-time such as myself.
The main and only real “issue” I have with this volume – and this is going back to my comment on the month-to-month read at the beginning – is that the events within it move fast. Like, really fast. From John having a bit of madness and abuse with Epiphany, to Shade, to a time-displaced Epiphany, to the wedding plans, to the actual wedding (complete with run-ins with Nergal and Kit for the Constantine adept) so much happens here. In one sitting, it’s kind of overwhelming, and actually made me feel like we missed out on some good moments being even better if they had more room to breathe, like the reunion of John with Kit. Over the nine-month span these events took place in, I’m sure it felt a lot roomier, even with the frenetic pacing per issue. Either way, this is still great HELLBLAZER material and stuff that I’m sure will be assimilated quite well into the sordid tapestry that has been the title’s impressive run. And if the “PG-13” version of the character doesn’t play out well enough in JUSTICE LEAGUE DARK, it’s nice to know that a proper John is still up to his mad tricks in his real home.
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, Facebookand a blog 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.
CTHULHU TALES OMNIBUS: DELERIUM TPB
Writers: Johanna Stokes, Mark Waid, Keith Giffen, Kim Krizan, Steve NilesArt: Dave Johnson, Fabio Moon, Gabriel Hardman
Publisher: BOOM! Studios
Reviewer: Henry Higgins is My Homeboy
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Lovecraftian stories always have a certain appeal to them, a certain draw. It brings out the macabre inspiration in writers and gives artists free reign to let their minds wander and return with whatever demented and disturbed imagery they can find. Boom Comics’ Omnibus DELIRIUM reads with a certain edge and wit to it. It's easily one of the best collections of short stories I've read in a while, and its appeal should be easy to see. By recruiting a plethora of writers and artists from across the comics business, it allows for stories of differing morals, hopes, dreads and humors. I won't be grading it on the usual 5/5 scale I do because of the sheer number of stories and varying degrees of quality, but I will say it's a fantastic purchase.
Many of the stories play to the traditional Lovecraftian tropes, but give them a certain energy and appeal. They speak of rituals and desperation, but it never feels as if the same story is being told twice. The “Delirium” in the book’s title appears here and there with very interesting interpretations. Each writer finds a unique voice amidst a sea of talent. No two leads sound at all like another. And while following the old patterns can sometimes not work brilliantly (more then a few stories aren't anything special), none of them are particularly bad. Even at their worst, they're still interesting tales from within the Chuthulu mythos. And when they do stand out, the book excels in ways I wasn't expecting. The sheer scope of characters utilized in here, in both horror and humor, is simply marvelous. It ranges from hysterical to horrifying, without losing any drive.
Characters and situations seldom used in eldritch stories before are utilized here (“Quality Time” in particular went in a predictable fashion for Cthulhu stories, but it remained so well written and unique in its cast, it felt new) marvelously. The book never really lags, each story melding into the next with a symmetry. Well put together and well spaced between the funny and the horrifying, it reads brilliantly.
The art stands out as well, giving fantastic looks into encroachment of madness, and juxtaposing it against such stylized or simplified art. The concepts in the “Chuthulu Calls” video are breathtaking in their complexity and almost appearing in motion. “For You” plays between a nostalgic art style and truly unsettling visuals brought on by the demons of the Lovecraftian mythos. With a plethora of styles and distinctive palettes, each artist brings another style beautifully into the horrific events. No section of the book feels weak.
Overall: 5/5(Okay, I lied) Boom put together a fantastic collection of stories with this Omnibus. The book is great if you're a fan of Lovecraft, creepy tales, or just solid horror comics.
GREEN LANTERN EMERALD WARRIORS # 13
Writer: Peter J. TomasiArt: Ron Frenz
Publisher: DC Comics
Reviewer: The Writing Rambler
EMERALD WARRIORS 13 is the final issue of the series as well as the last GREEEN LANTERN title we get in the pre “reboot” DCU. While there is no big, epic story that some may have hoped or even a bridge to what will happen in the “new” DCU I actually really enjoyed what we’re given here. It’s yet another one shot focused on Guy Gardner (much like the past two EMERALD WARRIOR issues), who this time is teamed up with Batman in what feels much more like an issue of THE BRAVE AND THE BOLD than any GREEN LANTERN title.
I really love what Tomasi has done with these final issues as he is great at delivering stories that use Guy Gardner’s personality to the fullest. He just seems to really enjoy writing Guy stories and it shows. Throw in getting to see him include Batman and the unique “chemistry” that he and Guy share and you have a really enjoyable story overall. The issue is a quick whodunit that takes place on an international space station, but truthfully none of the background matters as it’s the fun of watching Batman and Guy act as a successful team that keeps you turning the pages.
The art by Ron Frenz blends with the story and keeps everything moving well. The art in any book is there to enhance what should be a well written story and it’s exactly what we get here. Nothing we’ve never seen before, but enjoyable because it flows with everything and never becomes a distraction to the reader like I’ve experienced in some of the WAR OF THE GREEN LANTERN: AFTERMATH books as of late.
This book probably isn’t for everyone as many people don’t like throwing down their hard earned $3 to buy a one shot that has no real significance in the larger GREEN LANTERN storylines, but these are often the stories that are made for the die-hard fans. As a fan of GREEN LANTERN I definitely recognize that many of the major events in the DCU for the past few years have somewhat had a Lantern influence and if anything we’ve been spoiled with large arcs that have taken the title to new heights. Because of this, we often dismiss smaller issues that don’t have some type of larger theme/event going on and it’s a shame. An issue like this should mean just as much to a fan because without books that create and build up these character’s personalities for us to love/hate, their actions in larger stories would be pointless. In a way I think this issue is a fitting end to this series as it reminds me that despite not having several Lanterns featured or any universe spanning story it’s still a completely enjoyable read and that it’s the personality of characters like Guy Gardner that keep me coming back for more.
XOMBI #6
Story: John RozumArt: Frazer Irving
Publisher: DC Comics
Reviewer: MajinFu
XOMBI wraps up another arc in this issue, and it’s a doozy of a finale. Unfortunately, I have yet to read the original XOMBI comics, but this fact hasn’t made it any harder to fall in love with the spunky Catholic Girl, the coarse Julian, the clairvoyant Nuntheless, or David Kim (the title Xombi). This issue details their final stand against the villainous Finch and his numerous, gruesome servants, and does so with gusto and a final lightheartedness that left this reader feeling all warm and fuzzy inside.
Sporting one of the best creative teams since Icon’s CRIMINAL, this is a comic where every panel is gorgeous, every page bursting with intrigue, and nothing goes to waste. While the last few issues packed in a lot of exposition, this one barrels towards a satisfying conclusion, stopping along the way to give nearly every character on this strange team a chance to shine. This is the climax of the story, so there’s not a lot of room for character development, but what is there is engrossing and sometimes hilarious, depending on whom you’re reading about. It’s refreshing to read a team book where there isn’t a single character you don’t like, even if some of them (like those mentioned above) jump off the page a bit more.
Speaking of leaping off the page, Frazer Irving’s art is perfectly ethereal and simultaneously explosive, as he pulls out all the stops for this final issue. I’m also a big fan of his talking heads style, which shows off some nice expression work while leaving plenty of breathing space on the page. His layouts tell the story clearly, without ever letting up on atmosphere, not to mention his use of color is magnificent.
If I had any criticism for the book, I’d say David Kim’s powers allowed for some all-too-convenient solutions to some seemingly dismal problems near the end of the book. Then again, I’m an optimist, so it wasn’t exactly a long shot for me to believe in good conquering evil. It just looked a little easy. Despite this minor crisis of believability in a world that is more super than natural, this book is a gorgeous tour de force that any fan of the paranormal would surely enjoy. XOMBI is reported to return in March 2012 and is now my most anticipated comic for next year.
BATMAN INC. # 8DC Comics
Morrison presents some intriguing ideas right off the bat, as Bruce Wayne holds an international business meeting via his new “Internet 3.0,” which is for all intents and purposes a virtual world to give Barbara Gordon a new way of fighting crime as Batgirl. It’s a simple premise that ultimately feels like a gimmick, as this is very much a by the numbers comic book. It starts well enough with a computer-processed art style that perfectly suits the subject matter. Then the bad guys show up, and the art becomes stiffer than a superhero wax museum. It’s not necessarily a bad issue, but the compositions and garish colors make some of the action downright incomprehensible. In a lesser Batman run, this wouldn’t be such a bad issue, even with the mediocre plot. Considering fans of this series will have to wait until next year for a new issue, it does serve as a feeble herald of things to come. But after the incredibly good last issue detailing the Man of Bats family, this is one issue readers can pass up, except maybe diehard Tron fans. - MajinFu
UNCANNY X-FORCE #13Marvel Comics
Pay attention, comic writers: this is how you make a viable single issue with a decompressed writing style. Despite taking place near the middle of the Dark Angel Saga, issue 13 of UNCANNY X-FORCE fires on all cylinders, delivering a single issue that is packed with stunning action and potent character moments. For me, Fantomex was always a character who teetered on obnoxiousness, but in this issue he is solidified as a mutant after my own heart. I always thought Gambit was pretty lame, and I’m glad to see somebody agrees. The only quip I have about this issue is the shift in art. While Scott Eaton’s work is serviceable, it clashes with Mark Brooks’ style and creates a distracting rift in style near the end of the book. With so many characters bouncing around (from different timelines no less), consistent visuals are key to proper storytelling. Still, this book continues to dole out plenty of love for fans of the Apocalypse Saga, soap operas, and superhero comics in general, and I can’t wait to see what happens next. - MajinFu
DC RETROACTIVE - JUSTI
