(Click title to go directly to the review)
LEGENDS OF THE KNIGHT (2014) Documentary
UNCANNY X-MEN ANNUAL #1
SPIDER-MAN & THE X-MEN #1
SIRENS #2
AVENGERS #39
BITCH PLANET #1
AMAZING SPIDER-MAN #11
SEX CRIMINALS #9
AXIS #7
SOUTHERN BASTARDS #6
AVENGERS WORLD #16
LEGENDS OF THE KNIGHT (2014) Documentary
Directed by Brett CulpWritten by Brett Culp
Available on their website here!
Reviewed by The Kid Marvel
I recently had the opportunity to check out the crowd-funded documentary LEGENDS OF THE KNIGHT, written and directed by Brett Culp. The documentary focused on how the character of Batman has effected, motivated, shaped and inspired various individuals throughout their lives. Everyone from police officers to children, acts of philanthropy to overcoming physical disabilities: LEGENDS OF THE KNIGHT displayed how a fictional character could really and truly impact people in a positive fashion.
Brett Culp does a really good job in the film by finding people from all walks of life in order to solidify the impact that Batman has made on everyone featured in the film. He is able to capture how Batman transcends fiction to shape personal identity and mold life choices in a way any real-life hero figure can. You actually feel something while watching the documentary, especially if you grew up reading or simply enjoying any stories related to comics figures. Some of the film’s more notable names being interviewed include Denny O’Neil, Michael Uslan and Gotham Chopra, along with 64 others.
LEGENDS OF THE KNIGHT wasn’t anything groundbreaking or shedding light on some controversial topic; it simply focused on the human factor and the inspiration Batman has brought to people. This, however, is one of the film’s negatives, with the direction of the goal it wants to convey being broad and creating the atmosphere of a casual interview, rather than focused documentary. The same is said for the quality of filming, which at times seems low budget and cheesy, while at others gives the impression of a serious documentary. LEGENDS OF THE KNIGHT has some very strong, emotionally engaging moments capturing what I believe was the goal of the film, but because it lacks focus at times, it falls slightly short of the potential it has. I believe if there were some slight tweaking of the direction and it really narrowed things down in the conclusion, “Legends of the Knight” would be a phenomenal documentary. The same can be said of the editing and quality of video, which if it was a little tighter and of higher caliber, it would bring everything together so much smoother.
I liked the film and really enjoyed what LEGENDS OF THE KNIGHT was trying to capture with the motivation and inspiration being drawn from the iconic character of Batman. I felt it had a lot of potential in its concept; it just felt slightly short from lack of direction and video quality. If you’re a fan of Batman or superheroes in general, this is a film you’ll probably enjoy. There is quite a bit of nostalgic feeling throughout LEGENDS OF THE KNIGHT when those interviewed are expressing what Batman means to them, and is very relatable to anyone who grew up with these stories. It was a fun watch and interesting look at peoples’ hopes, dreams and, as I said many times, inspirations. If you have any interest in the film, it is now available for purchase, which a quick google search could direct you to.
UNCANNY X-MEN ANNUAL #1
Writer: Brian Michael BendisArt: Andrea Sorrentino
Reviewer: Morbidlyobesefleshdevouringcat
For those who have been following Eva Bell in UNCANNY X-MEN, I bet you’re wondering what exactly happened to her when she abruptly disappeared during a training mission in issue #17, only to reappear as a much older woman a second later. Through a two part miniseries Brian Michael Bendis and Andrea Sorrentino are going to silence all those deeply seated inquiries.
It’s an interesting arc;,a segment that bodes well on its own without the need to double back and inquire of Eva’s beginnings through either of her appearances in ALL-NEW X-MEN or UNCANNY X-MEN, but for readers who have been following along intently, it might prove to be a bit tedious. Understandably, the team had a difficult task attempting to make ANNUAL stand alone without completely separating it from the series.
Eva Bell, a quirky little Australian, is a mutant that is able to travel through time. Unfortunately, the young Eva Bell is still unable to completely control this power and sends herself through strange lands whenever she experiences strong emotions. The first part of the series sees Eva traveling to obscure foreign lands. She goes from being nearly killed by giant squid-like creatures wielding laser guns to then suddenly transporting herself to America’s Old West where, incidentally, she meets Johnny Bart AKA The Rawhide Kid. Finally, amidst all the stress and confusion Eva time travels back to the X-MEN —in 2099.
Previously at this point during the first half of the narrative, Sorrentino’s art in combination with Marcelo Maiolo’s colors had garnered mixed feelings. Maiolo uses a bright, stark red as a constant to signify the emotional stress Eva experiences as she travels from place to place.
Initially, I found this to be incredibly unpleasant, and honestly, it created some anxiety while reading it, but this could also be intentional. The blunt red juxtaposed against the splendor of colors running through Eva’s time jumps forced me to relate with Eva’s emotional turmoil. A smart move on Maiolo’s part, he shows us how to advantageously use color to engage and steer our emotions.
The second half of ANNUAL is where Sorrentino and Maiolo begin to show off. After a sad realization that Eva isn’t where she needs to be, the exhausted Eva Bell faints only to wake up to find herself face to face with her old mentor Illyana Rasputin, who hasn’t aged a bit during all that time. Eva and Illyana’s discussion is more than a conversation; the two appear to amicably walk about a resplendent spiritual land that is airy and spatial thanks in part to Maiolo’s softened colors. Sorrentino plays with a mess of panels, but they're structured and coherent without being boring. The pacing in these pages becomes less cumbersome and illustrates the potency of sequential art with an experienced team.
Eva’s physical and emotional maturation is regressed during this half, but unfortunately fails in its attempt to do so. At this point several years have passed. Eva has decided to stay in the future, where she continues to train with Illyana. She’s aged well, and even has a family which for some reason has no names. There isn’t any real interaction with Eva and her family, except to show Eva’s frustration while discussing Illyana confronting Eva to go back to her original time.
It’s a pity, really; this would have been a great opportunity to reveal or even provide layers to Eva’s personality and her emotional growth after all the years spent in the future. UNCANNY X-MEN: ANNUAL #1 had some great potential for developing Eva’s character, but didn’t quite reach it. Not a complete write-off, I think it’s a great start to show, perhaps, a younger generation the potential of superhero comics that aren’t strictly male-based. I guess we’ll just have to see how the second half goes.
SPIDER-MAN & THE X-MEN #1
Writer: Elliot KalanArtist: Marco Failla
Publisher: Marvel Comics
Reviewer: The Kid Marvel
I was really excited when I heard this series announced a few months ago, for a few reasons. First, simply nostalgic purposes: when I was growing up watching the Spider-Man animated series, my favorite episodes were always the team ups, especially the X-Men arc. So when SPIDER-MAN & THE X-MEN was announced, I was instantly brought back to my childhood. The second reason is, again, nostaligia. When I went to my local comic store as a kid, I’d always look for older Spider-Man books in the five or ten dollar bin featuring team ups. Spider-Man teaming up with anyone was always super entertaining and they are still some of my favorite comic stories. Obviously when the series got announced, as soon as I could order it for my personal bin, it was done.
To start, SPIDER-MAN & THE X-MEN begins with Spidey being brought to the Jean Grey School via airlift by Storm. The school is being attacked by Unus and Spider-Man is trying to make a good impression on the X-Men, who aren’t particularly fond on him working at the school or even helping them in general. After Spidey stops Unus, the story moves onto his first day as a teacher and him introducing himself to his “special” class. Basically, Logan believed there was a mole within the school and he wanted Spider-Man to find out who it is, which is why these particular students are being taught by the Webhead. After some in-class mishaps and a decision to take the class on a field trip to a museum, this is when things basically go to crap and Spider-Man and his students are taken captive by Stegron and Sauron.
I guess to start with, I thought the tone, pacing, and essentially all elements of what I expected from the series were spot on. There’s the usually shenanigans of Peter screwing up, being unorganized, and just the general Parker Luck element. The mood is fun and entertaining, with a light-hearted tone, and the assumption of redemption or growth in future issues from Peter’s troubled students. The dialogue was great, and Spider-Man’s interaction with his students and the X-Men in general was excellent. Spidey and Beast taking verbal shots about each other’s intelligence may have been the shortest but possibly the best back and forth in the issue. Honestly, the banter throughout the book was great and why I love Spider-Man related titles.
However, I do have one serious complaint about SPIDER-MAN & THE X-MEN, and that is Spidey’s fighting ability and overall fighting IQ. Spider-Man at this point has been an Avenger for awhile and a member of the New Avengers, subbed in the FF during Johnny Storm’s absence, has led superhero teams and been a part of a plethora other ones. He’s also a master of his own style of kung fu and has taken on god-level villains and some serious bad guys. He’s on seasoned veteran status at this point in his career, but in this issue he seems like he’s only been doing this for a few months when it comes to combat; being captured by Stegron and Sauron so easily after he dispatched Unus half-paying attention just isn’t consistent. His battle with the two should have been a walk in the park, even if he’s worried about his students and bystanders. It wasn’t too long ago he basically Batmanned the Sinister Six in contingency plans and took on a whole city of spider people, not to forget either he’s currently going up against gods in SPIDER-VERSE. I understand the point of trying to show he’s new at teaching, but he should be wowing his students and earning their respect through sheer combat skills. Throughout the book, his students are disrespecting him and playing pranks, even getting his shirt BAMF’d (teleported) off during class. His fight with Stegron and Sauron should have showed his students how good he really is, rather than a superhero screw up.
Artwise, zero complaints. Failla did an excellent job throughout the book from action to paneling and character expressions. The artwork flowed great with the script and emphasized that light-hearted and fun tone of the story. Not much to really talk about on the art, cause I have no complaints--I thought it worked perfectly with the story.
Overall, I was really happy with SPIDER-MAN & THE X-MEN and I’m excited for the rest of the series. Spider-Man’s combat ability aside, I thought the book was really solid. I feel like the series has a lot of potential, and with all the cosmic-level and giant Marvel crossovers going on, this one felt a little more ground level. If you’re a Spider-Man fan I would definitely check out the series and even if you aren’t, I think Kalan did a good job on the script and seems to be building what should be a very enjoyable series.
SIRENS #2
Writer/Artist: George PerezPublisher: BOOM! Studios
Reviewer: Masked Man
In the all-time list of beloved comic book creators, George Perez is clearly in the top ten. In each decade he has managed to dazzle new readers as well as old ones. One of my favorite anecdotes about Perez is that apparently in the late 90s, as he was starting work on the AVENGERS, a young (new to comics) fan met him and saw his artwork at a convention. The fan looked up at George and said, 'Wow, you're going to be the next Jim Lee.' That, my friends, is talent: the kid didn't have to be told this is the 'great' George Perez, he just knew it. And so does Boom Studios. So when DC and Perez parted company (again), they jumped on him. “Anything you want, George--go for it!” So he did, with SIRENS.
“Brevity is the soul of wit.” George Perez has no frigg'n idea what that means. On the plus side, his artwork can be a marvel to see. On the minus side, his writing can be a mass of words and confusion. Seriously, SIRENS is so dense with concepts and dialogue it's hard to keep everything straight, even though the plot itself has been fairly simple. We are two issues into this six issue series and here's the plot so far: A team of freedom fighters, long disbanded and hiding in time, are recruited to battle their, and the galaxy's, arch-nemesis again. Just as they come together, the villains discover them and attack. Fairly simple and straightforward, right? Well unfortunately, it's all going down like the movie SUCKERPUNCH (ok, I haven't seen SUCKERPUNCH, but based on its trailer): there is so much stuff going on at the same time, it can't possibly make any sense. Perez has got nine heroes (at least that's how many I think there are), all unique in look (with Perez designs, if you know what I mean) and attitude. Character conflicts begin before we can even grasp all their names. Plus there's a ton support characters; again, all of them get names and face time, so we can get to know them. Add to this a time-traveling spaceship (did you make a mistake? Go back and redo it), galactic empires (multiple worlds and aliens) and the different time periods and cultures the heroes were hiding in (with their own set of support characters getting names and face time). All in just two issues. Remember the scene in SCANNERS where the guy’s head explodes?
And if that's not enough, and seriously George it's more than enough, Perez' dialogue is just as complex. Try this one for size. “Already on it, Highness. Calibrating for ret-con. All Stations confirm for jump-back. Constance...” “Trauma Stabilizers confirmed. Tabitha...” “Power core's in mid-recharge. Desiree?” “Diverting more power from enviro. Should give us the kick we need. Kalia?” “Helm confirms power for ret-con. Laura?” “Temporal flux field locked.” “All systems go, Highness.” There is sooo much wrong with that exchange of dialogue, for something that should have been “Prepare for ret-con.” “All systems ready.” It's a simply little throwaway scene that covers only a third of a page. A third of a page that has seven characters (with names), and five spaceship functions. Functions likes temporal flux fields, and trauma stabilizers--they have trauma stabilizers?!? And notice, the power core is not charging, nor is it in mid-charge, it's in mid-recharge?!? Remember the scene in SCANNERS where the guy’s head explodes?
So wow--just wow. Now if you can handle all that, Perez is drawing the hell out of this book. And the basic plot, which I mentioned earlier, is good. And our heroes (while too many of them) all appear interesting and likeable. So there is a very good book in here--it's just buried under too many words and, to be fair, too many panels. I mean, can you imagine a George Perez comic with only three panels on a page? That would be amazing! While I understand Boom wanting to let Perez do whatever he wants, it would have been in everyone's best interests if someone was standing next to Perez saying “you're done, you don't have to draw more, you don't have to write more, move on.” So if you are faint of heart, steer clear of this book. If you enjoy plowing through dense sci fi, give this sucker a shot.
AVENGERS #39
Writer: Jonathan HickmanArtists: Mike Deodato (pencils/inks), Frank Martin (colors)
Publisher: Marvel Comics Reviewer: Rock-Me Amodeo
Long ago, I used to praise Hickman’s FANTASTIC FOUR as the thinking man’s adventure book. Now he’s writing AVENGERS, and it works in much the same way. It’s not as accessible as, say, the HULK books, or even the SPIDER-MAN books, which are picking up some cerebral steam. But the Iguazu waterfalls aren’t accessible to everyone, either. I would still recommend the trip. Same same.
Because the AVENGERS books are a tapestry of high science, plot twists and ass-kicking. If you haven’t been following, Hickman has been weaving a tale across space and time (and not at the usual minute per minute rate) over the past few years. Along the way, he’s been blessed with a handful of superb artists, and this arc is no different.
But let’s talk about the story.
The Avengers are at war with themselves, each contingent feeling they represent the best hope for humanity. The ostensible villains are those who have sided with remaining members of the Illuminati, led by a bewhiskered Mr. Fantastic, and whose members include Hulk, Beast, Black Panther and Captain Britain, among others. On the other side is SHIELD, Steve Rogers, Captain Marvel, Hawkeye, “Iron Rhodey”, and Susan Richards…who is a mole for her husband.
The chessboard is the battlefield. Rogers and Richards are the kings.
I’ve always been a fan of plots that put us inside the head of a master strategist. We get to see if they really know what’s going on, or if they’re just full of it. The problem with writing such characters is that the writer must also be smart. You can’t have your genius tapping out a message in binary, unless that message is a few decimal numbers long and a working knowledge of ASCI is assumed. Try to convince me that a phrase was tapped out in under ten seconds, and I’ll try to convince you that the writer has made his genius character look like an idiot.
When Hickman takes the reins in these situations, I KNOW I will get a fully-realized Mr. Fantastic, though this is still an Avengers book. For this issue, however, the rest of it is just window dressing, though here is also a wonderful showdown between the Hulk and Captain Marvel.
Deodato…I really don’t have to say much. If you like him, you’ll love him here. He draws his characters with such…I don’t know…MAJESTY. It’s a perfect fit for the gravitas of the storyline. Every panel feels like it means something.
The story starts with a secret note to Richards from his daughter, telling him he can’t win. And maybe he can’t. But by the end of the issue, you can see the Illuminati/Avengers are not going down without a fight. It’s part one of a new story arc, and five months away from…something big. Now might be a good time to get in.
Rock Me is Dante Amodeo. Online, you can find him at www.GuyVsMan.com where he likes to explore the differences between actual grown-ass men and this current crop of slacker, live-off-their-girlfriends, can't-keep-a-job, responsibility-dodging GUYS that are overtaking the world like societal kudzu...and the women who are letting them get away with it. Or e-mail him Rock-Me Amodeohere
BITCH PLANET #1
Writer: Kelly Sue DeConnickArt: Valentine De Landro
Publisher: Image Comics
Reviewer: DrSumac
When I told a good friend of mine yesterday that I was reviewing BITCH PLANET it inevitably lead to a conversation on the way women are portrayed in comics. He gave me an argument he got from Reddit that if there are in fact many women that read comics regardless of the presence of strong female characters than the industry doesn't need to change at all. I was admittedly taken aback by the silliness of that statement, and countered that stories that write women badly are in themselves bad stories and the industry needs to be able to learn form those errors and move on.
The real answer is easier than that, though: why wouldn't we want the industry to improve? Like it or not, comics have changed over the years and will continue to do so. The writers and artists that challenge the status quo are the ones who create that change, and we all benefit from that. Those strong white male characters everyone loves will always be around or come back. New stories and characters only add more to what we as readers already enjoy.
So what does that have to do with BITCH PLANET? Everything. This story is all about non-compliance with the status quo. Even the page layout breaks the mold of how comics normally look, which I think is done to purposely make the reader just a little uncomfortable so that we have to think about how we approach each page rather than rush through it. Ironically, the characters themselves are a cross section of what people typically look like, which is in itself non-compliant with the typical comic book character.
That's the real point, though: we're all non-compliant with the ideals that society places on us. Every imperfection we have, which ultimately can include our race, sex, sexuality, height, weight, and nearly any other attribute that we often have little to no control over, makes us somehow feel less valuable no matter how common they may be. And if you're reading this and somehow feel like that doesn't include you, the bad news is that reading comic books is also non-compliant to social norms so I'm sorry, but you are one of us.
Alright, alright, so what is BITCH PLANET actually about? A group of female convicts get sent to a space prison where any outburst leads to rather cruel or unusual punishment at the hands of sadistic guards. One woman pleads for help because she doesn't feel she belongs there while her husband fights to get his wife back. Will she be able to survive BITCH PLANET, though? You're just going to have to read to find out.
I get that many readers may not be interested in the non-compliance with society angle that I just ranted about, but honestly the writing, art, and story all stand strong even if you just want to enjoy the comic for its face value alone. DeConnick's writing is just as strong here as it is on other titles like CAPTAIN MARVEL or PRETTY DEADLY. What I particularly loved, however, was the way it played with the reader's expectations to keep us surprised. As a matter of fact, once I got to a big reveal later in the issue it made me want to go back to reread other parts based on that new information. I honestly can't remember the last time a comic made me do that, if ever. As a bonus the back cover is covered with comical ads that tie into the book; there is a spoiler on there, though, so check that out last.
If you've never read a DeConnick comic before check this out. Forget that she is a feminist and just enjoy the story if that makes you feel better. Image Comics has been doing a great job of challenging the medium over the years with books like this that demand better of the industry. If you don't see that as a good thing or as the future than I'm afraid you're living in the past.
Be non-compliant and read BITCH PLANET.
AMAZING SPIDER-MAN #11
Writer: Dan SlottArtist: Olivier Coipel
Publisher: Marvel Comics
Reviewer: Mighty Mouth
Spider-Verse Chapter #3: The AMAZING and the SUPERIOR Spiders face off as a new threat emerges who may prove too much for even the full Spider-Army to handle.
I’ve been excited for the face-off between Parker and Octavius since the teaser image debuted months ago. Peter has already proven himself the superior hero, but the notion of seeing these two battle it out while each inhabits their own separate yet equal bodies, well, that’s just too good an idea to waste. Slott’s doing a marvelous job (yeah, I went there) with the main story. However, the obligatory attempt to create interest for the narratives’ several tie-ins feels more disruptive than intriguing this time around.
The introduction of the all-powerful leader of the Inheritors, Solus, worries me a bit. Infinitely powerful characters always create something of a problem for me. I know I run the risk of inciting full-on nerd fury with this, but #$%! it. When it comes to the whole Batman vs. Superman argument, I’m with team Superman. Sorry, Big Blue is just way too powerful for a mortal man (I don’t care how rich he is). Comparable to Superman, Solus is extremely powerful. We see that he is capable of dispatching even the most powerful of Spider-Men with minimal effort. Defeating a character this overpowering has to be handled appropriately or it risks leaving the story feeling anticlimactic.
Coipel’s artwork is as impressive as ever. I particularly like the way he portrays the expressiveness of the dissimilar Parker personalities. You really get a sense for just how distinctive each version of Peter is. The action sequences with Otto and Peter’s battle for leadership and cosmic Spider-Man going into action justify the ticket price alone.
AMAZING SPIDER-MAN #11 makes for another satisfying chapter in this Spider-Verse event. Whether you consider yourself a Spider fan or not, I think you’d be hard pressed to hate on what Slott, Coipel and the rest are doing with this book.
SEX CRIMINALS #9
Writer: Matt FractionArt: Chip Zdarsky
Publisher: Image Comics
Reviewer: Optimous Douche
I read two books this past week exploring the fragile balance between genders. One was a mature look at both sides of the equation; the other was BITCH PLANET.
Not to rob from Peter to pay Penny, but I need to spoil the press packet a bit when Image releases two titles in the slightly swelling, but for years drought, well of relationship comics. The last time this genre really captured America’s hearts women actually believed when men were assholes it was their fault.
Thankfully, those days of delusion are past. The efforts of Rosie the Riveter and our shoulder pad-wearing baby boomer moms in the boardroom has left room for books like SEX CRIMINALS’ fair and balanced take on this antithesis to our natural being we call “relationships.” SEX CRIMINALS is a sonnet of love basked in some cool sci fi mumbo jumbo wielded by some amazing individuals. It’s the parle to the Vagploitation dickpunch of BITCH PLANET’S point-making through hate-mongering. I’m the first to admit that real change comes from storming the Bastille, but not by writing the leaflet telling everyone when the flash storming will begin. Ladies, if men fucking younger women is the reason y’all hate us and go crazy so we need a BITCH PLANET to contain you, stop fucking older men. See how simple that was? No need to send you off to do the cell block tango (yes, BITCH PLANET is basically the musical “Chicago” without the music or Fosse’s coitus choreography). Blunt hate-mongering merely breeds more hate. SEX CRIMINALS is the olive branch in the war of the sexes…simply ironically named.
While the book’s supernatural allure of orgasms that stop time keeps it very comic booky, it also has the relationship charm of Pam Dawber sharing a gold watch with Robert Hayes (google it). Where BITCH PLANET does its best to demonize our differences with basically a retelling of the musical “Chicago” in space (and without the music or the Fosse grind choreography), SEX CRIMINALS seems to find true appreciation for the struggle to redefine modern relationships in a world where our gender roles are cataclysmically transformed in exponentially faster cycles with each generation.
Cumworld and the Quiet. These are the two names given by our protagonists Suzie and Tom for the mystical cacophony of color and time-stopping that occurs during their respective climaxes. The first volume was about discovery. Through what has become a mind-blowing series’ staple, Suzie “of the now” guides us omnipotent narrator-style through her sexual awakening and how feeling different becomes grossly compounded during puberty when you actually are different. Suzie names this world The Quiet for both the stillness of space and the serenity found in complete body release. Jon is basically a time genocide device during puberty as he builds a perpetual machine of “stop time to go to Cumworld, to go get more porn for increased Cumworld travels.” If time is indeed a relative experience, Jon is about three years older than someone born on the same day in the same year, while Suzie clocks in at 18 months. I don’t base this math off of my own predispositions about the diddling dalliances between genders, Fraction has laid bare the souls of Suzie and Jon so raw and honestly any careful reader can suss out the math.
Honesty of self is where issue 9 kicks off, for both Jon and his teen Cumworld main conduit Jazmine St. Cocaine--a woman who not only guided Jon through the VHS zeitgeist, but also is an elder statesman of the CumQuiet. Thankfully Jasmine, now Dr. Ana Kincaid, also wields the O-gift, which she has been trying to unravel and dissect since streaming killed the DVD star. This really is simply another character’s baptism of honesty into Jon and Suzie’s crusade. It’s Fraction taking a chance to show how innocent sex can turn into a manipulative power play, but his honesty as a writer makes none of it mean or uncomfortable. Jazmine is sought after by our favorite lovebirds to join forces against the CumQuiet police brigade, a fascist sort of group that scares away newcomers like Suzie and Jon so they can pilfer all the spoils of this unique club that gets less exclusive each issue.
Fraction should get us out of the twentysomething head more often to serve up elder views of sex and life. I love Suzie and Jon, but I also left tolerance for coyness and will they won’t they between kids behind in my twenties. Jazmine reminds me Fraction’s character fineness is broad and deep for all walks of life. Now let’s get some CumQuiet regular married folks to hear their unleashing of Fraction’s take on the birds, bees and crimes we all commit in the name of sex and love--and of course to see where the ultimate power will ultimately seduce and corrupt those who “touch” it.
When Optimous isn't reviewing comics he is making the IT words chortle and groan with marketing for MaaS360, Enterprise Mobility Management. He also has a comic coming out sometime soon, for updates head to robpatey.com.
AXIS #7
Writer: Rick RemenderArtist: Adam Kubert
Publisher: Marvel Comics
Reviewer: Masked Man
Marvel's latest crossover event kicks off its final act, or book, rather. The first book, “Red Onslaught”, told us how and why the inversion spell was cast. The second book, “Inversion”, showed us what had happened to all the characters affected by the spell. And now the third book, “New World Disorder”, will seemingly tell us how it all get un-inverted. Makes me think the series should have been entitled “Inversion” instead of “Axis.”
So to start off with, Adam Kubert is back in the artist’s chair and I think it's his best-looking one. It's been my belief that this series has been somewhat of a rush job, as Kubert's first two issues looked very undercooked. But this, his third issue, appears like he had more time, as pages look more finished and his figure work looks stronger in pose and details. Still, I find Kubert's best work not much better than average of the industry as a whole. In theory crossover events should be by top talent/fan favs. See DC's FOREVER EVIL with Ivan Reis, or Marvel's SIEGE by Oliver Coipel. Kubert's two pages of the Deadpool/Apocalypse debate are prime examples of merely par work. Mind you, his showdown between Scarlet Witch and Quicksilver is much better. Issue #8, meanwhile, will see the return of Terry Dodson (another reason why I feel this series was a rush job, as no one artist could handle it all). Dodson is someone more inline with my theory of a crossover event artist, and he did well with his first two issues.
To get into the spoilers of this issue, the new Avengers, made up of super villains, come down on the X-Men, trying to prevent their gene-bomb from killing off all the humans. Yet just like any typical group of supervillains, they get their butts handed to them. Pretty cute that even though their hearts have changed, they still can't win. Meanwhile Scarlet Witch has had it with Daddy Dearest (big spoiler here, folks) and when she casts a spell to destroy her family members, Quicksilver is out for the count, but Magneto doesn't even have a scratch on him (dumt, dumt, dummmmt!!!) And well, if you thought Scarlet Witch was mad before… Now this is a cute idea, and I suppose it creates the ability for new stories of Marvel's favorite mutant family, but I don't see it really adding to the characters. What was once good dramatic tension and conflict is now simple lying and possibly revenge. Lastly, the we don't give a $h!t Avengers have decided they do give $h!t and plan to teach the X-Men a lesson--insert cliffhanger! Personally, I liked it better when they didn't care. The greatest weakness of The Avengers is when they 'disassemble'--like any group of supervillains, which they have now become. Therefore the X-Men or the inverted supervillains could be able to take them down--divided they fall and all.
To be judgmental, which I suppose is my job here, this issue was better than the three issues of Book 1, but not better than the three issues of Book 2. Aside from the Scarlet Witch bit, the action wasn't all that interesting- just kinda standard superhero fare. As for the Deadpool beatdown (a big moment in the book), well, the guy has a healing factor (and Marvel's not killing that cash cow), he really isn't a “good guy”, and the guy beating the crap out of him isn't an inverted hero, so who cares? Remender should have picked a character from whom it would be really shocking to see them do that.
So AXIS is still a real rollercoaster ride, starting out awful, getting really good, and now seemingly turning average (in writing and art). I'm very curious to see how Remender wraps all this up in just two more issues, and If he can end it well, as well.
SOUTHERN BASTARDS #6
Writer: Jason AaronArtist: Jason Latour
Publisher: Image Comics
Reviewer: Humphrey Lee
Obviously, as those who have had this book in their pull list since day one or hopped onto it with the recent first volume trade SOUTHERN BASTARDS know, we had a big shift unleashed on us at the end of the first story arc. Not only was that happenstance a major “What the Fuck?!?” it has led to a massive shift in narrative that I can’t believe I am now enjoying as much as we progress into this new arc. What we now have going on is a drastic perspective change from Earl Tubb, man with daddy issues and a haunted past, is the history of Coach Boss and his place in his stomping grounds of Craw County and, uh, with his daddy issues and a troubled past. Regardless, what we have here is one of the best cases of “in the villain’s shoes” I have come across in a long, long time.
Getting straight to it – and this may change considering we’re just two issues into this storyline – this rendition of giving perspective on the villain in order to somewhat pull some sympathy for them works because we aren’t given the sad sack, give this guy some feels because he had a shit life even if he turned out to be kind of a sadist fuck because of it approach. What we are presented with, so far, is a skinny piece of boy who has a shit life and a desire to play for the pigskin. Euless Boss has no mother, has a drugged out thief of a father, and weighs a buck-thirty soaking wet, rendering his hopes of being on field as a Runnin’ Reb more or less nil. But he stays on the practice yard regardless, ramming himself over and over again into tackling dummies to turn his frail form into something that can be under the stadium lights if he just keeps going. How much your sympathy piles on mileage will vary, depending on how much you can separate that skinny puppy who just wants to make his waste of life dad happy by wearing the Runnin’ Reb gear under the Friday night lights with the vicious old codger who has an entire region under his clipboard-holding thumb.
Weird as it is to say, a lot of that wheel wear of yours may also come from how you feel toward the mystique of the gridiron. It would be frivolous to try and say there is not an allure around the “love of the game” and the camaraderie sports as an isolated thing represent, even to the least jockish of us. If you can watch a season of “Friday Night Lights” and not get a little misty by the end anytime you get a “Clear Eyes, Full Hearts, Can’t Lose” then you probably are not a real human. And I understand fandom and pride in your team and all that hullabaloo, as a man who has and performs at least three rituals every time It’s a Hockey Night in Pittsburgh (LET’S GO PENS!). But the level of importance thrust upon these games sometimes, and in some regions, especially played by a bunch of kids half of whom can barely shave, reaches a level of asininity that definitely makes you question the direction of our society. Mind you, I say this as someone who was raised in one of those small towns that so lives for its high school football they are willing to turn the cheek on some pretty heinous actions (as exampled a couple years ago, you may remember, when some kids from my old home area got away with rape like it was stealing a pack of gum).
All of that non-comic related tangential gibberish is my way of saying that Aaron and Latour have done an amazing level of character building and realistic world building just by how well they have tackled that concept of a sport being played by teenagers absolutely consuming a region. It’s a pretty accurate depiction of such a community (except with some extra emphasis on the criminal element) that leaves you very open to interpret how you now feel about Coach Boss, seeing into his past. It becomes very easy to admire his determination to become a literal player in that world to impress his wastrel of a father. Meanwhile, all I can muster is a little sympathy for his plight of not really having a childhood, and that sympathy is mostly threatened by crashing waves of pity as (in my perspective given my experience with that culture, hence why I stated before mileage may vary here) it’s just a sad life to live pursuing and then hanging onto that kind of glory for the rest of your days, if you even achieve it. Obviously Boss earned himself something in all of this mess, most likely his vicious fucking sadist streak that has him at the Boss Hog in the present day, which is actually tragic when you think about it--all that determination for an ideal that in and of itself is innocent and was corrupted in him to the point where he (presumably) turned it into a petty power grab.
That is probably the best way to sum up why SOUTHERN BASTARDS is such a success of a comic: it’s an almost brutally honest depiction of missed or perverted opportunity. You have Earl Tubb that wanted nothing more than to leave Craw County and never look back, but all that led to was heartache over how he left things with his father. Coach Boss just wanted to be a Runnin’ Reb, and he got that opportunity, but not in the way he expected and pretty much damned himself in the process. And then there are all the other little souls that never went anywhere but stay put, eating their ribs and watching their high school football and churning out future generations of themselves. All of this is wrapped in familial conflict and tales of brutal revenge and a passion for a simple game that complicates things. Goddamn, I love this book like a southerner loves their sweet tea and pigskin.
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, 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.
AVENGERS WORLD #16
Writers: Nick Spencer and Frank BarbiereArtists: Marco Checchetto and Ramon Rosanas
Publisher: Marvel Comics
Reviewer: Rock-Me Amodeo
This title started under Hickman’s direction and seemed for a while like it might illuminate a larger picture, but over the past year, and with Hickman’s departure, it seems to have gone the way of a side player. Of course, with the events of the AXIS storyline taking center stage, many characters have temporarily become ancillary elements in their own titles, and this one is no exception. That being evident, let’s explore what is, and what could be.
AVENGERS WORLD has taken a reformed Dr. Doom and teamed him with a crew of B and C-list characters. I don’t mean to be unkind, but when the most well-known member of a team is Phil Coulson, you’re looking at popularity ratings right up there with Pepper “Rescue” Potts and THE ORDER (a vastly underrated title, I might add, though most of you are probably going “Who?” to which I respond “Exactly.”)
Still, ragtag bands of unknown heroes are kinda ‘in’ right now, even without a talking raccoon, so this could have some legs, if done properly. We have US Agent (who was used well in the latest incarnation of THUNDERBOLTS), 3-D Man, Stingray (both endlessly under-utilized), Elsa Bloodstone (who hasn’t seen much daylight since NEXTWAVE, which wasn’t even in continuity) and Valkyrie. Of all the characters, Val is my favorite, though she really isn’t written as the Val I knew.
MY Val spent an issue of DEFENDERS trying to survive being arrested and serving some time without killing anyone along the way, and she was magnificent in her restraint. Thirty-some-odd years later, having long since sold it, I still remember her for the strength and passion and vulnerability Steve Gerber brought to that character. It’s that kind of writing that catapulted “Guardians of the Galaxy” to cinematic success, and it’s only that kind of writing that will make this group succeed. Does this book bring that kind of heat?
A little. Spencer brought some life to Stingray, but the only character you’re really going to feel for is Doom (at least in the main story) and that’s not hard to do, since Doom is one of the most richly layered personalities in the entire Marvel universe. Past him, there’s not much else one may sink one’s teeth into. And who knows how long Doom will be like this?
But good characters are not built in an issue, so we’ll see if anything else makes us love these folks better than they’ve been loved before.
As far as art goes, sturdy art throughout on the part of both artists, neither overpowering nor underwhelming.
I’m hoping this story does come back to Hickman-ville, if not in writing, then at least in plot. It’s not a bad book, and the twist at the end was sweet, I admit. But so far, it really reads more like an extended WHAT IF? rather than an over-arching tale (or even an extension) of the main Avenger-verse at large.
Proofs, co-edits & common sense provided by Sleazy G
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