THE JUNGLE BOOK: FALL OF THE WILD #1

Writer: Mark L. Miller
Art: Michael Bandini
Publisher: Zenescope Entertainment
Reviewer: Optimous Douche

Before we get into the battle for dominance on Kipling Island, we should call out the white elephants of this review before discussing the ones who are fighting to be the dominant species in this fantasy ecosystem of anthropomorphism.

I wrote the back-up stories for the second volume of this series.
I was not invited back.
Mark L. Miller has been my editor for seven years on Ain’t It Cool, and my Podcast cohort every week for the past three years.
None of this matters when it comes to my life mantra of always dropping truths (or the truths as I see them).

Zenescope is a niche publisher with their amalgam of slathering titillation and horror onto ancient public domain pieces, which has given them as much deriding as praise. JUNGLE BOOK stays in this same mold--I won’t lie. However, I know firsthand that Miller is not one to fit into a publisher mold, but rather make the publisher see their unexplored virtues.

In this case, the virtue of public domain reverence (or at the very least resuscitation, to avoid too many subjective debates), is the Zenescope tentpole Miller raises this story on. While the Finch cover may show a little more curve than the average prude is comfortable with, the inside pages are far more demure and story-focused.

I’m not trying to get you to buy more Zenescope books, but rather not to let the publisher detract you from a well-constructed allegory for the sins of man as told through our animal friends.

Were I the lead on this project instead of the tag-along writer a volume ago (or finally got off my ass to actually seek a publishing gig rather than letting them find me) I would have picked “Animal Farm”, or more likely the “Isle of Marlon Brando”, for my anipals that act like people. I would have been too assed up to ensure I was retrofitting today’s political climate into the story simply because Kipling was a man born of British Imperialism, with the original “Jungle Book” tale being the mark of righteous indignation towards the vast spreading empire of bad teeth and useless royalty.

Miller seeks no such lofty and impossible to reach planes of analogy. He simply focuses on the warring soul of man to be portrayed by the elephants, tigers and orangutans of Kipling Island. This is a story of war, but also life, as animal and human learn that if we don’t destroy ourselves Mother Nature will fix our asses. Remember the Japan tsunami a few years ago? What if Japan was in the middle of an all-out (and possibly winnable) war with China at the same time? If you can imagine that scenario, then this first issue will be an easily digestible transition between reality and fantasies’ reflection therein.

Past fans of this reimagining will remember the second volume left turmoil fully brewing as the humans of the island begin to seek solace in their like/kind genetic code despite their adopted parents’ vehement fervor towards the Capulets on the other side of the clearing. Mowglii of the wolves, monkey man, lemur girl and Mowglii’s true male counterpart who chills with the tigers are all naïve, but also carry that human something that places them above the animals. Miller defines the jungle and its adopted humans in a way that is humorous without becoming silly and impactful without being unnecessarily serious for the sake of source material reverence.

The island, the tempers, and the dreams of peace all erupt in this issue. The only thing tempered are the trapped Bada Dar who are now lead by Baloo, who keeps his trapped fellow bears from delivering destruction by fighting anyone who attempts to leave their subterranean sarcophagus (for that full tale of entombment read the brilliant back story in Volume 2).

To be fair and balanced, while I love Miller as a writer I do need to give him a slap beyond my own ego and also discuss the art for a minute. I know one of the morals of this tale is that “war just is”, but I still need a deeper motivation for the hate being unleashed. Honestly, I almost rejected Miller’s offer to be the Robin to his horny millionaire because of this less than apparent drive. Then he said I could have Baloo and that he ended up the last of his species because he was essentially a pacifist amongst psychopaths. Blind rage from one species is cool, but hate from all makes me less sympathetic and vested. And while the art is certainly acceptable in form, decent in execution and rife with possibility, there is flatness to the piece. It surprised me because I know Miller articulates POVs in his scripts, yet many panels were sitcom proscenium presentations. As a lifelong actor and director of the stage (community theater and other low budget shit), I see this lack of using levels all the time in noob stage direction. Levels garner interest, and I encourage both writer and artist to both seek more.

I don’t need to be on this book, and frankly Miller didn’t need me on the last one. The man’s love of comics, desire to explore the soul, and persevere despite all of the bullshit political clustfuckery associated with dealing with the current mafioso culture of comics is more than enough to earn his place on the Wednesday shelves.

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.

THE MULTIVERSITY: THUNDER WORLD #1

Writer: Grant Morrison
Artist: Cameron Stewart
Publisher: DC Comics
Reviewer: Humphrey Lee

Oddly enough, in my almost nine years now reviewing comic books for this site (holy fuck how have you all tolerated my ramblings for so long?) I do not think I’ve ever reviewed a Grant Morrison product. Which, I know that seems pretty innocuous a thing, but I feel like Mr. Morrison is polarizing enough of a figure in the industry that an interpretation of feelings on the guy’s work in a full disclosure sense is in order when talking about his work in general, let alone on a big, universal event such as his MULTIVERSITY project here. This matters because, fact of it all, the man has kind of a devil may care attitude when it comes to these continuity-based properties, and he gets put on a lot of high-profile ones. This furthermore matters because the man does have a proven track record for unfettered brilliance within the comic book medium, but that “unfettered” notion is where the problem lays with his not-so-brilliant works, because we are so deep now into his career and reputation where it seems editorial oversight does not apply. That is why, maybe even more than your usual upped stakes comic book event throwdown (which all come with their own brand or arrogance behind them), ones that have the bald Scots’ name on them rightfully come with a smattering of apprehension attached.

All of that on the table, after having read a significant amount of his work and gathering person insight into his brain via some interviews (namely his “Nerdist” talkathon from earlier this year) I personally feel that Grant Morrison is a guy who indeed gets it when it comes to the medium of comic books. Here’s a man with a unique brain space (which is somewhat “hopped up on goofballs”, so to speak) and that approaches the comic form with big ideas that is the perfect vehicle to present them to the public for consumption. Comics can be anything and do anything, and he’s the kind of guy with the brashness do attempt these things. He’s like a kid on a playground with access to an infinite number of toys but, as we have seen in the past, he plays rough with them and has no inkling of the ramifications it might have. He doesn’t fully seem to understand that the toys belong to everyone (even some of the ones he has personally created, re: Damian Wayne) and that when he breaks some of them someone else has come along and put them back together as best they can. And since the parents in this metaphor have no apparent interest in telling him no or occasionally smacking him on the wrist, sometimes you get a lot of broken shit to go with the joy of watching someone so enthralled in the act of playing.

So, okay, all of that shit is out of the way now and what does it have to do with THE MULTIVERSITY as a whole and/or this current issue of it, THUNDERWORLD? Because this is a book written and drawn with that childlike enthusiasm (with just a tad of the rock star mixed in) and it is absolutely fantastic. While I have felt that MULTIVERSITY as a whole has been a mixed bag until now, with a pretty obfuscated opener and a “Gossip Rag” issue that was more superfluous than titillating alternating with a proud JUSTICE SOCIETY take as well as a visceral WATCHMEN alternative with its originally intended Charleston Comics characters, THUNDERWORLD crashes onto the stands and joyfully into our hearts. It’s a word that is easy to throw around these days with so many fantastical pieces of entertainment being released, but THUNDERWORLD is an extremely whimsical jaunt. It’s the kind of comic that I feel like you would put into the hands of an impressionable youth to hook them into the medium or in the hands of a jaded adult to make them remember those less pressing times of life.

What makes this comic a joy to read is that, well, it revels in being a joy to read. Despite the overall headiness of the MULTIVERSITY conceit of these worlds being tied through a comic book themselves and reaching through the multiverse at each other. Morrison and Stewart play it straight in this being a “Golly Gee Willikers!” affair with Doc Sivana up to his old tricks with a new twist and plucky young Billy Batson and the Marvel Family having to save the day again with a grin and some pluck. You have a basic plot structure of Sivana hijacking through that dimensional comic an element called “Suspendium” from multiple versions of himself that he used to create an eighth day of the week in his name and to imbue himself and his “children” with science-based superpowers that work like those the Wizard Shazam bestowed upon Billy and his foster siblings. If all of that line of scheming does not give you some nostalgia shakes for the playfully absurd that older comics brought to the table, then I somewhat pity your childhood. And the events that unfold within that theme match the tone and pitch absolutely perfectly. Sivana is as megalomaniacal as ever with his machinations. The fight between the Marvel and Sivana families is highly tongue in cheek and full of cartoonish pop. Cars are thrown about like tissues, Captain Marvel Jr. takes down Georgia Sivana by playing to her vanity, we get some hot Monster Society action and they fight some jetpack-clad Lieutenant Marvels as Cap goes off to save the day from Black Sivana. Whimsy dammit, Whimsy!

Bringing it all together is Cameron Stewart’s art, which probably could not be any more perfect for such a tone. His super soft lines and “bubbly” nature to his figures are an absolute ideal for a Captain Marvel book, especially one that is actually in the vein of the “Big Red Cheese” style of Captain Marvel tale. The big, goofy grins and wide-eyed expressions and hyperactive mannerisms all about are the epitome of what you’d hope to find in such a comic. In all honesty, this is kind of the epitome of a comic you’d want from a man who professes to love the history and playfulness of the medium when he just tries to make something fun. Nothing psychedelic, nothing nihilistic to a painful degree, and not convoluted (here at least) to the point of rendering the culmination of MULTIVERSITY to this point irrelevant. It’s just a grand time in a grand medium by two guys who are showing how much they love to make comics and nothing more. Would that it could all be so simple.

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.

WYTCHES #3

Writer: Scott Snyder
Art: Jock
Publisher: Image Comics
Reviewer: DrSumac

Hopefully many of you have already read WYTCHES, in which case I don't need to tell you how great it's been. If you have read the previous issues but haven't picked this one up yet, I would urge you not to wait any longer. So far the story has been rather mysterious, but this issue really starts to fill in the pieces of the puzzle.

Before I delve into the story, however, I'd like to talk about the fantastic coloring work by Matt Hollingsworth. It seems to me that colorist can sometimes be a thankless job in the industry, when in fact it's really important. In this case the colorist goes above and beyond the usual layering work to actually add hand-painted splattered watercolors that blend into each page. This gives the whole book an eerie, almost supernatural feeling that really sets the tone when matched up with Jock's usual dynamic art style. I can't think of another book I've personally read that incorporates that sort of technique throughout each page of every issue, but I imagine it could quickly become a new trend. Believe me when I say that I am not the type that usually comments on the art, and if that's not your thing either just flip through WYTCHES and you'll quickly find yourself just as intrigued.

Story-wise, we got to see a lot more of Sailor's dad Charlie in this issue. Charlie has honestly been my favorite character from the start for his sense of humor, passion, and all-around great dad-ness. However, with Sailor missing we can now see some cracks in his armor that weren't clear before. When it comes down to it he wants to do right by his daughter, but often doubts himself or succumbs to vices to escape to when things get too tough. This gives him far more depth and also makes him seem more human and flawed than the sort of characters we normally see in all forms of fiction.

The human weakness we see in WYTCHES #3 really speaks to the book's greatest strength, which is how deeply personal the story is to writer Scott Snyder. At the end of issue #1 Snyder explained how the story was inspired by his own adventures hunting for witches in the woods as a kid, but in #3 he shares with us his experiences as a father trying to protect his son from fears that are both imagined and real. This, to him, is what WYTCHES is all about.

So far WYTCHES seems to have mainly focused on Sailor's story as a quiet young girl who is very anxious due to an incredibly traumatic experience, but this month we got a better look at what her parents go through in the struggle to help and understand her. In the end ,for me their biggest fear is the helplessness they feel. Parents can only protect their child so much and for so long before ultimately they have to face the fact that they can't control everything that happens to them.

It’s interesting to me how as readers and viewers of horror we can be numb to things like being attacked by a creepy old woman and yet when faced with very real fears with an honest emotional core they can chill us to the bone. That is how I would define WYTCHES. Snyder didn't set out to write a horror book because he happens to like the genre; he chose to write a book based on his personal fears both imagined and real, and that's why it works so well.

If you like horror, Snyder's work on other titles like BATMAN, or if you just like to see comics that push the limits of what they can be, then this is the book for you. It's only three issues in so it's not too late to catch up and experience all of these fears with the rest of us. I pledge you to read WYTCHES.

How did you like this comic? Please comment below or contact drsumac at drsumac.tumblr.com!

RAGNAROK #3

Writer/Artist: Walt Simonson
Publisher: IDW Publishing
Reviewer: Masked Man

There is probably no comic book creator more associated with Ragnarok than Walt Simonson. You young'uns might not recall, but back in the good ol’ 1980s Simonson broke the industry open with an epic run on THOR, including #380, which was an all-splash page blowout between Thor and the Midgard Serpent (and you thought Dan Jurgens was the first guy to do that). To a certain degree, that book is so all that and a bag of chips, it makes you wonder if it's even worth Simonson's time to do it again.

Well, Simonson isn't really doing Ragnarok here--more like post-Ragnarok, as pieces of the Nine Realms have managed to survive Ragnarok, and apparently now make up a single desolate world. Enter the big reveal of the first two issues: Thor survived too, kind of. Looking like the walking dead, you can imagine that this Thor might have looked just like movie star Thor when he was healthier. Strangely enough, though, Simonson claims this is a new work and not something that has sat in a drawing for 30 years because 'someone' wouldn't let him do it. After reaching the half point of this six part miniseries, I can tell you it's a real slooow burn. Honestly, not much has happened, aside from Thor waking up and seeing what has happened to the world/worlds. While heavy on Norse mythology, it also has a bit of MAD MAX or a THUNDARR THE BARBARIAN feel to it: a bad@$$ in the wasteland.

Simonson's greater plan for RAGNAROK is to knock out miniseries whenever he can, although given the slow burn to this first series, I can see many readers getting bored quickly, killing any chance for another mini, even with Simonson's patent epic, dynamic, bold and hyper-stylized artwork. Simonson is one of the true art masters of the industry, but for my money, the writing has to be there as well. And while I dig this angle, and am curious to see where Simonson takes it, these first three issues should have done more to excite me.

For a real stretch, this concept reminds me a bit of DC's old HERCULES UNCHAINED, which was about Hercules roaming the world after World War III. He wasn't sure what had happened, but had tons of monsters to fight in the wasteland of former civilization. Simonson actually drew some of those issues, too! Overall I feel RAGNAROK is really nice, but also too slow for something so simple. Either the plot has to move quicker, or become more substantial to warrant its current pacing.

TEEN TITANS #5

Writer: Wil Pfeifer
Art: Scott Hepburn
Publisher: DC Comics
Reviewer: Morbidlyobesefleshdevouringcat

Wonder Girl’s haggard outfit aside, DC’s latest attempt at rejuvenating the Teen Titans through the New 52 roster has more or less been one long shoulder shrug, with random bouts of ‘meh’ thrown in for some texture. The series has shown potential, but has thus far only lamented ‘good’ or ‘alright’ in its readings. But with issue five that is hopefully going to change. But not really.

With new artist Scott Hepburn replacing Rockafort, the minimal amounts of plot and character substance aren’t overshadowed by the outdated visual styles that Rockafort brought about, but unfortunately Pfeifer’s execution is, like the previous issues, simply alright.

It’s clear that some subplots are going to develop, such as with Wonder Girl’s awkward fan base and a possibly new Wonder Girl getting hyped for the next issue; there’s just something missing that could make the series as a whole stand out. Pfeifer’s writing still has some wit, and an honest desire to maintain a progressive stance, especially on the target audience, the plot itself is starting to incite intrigue and interest, but the Titans still don't hit the mark.

Is a stylistic change for the better? For myself, that’s a meh. Rockafort’s art was beautiful, definitely unique in his own way, but also a little —ahem— outdated. Dare I go back to that incredibly ‘modern’ first cover issue? Nah, that’s been dissected over and over, and all in all Rockafort’s art just doesn’t fit the progressive changes occurring in the world of comics today, or at least for the young target audience that TT is hoping to hit. It seemed as though DC was looking to make all age groups happy with TEEN TITANS: visually appealing to the Golden Age, yet a storyline prompting the interest of the tumblr generation, and well, honestly, from what we’ve seen of TT it’s just not working.

Hepburn’s art is refreshing, but not enough. His layouts and panel designs in comparison to Rockafort’s are far less appealing, and are almost boring. Where Rockafort had incredibly static action, but detailed enough in his inks that it detracted from this, Hepburn unfortunately lacks similar techniques. What (somewhat) saves Hepburn, though, is Brown’s colors. Dan Brown as a colorist is phenomenal. Keeping Brown as a colorist subverts the eyes from realizing that Rockafort is missing, and certainly doesn’t detract from the story.

Teen Titans could have been a fantastic reboot, and even with DC attempting to move away from old techniques, it just isn’t. The series is unfortunately bland, lacking a distinct voice or plot interest.

AXIS #8

Writer: Rick Remender
Artist: Leinil Francis Yu
Publisher: Marvel Comics
Reviewer: Masked Man

As we near the climax of this tale of moral inversion, the conflagration of super-powered beings grows even larger. Now, with one issue left of Marvel's latest crossover event, it's clear that each so-called three issue 'book' has its own level of quality, with this third book being stuck right in the middle, as it’s nothing more than a slugfest.

Now don't get me wrong, who doesn't enjoy a good superhero slugfest? Only thing is, the match-ups, justification and even the choreography just aren't that compelling. We have three groups of combatants: the X-Men, led by Apocalypse, who are out to destroy all humans; The Avengers, led by no one really as they want to kill the X-Men out of self-preservation; and Axis, (that least they were referred to that at least once here) a group of Supervillain now 'good guys' led by old man Steve Rogers. Now, having the X-Men trying to kill all humans is cool; putting Apocalypse in charge (a long time super-villain) takes away the heroes’ gone back edge. And The Avengers: while self-preservation is reasonable, it also seems forced—like they needed to be there, and that was the best Remender could think of. This series was at its best when characters were more naturally dealing with their inversion. And despite some nice bits, like Thor (or whatever is name is) battling Apocalypse, most of the fighting is just uninspired. And just as (spoilers, people) the killing of Deadpool felt empty, so did the killing of Carnage in this issue. They kill characters in big events all the time, and they all bounce back fairly quickly (unless they are planning to replace a white guy with a non-white person). If you are going to 'kill' a comic book character it needs to be more shocking (like Drax killing Thanos in ANNIHILATION) or emotional (like Supergirl in CRISIS ON INFINITE EARTHS)--that is, if you want the readers to care.

Returning artist Leinil Francis Yu doesn't help matter too much either. Just like his issues #3 and #4, the work here looks rushed and crude. It does have more style and carry more weight than Kubert's issues, but looks rushed and not well thought out. Like when Absorbing Man first shows up, since Remender didn't name him and Leinil didn't draw the trademark ball and chain, I had no idea who he was. On page 12, as Thor battles Cyclops and Havok, something happens in the bottom two panels, but I have no idea what. Then almost everyone is sloppily over-rendered and therefore fairly ugly, even the Enchantress--go fig. It's just not up to Yu's best work, and an event book should look better than this.

The one thing I did like is that Remender is keeping true to the voices of the characters with their new perspectives. Villains still talk like villains, even though they are trying to save the world, and heroes still talk in their usual moral superiority tone, even though they no longer have the moral superiority. But as for a showdown between old man Steve Rogers in a power suit vs. (Falcon) Captain America, really not that interesting. And is it just me, or is it odd that both ORIGINAL SIN and AXIS have famous characters in big roles, now as old men?

With just the finale left, it looks like this crossover event with end with a meh rather than a bang or a thud.

In stores today!

ROBIN RISES ALPHA #1

Writer: Peter J. Tomasi
Artist: Andy Kubert
Publisher: DC Comics
Reviewer: Optimous Douche

Wow, I’m torn. As you can expect Robin is back, the trip to Apokolips proved triumphant and the pint-sized ball of petulance is now back in the cave. My lament quagmire of endorsement pro or con is absolutely no reflection of the creators. Tomasi brought his signature balance of action and character moments, and Kubert is as always more than adept at the pencils (and we will simply forget his faux pas foray into writing a possible Damian future a few months ago). No, I think my problem rests on having my cake and eating it too, while also getting a heavy cream topping I never asked for.

Munch on this with me, please. Does death without permanence offer any level of impact? I will say no, but then I am a fool for my emotional investment in comics. When Damian was slain a few years ago, his real-world father, Grant Morrison, was adamant about the cupie doll close that fell Damian had struck a permanent blow. When I met Tomasi at NYCC back in ’12 he would not confirm a lost Damian, but he did allude to a different path than simple resurrection. I realize now I was a victim of spin, but the veil was well constructed. Between Deaths of Families and the completely ignored but amazing BATMAN AND X series that chronicled Batman’s grieving, Tomasi kept us guessing. Would the next Robin be Harper, drama teacher Carrie Kelly, or would we see a cacophony of short pants swinging around Gotham all emblazoned in their differently colored costumes?

The answer was all of the above. Everyone pitched in during the hunt for Robin, and some much-needed fence-mending took place when the family finally forgave Bruce for his prior withholding of information. As much as I love Damian and the good wrought from the chase for his body against Grandpa Ra’s, I feel mildly empty. I begged for his return at the same time I was creating Facebook groups for the animals left behind in Alfred’s charge (the Bat-Cow one actually crested 100 members before I let it die), and I am still wondering if my wishes were for the best. Despite Wally West being my favorite Flash, Barry Allen was still present as the specter of heroic intent. Since CRISIS ON INFINITE EARTHS was my first superhero comic, Barry’s death was my rise of heroic adoration. What made it stick was the fact there was no chance of Barry living again except in the lives of those he touched, kind of like real life (and death). But then he came back and made Wally moot, cheapening my prior experiences with both.

I feel the same about Damian’s return. It’s as if all the palpable past drama now has the taste of stagnant air. It’s in my mouth as a flavor, but it’s just not something I can chew and swallow.

I am also crestfallen because that icing on my never-disappearing cake is a Damian addition, nay a Batman addition that has proven fail sauce a plethora of times before. Damian is not only alive, but also “better” than ever with more awesome superpowers than Jesus after he resurrected and flew to America as chronicled in The Book Of Mormon.

Batman doesn’t roll with powers; the allure of the character has always been his simple pinnacle of perfection human conditioning. Likewise, the ever present danger of his mortal wards fighting crime always stemmed from the fact that one stray bullet could spell curtains.

With Damian now juiced with super stuff, I have no doubt Tomasi will make the honing of those powers the next step in this father to son journey. I am also sure I will enjoy this heart and forget my current lament. Make no mistake, though: despite my love of comics delivering absolution for lack of permanence, this move has added another indelible scar to my already very calloused beliefs in comic permanence. Fool me once, shame on you (Superman’s return). Fool me twice, shame on me (Barry). Fool me thrice and once can wonder whether my college degree was granted out of sympathy rather than intelligence. We are morons to believe any permanence when the billion dollar stakes of merchandising rest on characters having pulses instead of being worm food.

As I said before, this issue was well crafted with even some amazing moments of sheer comic fun and gravitas. When Damian smacks Kalibak back to Apokolips with the big penny, I cheered with excitement. When there were licks of love from Titus and Bat-Cow as Damian returned, I cried. When Cyborg had to reboot after having his internal Mother Box hacked by the Bat-Clan, I laughed. And when each of the rescue party laid their chest plate “Rs” of renewed solidarity at Damian’s feet, I was equally humbled. Tomasi makes me feel and for that I love him.

I however loathe editorial mandates, and I know they make writers quake with anger as well when they seem to negate every ounce of feeling bled into the pages of the story. I will read BATMAN AND ROBIN because I believe in a Robin on the cave console. I also believe Tomasi will heal my butt-hurt on this new direction. I just can no longer believe in death in comics as an escape hatch and will be less apt to ever scream OMG again as a hero falls. The best I will muster moving forward i, “see ya later, Gator, until you are needed once again.”

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