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BLACK PANTHER #1
WONDER WOMAN EARTH ONE Vol.1
VISION #6
JUSTICE LEAGUE: THE DARKSEID WAR SPECIAL #1
BLACK WIDOW #2
A&A: ARCHER & ARMSTRONG #2
THE INFINITY ENTITY #4
BLACK PANTHER #1
Writer: Ta-Nehisi CoatesArtist: Brian Stelfreeze
Publisher: Marvel Comics
Reviewer: Humphrey Lee
A few weeks ago, I talked in this space about diversity in comics with a BLACK WIDOW review, talking about how I feel that comics have become a pretty important and inclusive medium these days, though of course we as a community could always be doing better. And I’m here again to somewhat address that in a way with this BLACK PANTHER review because this is a release of some import. Feel free to scream “Social Justice Warrior!!” and pick up your doxxing pitchforks if you want (I live in Pittsburgh, PA if you want to stop by; we can get some Primanti’s and watch a Pirates game down at lovely PNC Park if you’re interested) but I’m not quite here for THAT, but to emphasize that, y’know, this character and book are kind of a big deal right now. Even if you don’t want to get SJW cooties in your comics, the profile of T’Challa, King of Wakanda, is about to hit the stratosphere as he’s less than a month away from making his worldwide, live-action debut and elevating his prominence of being one of (if not the) most important black characters in comic books the past half century. So, right now, I would pity pretty much anyone taking on the reins of this character at exactly this time in comic book history, let alone someone doing so as their very first comic book script they’ve ever handed in, as The Atlantic’s Ta-Nehisi Coates is in this brand spanking new number one.
I especially don’t envy the job of picking up the pieces of the character and his homeland of Wakanda right now, given the wringer both figures have been through the past few years. This is essentially the focus of this first issue, the strife of this proud nations’ populace given they’ve endured a major natural disaster, a coup and a war, and the death of some major figureheads. This inflects a very serious tone and somewhat matter of fact approach to the scripting of this debut, which is unfortunate but also a bit of an opportunity. Coates may not get to write much in the way of levity due to the recent baggage this book carries with it, but he shows that he has the chops of bringing a stately manner to these pages. There’s some good weight as he talks about the disharmony and hate that plagues his country these days (which, yes, I’m fairly confident Coates isn’t just in Wakanda anymore as he describes the turmoil) and it really adds to the pressure mounting on T’Challa’s shoulders as he tries to draw strength to fight to reunite his kingdom.
All of that said, I feel like Coates may have bitten off just a little bit more than he could chew in this first go around in the realm of comics. The book reads well and carries itself well, as I just said, but there’s some added turmoil in the pages beyond just the threat of civil war, regicide, and T’Challa gluing the pieces of a shattered country together. Developments in the pages bring together a bit of the civil war angle as we discover forces in bordering countries have been planting dissenters to stoke the flames of unrest a bit, which adds some thickener to the stew Coates is already cooking as now we have an external war coming first. But we also add another crack in the overall Wakandan structure as we spend several pages on one of the Dora Milaje – the Wikandan Honor Guard – being sentenced to death for the killing of a chieftain who was forcing his village’s females into what one images was sexual slavery by the wording. Now, this is a big plot point for this issue and is in no way an “oh, and by the way” kind of piling on to the Panther’s plight, but at the same time, with everything already going on, it does feel like a bit overwhelming in light of everything else tearing apart the country. It’s another topical and worldly issue that is handled in a respectful and at times ferocious manner, but it also needs to bloom into something bigger so as to not look like it was I just said, another difficulty added to the pyre burning in the heart of the country for T’Challa to overcome. And I have every notion that this will be a matter with great ramifications to come given the importance of the Dora Milaje in the Panther’s realm, I’m just not sure it will end up being a bit much to juggle in the midst of all the other tribulations and could have been at the heart of a future arc. Coates is really going for it all now and that is both admirable and precarious.
What really helps handle this butt load of plot is having an industry vet of the level of Brian Stelfreeze to back you up. All of the atmosphere of overwhelming odds weighing on our titular character and the boiling over frustration and rage of his country are expertly depicted by Stelfreeze’s uber detailed and expressive work. Coates could not have been paired with a better “guiding hand” as he works his way into the medium and develops this story he wants to tell as he crafts a story worthy of a King. And the stage is definitely set for such a tale, despite my reservations that Coates may have put just a bit more pieces on the board than it can handle. If he and Stelfreeze pull off the right balancing act of presenting tumultuous forces closing in on T’Challa from both within and outside his country’s borders while holding up a little real world mirror to these panels and pages, this could be a really special ride we are about to embark upon. I also hope the book and creative team find some time to breathe and enjoy being a comic book but I understand the up front serious slant it has to take. Right now is the time for the panther to sharpen its claws and hiss at what is threatening it, and I think we’re in store for some very regal badassery in the short term while Coates and Stelfreeze build their grand scheme for the King of Wakanda in the comics and the Panther tries to steal the show in theaters everywhere within the month.
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.
WONDER WOMAN EARTH ONE VOLUME ONE
Writer: Grant MorrisonArtist: Yanick Paquette
Publisher: DC Comics
Reviewer: Masked Man
Wonder Woman is now the latest addition to DC’s Earth One series. Re-imaged by the eccentric genius of comics (who has about as many misses as he has hits) Grant Morrison. Unlike every other re-imaging of the Amazing Amazon, Morrison wanted to take her back to her roots. The way she was created by William Moulton Marston (aka Charles Moulton), and he does, for the most part.
One reason why previous ‘re-imagineer’ steered clear of her roots is that, it was kinky as hell, but then so was Marston. Marston believed in female domination, bondage and a good spanking every now and then, and so did his fictional Amazons. In Morrison’s crazy way, he figured Wonder Woman hasn’t been a top seller since all the kinky was removed. So he put it all back in, which has upset some female writers. While I personally don’t think Marston or Morrison are misogynist (hell, Marston hoped women would rule the world one day), the level of creep out factor due to the bondage and submission in Wonder Woman is purely up to the reader.
Since this is a fairly new and high profile book, I will start with a spoiler free review, and then get into the spoilers later. First off, I’ll switch gears and talk about the artist, Yanick Paquette. Paquette has bounced around comics for a while now and this is clearly his biggest profile assignment, and he just draws the hell out of it! It’s clearly his best work ever. He puts so much into each panel, without over-drawing or bogging down the storytelling. It reminds me of Bryan Hitch’s earlier work, before he got lazy. Paquette does employ the computer model backgrounds, which I’m not a fan of, but unlike a lesser artist he really knows how to use. They don’t detract from the hand-drawn figures and he remembers his atmosphere perspective (meaning, something six blocks away doesn’t have the same detail and line quality of something right in front of you). To give him somewhat of a criticism, each page is just dripping with ‘good girl art’. Of course your opinion on good girl art, will determine whether that’s good or bad. To me, it just felt a bit overused. Just as anything can be overused in a story: violence, hugging, everyone drives an expensive car, catch phrases, everyone has a mustache, etc.
Now the story, or should I say lack there of. Mind, you this comic is well thought out. Grant Morrison put a ton of thought into this book and it shows on nearly every page. As nearly every page builds the world, tone and scope of it all. It is most impressive to read, seeing how much Morrison can cram into you head, without it becoming burdensome. You can tell how much he wanted to get Wonder Woman right, and for the most part he does. Swinging back to the story itself, well he kind of forgot to tell one. It’s like the first two chapters of a book, instead of a whole book itself. If I go more into it, that would get us into spoiler territory, so I’ll stop here.
For those of you looking for spoilers, read on: So now your question maybe, how did Morrison forget to write a story? Well because the only thing covered in these 120 pages is Wonder Woman ‘Secret Origin’- that’s it. There’s no bad guys, no world saving, virtually no heroics at all in the whole thing. It’s like Morrison was so wrapped up in re-creating Wonder Woman, he forgot to have her do something!
So what happen exactly? Well the book tells it all out of order, but I’ll keep it all in chronological order. First the Amazon’s deal with Hercules, bit of change here, clearly not ‘our’ Earth. Next the bored Amazon Princess, soon to be, Wonder Woman runs into Steve Trevor (he’s black- quick burn down the internet!). Through more trickery than usual, Wonder Woman becomes the new Amazon champion, and runs off with her prize, the invisible plane- with Steve Trevor. Landing in Man’s World (i.e.- Florida), Wonder Woman is shocked at the state of everything in Man’s World: People grow old and die!? Some women are fat, others are skinny!? She also makes friends with Beth (Etta Candy). Queen Hippolyta sends a group of Amazons to bring Wonder Woman back, but she comes willingly. Finally at her trial Wonder Woman gets her mom to agree closing the door on Man’s World maybe wasn’t the best idea and big spoiler time, it’s revealed that Hercules is Wonder Woman’s father- which is to explain her superior powers.
That last part is where Morrison really loses me. I was ecstatic when I first heard Grant was going to give us back ‘the’ non-warrior princess Wonder Woman. A Paradise Island that was actually going to be a paradise again- not some frozen in time ‘dirt village’. Then he goes and make Hercules Wonder Woman’s father. Missing the whole point of Wonder Woman being a singular prefect being (and you know, none of the other Amazon’s have parents either). I feel it’s like saying Krypton didn’t explode or Bruce Wayne isn’t an orphan. Why does everyone want to re-write Wonder Woman’s core tropes (maybe that’s misogyny)? On top of that, it’s also the weakest part of the narrative. As Morrison reveals it as a big secret, a virtual climax, but never let us know there was a big secret. So instead giving us an “ah ha” moment, we are left with, “oh, ok”.
Aside from that I enjoyed all the fresh updating of all the characters, Trevor, Candy, etc. I have a hard time wrapping my head around all the bondage, but Morrison does great job building this Amazon world, and I love how it all works. Plus it’s really funny when Wonder Woman brings up the whole bondage bit with Steve Trevor. I also really like how Morrison pulled back from the typical superhero climatic fight. Wonder Woman (or at least ‘the’ Wonder Woman) isn’t about punching people to win. That’s why she has awesome defensive weapons like impenetrable bracelets and an unbreakable lasso of command. She doesn’t have to punch you out; she just has to get the lasso on you. So aside from the Hercules bit, I love all the work Morrison does here.
Overall, I wish this was an All-Star Wonder Woman 12-part series; where it could have been awesome, like Morrison’s ALL-STAR SUPERMAN, because everything here is great, it just doesn’t go anywhere. So, on the Masked Man’s scale of Crap, Poor, Decent, Good, and Great WONDER WOMAN EARTH ONE VOLUME ONE scores a DECENT plus.
VISION #6
Writer: Tom KingArtist: Gabriel Hernandez Walta
Publisher: Marvel Comics
Reviewer: Lionel Putz
This week brings the opening arc of Tom King’s incredible Vision series to a close, and rest assured, this issue continues to deliver on every creepy promise implicit in the fantastic and incredibly dark first issue and those subsequent.
Since wife Virginia murdered the Grim Reaper in the debut installment, we’ve watched the suburban horror show that is this synthetic family’s life continue to spiral out of control with a steadily increasing speed. Viv was nearly killed, one of her classmates was actually (albeit accidentally) killed, and Vision so far has managed to hold his family together while not knowing what he’s actually covering up. That all comes to a head this week when a neighbor’s dog—one belonging to the neighbors first seen dining at the Visions’ home in #1 and fated to later die in a fire in their homes according to our narrator—gets loose and makes his way to the Visions’ backyard. The curious pup manages to sniff out the remains of Grim Reaper before badly injuring himself, drawing the attention of The Vision, who is suddenly in the dark no more.
We cut to a few hours later with one of the neighbors at the Vision home looking for the dog. The household is in shambles, the scene of an off-panel domestic disturbance of some magnitude. Viv is crying in the corner. Vin is oiling his neck. Virginia is happy to show the neighbor that the dog isn’t there while she prattles on about cleaning things up and how turmoil is necessary to “get things clean”. All this time, Vision, Grim Reaper’s remains, and the dog are nowhere to be seen, and we learn it’s because Vision is taking care of the loose ends. He’s also getting his kids their very own dog in the most disturbing sequence presented to date. Animal lovers are forewarned: this one will stick with you.
With this issue, Tom King cements the thesis of his book, which essentially forces us to question whether anything Vision does to protect his family is really any different or worse than what any parent does to protect his or her family/own. As a thought exercise, it’s haunting and uncomfortable. As a comic book it’s extraordinary—there simply isn’t another title like this on the market right now, nor is there one even trying for its unique atmosphere. Visually, artist Gabriel Hernandez Walta and colorist Jordie Bellaire continue to layout beautifully haunting images and panels, many lacking dialogue or much narration and relying heavily on visual storytelling, while also continuing to function on a very high technical level; production delays have yet to plague this book the way they sometimes can plague other “prestige” titles (*cough* Hawkeye *cough*). There simply isn’t a weak link working on this title, and it’s a shame knowing that we’re already halfway through King’s planned twelve-issue run (he recently signed an exclusive deal with DC to script the new Batman book in that publisher’s upcoming “Rebirth” initiative). This series is simply too good and too original to see it end so soon.
Incredibly, this book has managed to pull together some familiar narrative conventions of the horrors of the suburban American dream and combined them with the uncomfortable potential pitfalls of creating artificial life, and managed to create something compelling, disturbing, and undeniably unique, just like the Vision. It’s a shame about the dog, though.
Lionel Putz is a lawyer by day. He watched Matlock in a bar last night; the sound wasn't on, but he's pretty sure he got the gist of it. Email him at lionel.putz@gmail.com
JUSTICE LEAGUE: THE DARKSEID WAR SPECIAL #1
Writer: Geoff JohnsArtists: Ivan Reis,Oscar Jimenez, and Paul Pelletier
Publisher: DC Comics
Reviewer: Masked Man
So yes incase you were wondering, the Darkseid War is still raging on in the JUSTICE LEAGUE. And it still has no connection to any of the other books DC is publishing (because they don’t believe in continuity anymore).
My biggest complaint of the Darkseid War has been, nothing makes much sense and motivations are not being explained. So it seems like they needed a special issue to help explain some of it.
The issue itself, is broken up into three part (hence three artists). Get ready for spoilers people. Ivan Reis with his usual inker Joe Prado gives us eight pages of the new Power Ring, Jessica Cruz, trapped inside her power ring meeting former power ring wielders. It’s all fairly dull and pointless, until we learn Cyborg is trapped in the power ring as well. Now the script doesn’t say this, but reading between the lines, this could clear up the question of how power ring downloaded Grid back into Cyborg. Since Grid was never removed from Cyborg. One can now assume Power Ring downloaded Cyborg into the power ring, freeing Grid to take over Cyborg’s body again. That makes sense- if that is what happened. Oh and obviously Reis and Prado’s pages are amazing as always.
Next are nine pages by Paul Pelletier (which are of standard comic book quality), giving us the secret origin of Grail. Ok strap in. Somehow the Amazon Myrina knows of Darkseid, and somehow it is her mission to destroy him. So she somehow manages to sleep with Darkseid and gives birth to his daughter Grail (at the exact same time Hippolyta slept with Zeus and gave birth to Wonder Woman- Johns does love a good parallel). Grail became a difficult kid to raise, since she was as evil as Dad, and has his Omega Beams (which is a bit odd, since his other kids, Orion and Kalibak, don’t have any Omega Beams- it’s also the first time we’ve seen her use them, huh). Myrina soon falls in love with her child, and tries to help her be a good person, but still wants to use her to kill Darkseid.
Then we have Oscar Jimenez’s (rather sloppy inks, for my taste) seven pages of Myrina worrying about Grail, now that they have killed Darkseid. Somehow Grail knew the Anti-Monitor had the power to kill Darkseid. I’m totally guessing here, since this not in the story at all: But maybe the Anti-Monitor used the Anti-Life Equation to control the Black Racer to kill Darkseid (that makes sense- if that is what happened). In doing so, Grail knew the Monitor would be released of the Equation, and become his former self, Mobius (which is what he wanted). And yes she knew he’d still want to destroy the Earth (his reasons are unknown). Now Grail has the Equation (a glowing ball), which is why Myrina is concerned. Grail then implants the Anti-Life Equation into Steve Trevor, affectively turning him into the new Anti-Monitor.
Did I say questions were answered? Well not so much. Like, how did Grail know all this?! How did Myrina manage what she did? Stop asking questions Masked Man, it’s just a comic book, enjoy it!
In the end, the real focus of the special was to have more character moments with Myrina and Grail, which is what Geoff Johns is best at. I wish I could say the same for his narrative skills. Maybe he’s overworked these days, I don’t know. But I do know, The Darkseid War is not as good as any of us wanted it to be.
BLACK WIDOW #2
Writers: Chris Samnee & Mark WaidArtist: Chris Samnee
Publisher: Marvel Comics
Reviewer: Masked Man
As of issue #1, Black Widow is on the run from S.H.I.E.L.D. Now with issue #2, we get the backstory why!
Getting to the spoilers, Black Widow was signed to protect Maria Hill, while she attended a funeral for a fallen S.H.I.E.L.D. agent. As bad guys show-up, and as Black Widow takes them all out, she learns they are really after her! Surprise, Black Window has been captured by Platch Liev! Who blackmails her (with a secret file on her) into stealing something from S.H.I.E.L.D. (see issue #1). What seriously, One, what more could she have done in her past that S.H.I.E.L.D. would care about. Two, she’s probably just lying to this idiot to see what he is up too.
While the artwork on these first two issues of BLACK WIDOW has been strong, the story has been really lacking. Makes me believe this is all Samnee, and Waid is along just to help his buddy out. Where their last series DAREDEVIL was fresh and inventive, BLACK WIDOW is rather dull and cliché. Reminds me a bit of movies by stunt coordinators turned directors- just because you're great at action, doesn’t mean you understand a good story.
I suppose this could all play out amazingly, once it’s collect in a single trade. But as single issues, I’m not sure I care to read any more.
A&A: THE ADVENTURES OF ARCHER & ARMSTRONG #2
Writer: Rafer RobertsArtist: David Lafuente
Publisher: Valiant Entertainment
Reviewer: Lyzard
Unlike Humphrey Lee, who did a great write-up on the first issue of THE ADVENTURES OF ARCHER & ARMSTRONG, I approached the series with no knowledge of its prior incarnations. The concept sounded rather delightful: a hedonistic immortal, a teenage martial artist trained to destroy him, and a ninja-nun assassin. Frankly it was the last bit that grabbed my attention and while my Catholic guilt haunts me for thinking about how hot a bad-ass supernatural fighting nun is, I would not let it get in the way of enjoying this fun romp.
If you haven’t read A&A #1, let me catch you up. After Armstrong reads that one of his former best friends has passed away, he goes in search of a sentimental item from their good ol’ days of tomfoolery. Finding it missing, Armstrong enters his mysterious satchel, forgetting to close it behind him and thus releasing various supernatural dangers into our world. His current best friend, Archer, finds Armstrong missing and the bag open, leaving him with only one choice: to follow Armstrong into the bag and leave it in the possession of his adopted sister to guard… even though his sister is part of an organization who wants more than anything to steal the bag for themselves.
ARCHER & ARMSTRONG #2 finds the pair captured by none other than Bacchus, another acquaintance of Armstrong from back in the day who seeks revenge for a wrongdoing Armstrong can’t even remember he committed. Meanwhile Mary-Maria and the Sisters of Perpetual Darkness are too busy fighting the creatures that have escaped from Armstrong’s “bag of holding,” while arguing over what to do with the powerful container. Can the ninja-nun trust her compatriots with the otherworldly object while she rescues Archie & Armstrong or is it too much to risk in order save her weirdo adopted brother and his alcoholic associate.
The duo has been around for over twenty years and while a few elements have altered in that time, there’s still a lot of history for new readers like myself to be caught up on. Particularly in the first issue there were large chunks of expository dialogue, but Rafer Roberts does a fine job integrating these info dumps into entertaining conversations. This trend continues into the second book as well, but here the pacing is much quicker, snappier. The writing, along with the overall plot and tone, are best described as kooky. This is followed through with the color scheme as well, a mixture of tertiary choices like teal and vermillion that embody the eccentricity of this universe.
Unlike other comic properties with publication histories nearly as old as myself, I didn’t feel lost without a knowledge of ARCHER & ARMSTRONG’s past works. That being said, I do have every intention of catching up on their earlier stories. In the meantime, though, I’ll enjoy their current bizarre adventures and hope you do too.
Lyzard is Lyz Reblin, a graduate student at the University of Texas pursuing a master's degree in Media Studies... which is just a fancy way of saying she plays a lot video games, watches far too many horror films, and then tries to pass it all off as "research."
THE INFINITY ENTITY #4
Writer: Jim StarlinArtist: Alan Davis
Publisher: Marvel Comics
Reviewer: Masked Man
The final chapter before the final chapter is out! Jim Starlin’s latest Marvel cosmic saga is coming to a close soon, with the up coming release of THANOS: THE INFINITY FINALE. And just as I figured, he dropped an interesting kick-off to it in THE INFINITY ENTITY.
This is issue, like the last three issues has been pretty breeze. It’s pretty much an excuse for Marvel to make some money, while Starlin gives us one important plot point. Along the way we go get some really nice artwork by Alan Davis, and Starlin’s usual tour around the Marvel’s cosmic pantheon.
Ok, now for that important plot point spoiler. Annihilus (bug lord of the negative zone) has upped his ante on trying to take over the positive universe. Helped by the genius Dr. Bultar, who has given Annihilus the power of the Hulk. But more than that, Bultar has helped Annihilus defeat Thanos and Adam Warlock- an Adam Warlock from a parallel dimension who houses all the power and energy of that dimension. In these past four issues, this supreme being Warlock has been wandering around trying to figure out what has happened to him. Coming face-to-face with Dr. Bultar he learns the truth. He’s just a random aspect of the Adam Warlock still imprisoned by Dr. Bultar. Who is being used as a battery to power Annihilus’ new war machines. But how can some dweeb like Dr. Bultar whip both Adam Warlock and Thanos so easily? Because it’s not some random character, but Mephisto in disguise! Tired of being whipped by Thanos and Warlock himself- boom comeuppance time!
So now you are all set for the big THANOS: THE INFINITY FINALE. As for the THE INFINITY ENTITY, it was not much more than a piece of fluff (like THE HULK VS THANOS was). Still the overall ride of Starlin’s current Infinity saga (which includes: THANOS: THE INFINITY REVELATION, THE HULK VS THANOS, THANOS: THE INFINITY RELATIVITY, THE INFINITY ENTITY and THANOS: THE INFINITY FINALE (again I’ll say it should have been titled ‘resolution’, not finale)) has been quite enjoyable. I know I’m look forward to the FINALE.
Proofs, co-edits & common sense provided by Sleazy G
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