Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
Last time I had reviews from both GrayHaven and The TalkBack League in the same day, the old adage was proven true: when two teams of superheroes meet, they MUST FIGHT!! What’s important to remember is that neither group is made up of bad guys. We’re just looking at a little skirmish here between Alpha Flight and The New Teen Titans. Now that things are sorted out, let’s get back to the reason we’re all here... comic book reviews.
And plenty of ‘em.
Hi Folks. Andrew from GrayHaven Magazine here. I noticed many new participants in the talkbacks last week. Good. Hope you all stick around. In case anyone was wondering, I don’t think there is a war going on between the League or GrayHaven. Regardless of methods used, we’re both trying to do the same thing, and that’s to bring comic books to your attention and there’s nothing wrong with that, at all. If you still don’t believe me, I’ll have to claim that last week’s opening rant was a result of my evil twin, Andruu…he has an earring and a soul patch so he must be evil.
Well, we have another bunch of recommendations for you. It was a light week, so not so many books to choose from this time around, but the ones selected are pretty strong choices. So read, enjoy, seek out and purchase.
Statement for the New People: We don’t review bad books.
“A lot of people have been wondering why there have been so many positive reviews on this section and on GrayHaven Magazine.
This doesn't mean that we like every single book that comes out. We’re just not going to draw attention and waste time on the bad ones. What it does mean is that we're going to use the time and space we have in a given week to focus on the quality books...the books we think you SHOULD be reading.
We want to bring your attention to these great works, get a debate going and get your butts into the comic shops to check them out for yourselves.
Amazing Spider-Man #41
Written by J. Michael Straczynski and illustrated by John Romita Jr.
Published by Marvel Comics
Reviewed by Aaron "Vroom Socko" Button
It had to happen at some point, so here it is; this issue has not one, but two Spider-Man movie jokes. Movie jokes. I mean, really.
Ignore this relatively minor complaint, and this is another stellar issue from JMS and John Romita Jr. Following his run-in last issue with The Shade, Spidey spends most of this installment trying to find out just what it is he’s found himself up against. His efforts to identify this new threat take him from a helpful police Lieutenant to an insane asylum to the doorstep of a certain physician.
This issue features a trend I’ve been noticing in Marvel lately, one that I find rather welcome. There is not one fight scene in this book. Not one. Not even a brief scene of Spider-Man breaking up a mugging. I, for one, think this is great. Too many comics in the recent past have been all about the brawling and not about the characters. To have an entire issue of a superhero book go by without one punch being thrown has to be thought of as a good thing.
This issue also features some decent back and forth between Spidey and his new police contact, Lt. William Lamont. The two of them riff off each other splendidly, showcasing more spider-quips in one issue than in JMS’s entire run so far. Lamont is also a very likeable character, although I am a little wary of him so far. Something about him just reminds me of another cop from Spider-Man’s past, Stan Carter. I’m not saying this new fella’s going to end up like Stan, but I am interested in learning more about him.
John Romita Jr. has one of the hardest jobs in comics in this issue: how to draw a superhero wearing a fedora and trench coat over his costume without looking ridiculous. Somehow, he manages to succeed. Well, mostly he succeeds. At least Spider-Man doesn’t look as stupid as he did wearing a tux in The Assassin Nation Plot from ten years ago. Romita Jr. also continues to produce what is fated to be the definitive Aunt May. Too often in the past May has been drawn as practically a stick figure. Here she manages to look frail, yet have a backbone of tempered steel.
The comics’ work JMS has produced so far, both here and in titles like Midnight Nation, have been some of the best stories I’ve read ever. If you haven’t read anything by him before, feel free to start right here. You’ll thank me later.
The Amazing Spider-Man #41
Written by J. Michael Straczynski and Illustrated by John Romita Jr.
Published by Marvel Comics
Reviewed by Aaron Weisbrod
Although the last few issues of Amazing Spider-Man have been a little slow, issue #41 finally picks-up the pace this book came out of the box with during the "Coming Home" story-arc. This installment has our friendly-neighborhood Spider-Man teaming-up with a youth officer named Lieutenant Lamont to track down clues about the mysterious kidnapper calling himself "The Shade."
Their combined efforts ultimately lead them to a mental institution, where they discover that The Shade’s powers are mystical in nature. This in turn leads Spidey to seek out the help of a hero who’s a little more capable of dealing with villains who are mystical in nature…
As I previously mentioned, with this issue I finally felt as though Spider-Man was actually doing something again. His interaction with Lieutenant Lamont is hilarious, the back-story surrounding The Shade is interesting, and the cameo at the end of the issue left me licking my chops with anticipation for #42. (Mmmmm… team-up.) Furthermore, Straczynski makes the book fun by injecting life into even the most trivial characters. Hell, for the umpteenth issue in a row Aunt May steals every scene she’s in!
Finally, John Romita Jr.’s artwork has never been better, and I’m glad to see that he’s gotten away from that uber-blocky style that made his ’90’s work so aesthetically unappetizing. This man is doing the best work of his career in these issues. I hope all of you out there are paying attention!
Batman #603
Written by Ed Brubaker and illustrated by Sean Phillips
Published by DC Comics
Reviewed by Alan David Doane
Ed Brubaker and Sean Phillips craft a strong story that delves into Batman's past and demonstrates some of the effect on his city that his career has had, as a dying cop asks to talk to Batman before it's too late. The cop passes on one last, unsolved case to Batman, and it's a case that could have some interesting ramifications for the title's status quo.
The tale reminds me, a bit, of the old Roger McKenzie/Frank Miller Daredevil where Ben Urich confronts DD with the truth of his identity. Given that that was one of the strongest of the pre-Miller-as-writer Miller Daredevils, I must say it reminded me of it in a good way. Brubaker handles Batman's dialogue with a pleasing terseness during his conversation with a dying cop -- he doesn't want to give himself away, and of course Batman's been a bit moody since his alter-ego was accused of murder...but what he does say revels his compassion and the degree to which he is touched by the cop's dedication to solving one last case.
An appearance by a pair of characters makes this a must-read for Catwoman fans, who won't be disappointed with either the appearance of the characters or the way Phillips handled them. His work here is extremely strong and serves Brubaker's character-driven story well. The story ends with a "To Be Continued" box, and I hope it's continued in this title, by this creative team -- but since it's Part Eleven of "Bruce Wayne: Fugitive" I'm going to have to hunt down that information. There's no indication one way or the other in the book itself, and in this time of Twister-like (the game, not the movie) crossovers between multiple titles, that's information someone should have included at the end
Elektra #10
Written by Greg Rucka and Illustrated by Joe Bennett
Published by Marvel Comics: Marvel Knights
Reviewed by Chaos McKenzie
This book was very cool, I got to say, like a million times, this book was really, very cool. Okay the breakdown: Elektra’s a big-time assassin chic in spandex who runs around killing people but always looking on top of things and all that. She’s been dead, but her character is pretty much so one-dimensional took a no-brainer to revive her and make her cool. But then…what do we do with her? No problem, let’s spice her up a little, major action drama, episodic cast, get deep and all that. I have to admit that I was starting to loose my grip on this book. Last month it was saved by new art, this issue it was saved by being wonderfully clever.
On one level we have a POV story about one sorry-sobs ass on the day they’re going to get laid off, all day following them around not realizing what’s going to happen. (And it doesn’t hurt for our bum to be Elektra herself.) On another level we watch little slices of life that are the stock and trade of life in North America, the slices of life that you usually only see in Indy comics, but becoming a subtle used form in the mainstream books.
I wanted to make some comment about this being the beautiful result of what I think is the next generation of comic book creators, a product of younger generations with a comparison to intelligence, but I couldn’t figure out a nice way to word it. I don’t think Elektra ever really plays herself in this book, not until the very moment when the knife gets twist in her back (metaphor, no actual event in the book) and you feel so bad for the poor sap, screaming how unfair it is.
It sooooo sucks to get laid off.
Oh yeah, art was pretty cool again. I wish Joe was staying on, as the preview images I’ve seen from the next guy make Elektra too traditional comic book sexy, which is an issue I’m having over in Queen and Country right now too… go figure.
Fables #1
Written by Bill Willingham and illustrated by Lan Medina and Steve Leialoha
Published by DC/Vertigo
Reviewed by Alan David Doane (www.comicbookgalaxy.com)
Willingham again, in a new ongoing title set to feature different artists illustrating different story-arcs. Mark Buckingham is waiting in the wings, as are some even bigger names that have me happily anticipating future issues.
Watchmen had a murder investigation amid a community of secretive superheroes; Roger Rabbit did the same thing with funny animals. Now, Fables takes the same premise -- an inbred community alienated from the "mundanes" of human society is rocked by murder -- and runs with it.
The title's conceit, that fairy-tale characters like Snow White, Prince Charming and Beauty and the Beast are all alive and well and trying to live post-ironic, 21st Century lives, is one that doesn't resonate with me. I can't ever remember a time in my life that the archetypes at play here held much interest for me. Despite that, Willingham's script mostly worked for me, as he plays the characters relatively straight and approaches the apparent murder from an interesting angle.
We aren't really even sure there's been a killing, despite obvious signs of a slaughter in Snow White's sister's apartment. Snow White herself is the Deputy Mayor of Fabletown, a hard-assed, bureaucrat who appears a bit bored by her duties, which include making sure that the "Fables" living among humanity keep their true identities secret. The most interesting element so far is Prince Charming, her former husband, whose characterization as a long-winded, self-proclaimed cocksman is quite entertaining. It should be interesting to see what kind of sparks fly when he meets up with his former wife, Snow White.
There's also some hint of an "Adversary" that once forced the Fables out of their homeland, wherever that is, but for now the main plot sticks to the alleged murder, and the scene of security officer Bigby Wolf investigating the scene of the crime is well-staged, a convincing indication that something awful has happened. And yet, it seems a little too well-staged, and all is probably not as it seems. The art, by Medina and Leialoha, recalls Gary Frank and Brian Bolland in places, and tells Willingham's story well.
It's a story, though, that is perhaps, a bit too conventional; these are beings of mythic proportions and mythic power, but the air of normalcy and even conventionality that hangs over the book had me wishing things would get a little more wild. The main spark for me in this first issue is from Prince Charming's amusing modus operandi, which provides the issue's funniest moment.
On the other hand, as I said, Snow White and the Big Bad Wolf never held much sway over me. Willingham (as demonstrated in his thoughtful text page) clearly is fascinated by the "Fables" he writes about here, and if you're similarly entranced by the idea of seeing them operating in the modern day, with modern problems, you might want to give Fables a try. Based on the strength of Willingham's Thessaliad work, I am definitely inclined to stick around and see where his imagination takes us
Howard the Duck #5
Written by Steve Gerber and Illustrated by Phil Winslade
Published by Marvel Comics/Max Comics
Reviewed by Aaron Weisbrod
Hallelujah! Howard the Duck has returned!
No, I’m not referring to the fact that he’s been changed back from a rat ("MOUSE!") to a duck. (C’mon… did you really think the spell would hold outside the Boarding House of Mystery?) Rather, I’m hailing the triumphant return of the critical, introspective, and insightful Howard from the 1970’s that won me over when I finally read THE ESSENTAIL HOWARD THE DUCK: VOLUME ONE.
Sure, thus far this new HOWARD THE DUCK series has been entertaining, but it’s been more like a situation comedy rather than the societal critique the original series was. However, by combining the basic plot of PREACHER with Spider Jerusalem of TRANSMETROPOLITAN and parodies of Oprah Winfrey and Doctor Phil, Gerber and Winslade have created one of the single funniest comic issues I’ve read in ages.
Mind you, you’ll have to have a working knowledge of PREACHER and Oprah to get all of the jokes (a cursory knowledge of TRANSMET wouldn’t hurt either), but for those of you who have wives, girlfriends, or mothers who steal the TV every Tuesday to watch Dr. Phil bully around skinny white guys while his sugar-momma Oprah cackles in delight… well, this issue is for you.
Astute readers will also no doubt catch the cameos/homages of Alan Moore, Grant Morrison, and numerous Vertigo characters left over from the previous issue as well as the back-handed slap to Warren Ellis on page three/panel three. (Whether it was meant as a friendly jab or not, I do not know… but it was, in my humble opinion, worth the cover price alone!)
Although it’s taken five issues for him to do so, I’m glad that Gerber has finally returned Howard to his anti-social roots. I’m curious as to why it’s taken him this long, but at the same time I’m glad he’s finally gotten back to form. Considering Howard’s mood at the end of this issue, #6 should be a blast. (I’m keeping my fingers crossed for the biggest tirade ever: Howard vs. the Devil.)
Readers who have stumbled across this mini-series and found it enjoyable would be doing themselves a HUGE favor by picking-up the very reasonably priced trade paperback (aka: TPB) THE ESSENTIAL HOWARD THE DUCK: VOLUME ONE. Sure, the first few issues are a little clunky, but once the book hits its stride it never slows down. It’s amazing how well the stories still hold-up decades later, and it’s quite possibly the best $15 I’ve spent at the comic shop since buying the first (and later, the second) LUCIFER TPB. Trust me, Howard may seem like a campy character, but his insights are thought-provoking, scathing, and above all else, timeless.
Skinwalker
Written by Nunzio DeFilippis and illustrated by Brian Hurtt and Arthur Dela Cruz
Published by OniPress
Reviewed by Alan David Doane
An extremely impressive opening to a new series inspired by Native American legend and Twin Peaks. Frankly, at this point in my life I'm up for comics inspired by just about anything other than a perverse fascination with the comics of the creative team's youth (whether it's Uncanny X-Men, Micronauts or whatever), but the creators lay out their influences in an informative and inviting text page at the end (always a nice, professional touch in an introductory first issue).
The title was originally conceived as a screenplay (which explains the welcome dedication to actual story), until Greg Rucka suggested the creators try making it a comic book. The real winner in that equation is the readers. We have here a confidently-written tale of two very different law-enforcement officers whose lives and careers intersect precisely where a bizarre murder has occurred. It's compelling and twisted stuff, almost like what Warren Ellis would be doing in his Avatar titles if he had the time or motivation to dig a little deeper.
My only complaints are about the computer-generated lettering (a little too computery for my tastes, not at all suitable for the quality of the tale) and the lack of proper inks over the artwork. Maybe it's a reproduction/paper quality issue, but there's a hazy vagueness to the art that, in my opinion, hurts the story just a bit. Still, a very nice start to an unusual tale. Looking forward to more
Spider-Man’s Tangled Web #14
Written by Brian Azzarello and Scott Levy and Illustrated by Giuseppe Camuncoli
Published by Marvel Comics
Reviewed by Aaron Weisbrod
In one single issue, Brian Azzarello and Scott Levy have managed to bring life to one of the most noteworthy one-dimensional characters in the Marvel universe: Crusher Hogan.
For the uninitiated, Crusher Hogan was the wrestler Peter Parker successfully defeated while testing the limits of his newfound powers in a professional wrestling match in AMAZING FANTASY #15 (Spider-Man’s debut appearance). As most comic fans know, the match had strong implications for the fate of Parker, who, after a later wrestling match let a thief run past him and get away… only to later have that same thief shoot his beloved Uncle Ben.
As far as I know, however, Crusher Hogan’s story was never touched upon again until now… but his story was well worth the decades of waiting.
In this issue we see the other side of Crusher Hogan: a dedicated "shoot" wrestler (i.e.—a wrestler who really wrestles) who has spent weeks wrestling without pay out of loyalty to the both the owner and his fellow wrestlers of the Championship Wrestling Federation. Although Crusher is getting generous offers from the much bigger (albeit much more "gimmicky") Global Wrestling Federation, Crusher refuses to leave Championship because he knows his departure would spell the demise of the already struggling company.
After an argument with his wife (after all, he’s not getting paid and he has a family to support), an idea dawns on Crusher… and it’s an idea that could give Championship a permanent edge over the competition. After borrowing $10,000 dollars from the notorious and deadly mobster Hammerhead, Crusher begins a new gimmick: the suitcase of money will go to any man who can last three minutes in the ring with him. Due to his open-challenge, the event sells out and it looks as if Crusher has saved the company (and his career, and his life) until… well, you know the rest.
Hands down, "The Last Shoot" is one of the most haunting stories I have ever read. From the spot-on characterization to the gorgeous art (Camuncoli’s style looks like a cross between that of Eduardo Risso and Bruce Timm), this issue is borderline perfection. Furthermore, the story itself plays directly to Azzarello’s favorite theme: strong-willed characters given one last chance to make their lives better—for a very risky price.
This story easily ranks with Alan Moore and Brian Bolland’s THE KILLING JOKE as one of the best "origin" stories published to date, and it is a perfect "coffee table comic." (You know, a comic that you leave laying on the coffee table for friends to casually check-out when they come over… you do have some "coffee-table comics" in your living room, don’t you?) I’m actually going to head back to the comic shop this weekend to pick-up a second copy of this issue: I have a friend who loves wrestling, and this is a perfect opportunity to expose him to those damn "funny-books" I’m always prattling on about.
I know a lot of people cried "foul" when SPIDER-MAN’S TANGLED WEB #4 ("Severance Package" by Azzarello and Risso) wasn’t nominated for an Eisner, but I can see how it didn’t get a nod: it was a good story, but it just lacked… something. This time, however, Azzarello has hit a homerun… err, make that a five-star frog splash. From the first page to the crushing last panel (no pun intended), this issue screams "classic."
…And finally, an interpretive Trade Paperback review, performed by Chaos McKenzie, in the style of 100 Bullets, coincidentally enough, for 100 Bullets.
100 Bullets TPB: Split Second Chance
Written by Brian Azzarello and Illustrated by Eduardo Risso
Published by DC Comics
Reviewed by Chaos McKenzie
In a vain attempt to say something new about the flawless sequential art that is 100 Bullets, I decided to break with format, so step back…
True conversation (give or take):
Dude 1: ‘Ey man, yo, yoyoyo guy, guy… have yo’ checked this?
Dude 2: Dude, told ya I hate dose t’ings.
Dude 1: No guy, yo’ love dis, it’s hype. 100 Bullets, like watchin’ Law n’ Order yo’, but e’ryone’ crooked.
Dude 2: Man, I hate all dat crime fantasy crap.
Dude 1: Ain’t fantasy foo’, dis $#!% fo’ real. Busy guy, called Graves dishes out gats n’ hundred rounds all clean yo’…all clean, won’ leave a trace see?
Dude 2: Why he gone n’ do dat for?
Dude 1: Opportunity.
Dude 2: Opportunity?
Dude 1: Whu if yo’ knew da foo’ who messed up yo’ life, see? Got a face, da proof, and da means to deal wit’ it, whu’tcha gon’ do?
Dude 2: All clean?
Dude 1: All clean.
Dude 2: Damn… tha’s deep.
Dude 1: See guy, like I tell yo’, dis $#!% fo’ real. Man, Azzarello, takes a slice right ottah life, could be yo’ or me foo’ like one a us bro’ anyone guy, it’s hype.
Dude 2: Sounds whack guy, same lame ass story month ta month.
Dude 1: No guy, it’s never the same. Some dudes yo’, dey grab dat gat and say coo’ yo… den dey pop the suckahs ass, others go all mental n’ $#!%. He’s got stories guy, whacked crack yo’, straight outta Parkdale (reviewer’s note: it’s a Toronto thing) stuff man.
Dude 2: Dat sounds coo’ bro. It was me, I’d wan’ ta know who da hell was hookin’ dat stuff up?
Dude 1: Yeah guy, dey do too…dey all do… ev’rybody questionin’ ev’rybody n’ Ev’rybody up ta s’methin’. Best part is dey all seem all real n’ ah mean, real son… dis $#!% fo’ real.
Dude 2: A’iiight, A’iiight, I check it out bro, I check it out.
