Ultimate Spider-Man #111
Stuart Immonen takes over for Mark Bagley on half of this issue, and will fully supplant him in the next. I think he's a good choice, because, while it's important that artists have their own particular styles, one of the reasons that Ultimate Spider-Man has survived this long and succeeded as the flagship for the Ultimate line is largely due to the consistency of its art from month to month. With Bagley drawing this book for the past more than nine years, fans knew that they could come back and find the same beautiful artwork every month.
Bad art pisses me off. I dropped X-Men several months ago because reading it gave me a headache. I'm seriously considering dropping New X-Men. I haven't read the last several issues of Superman/Batman, though that's largely due to the fact that Verheiden fucking sucks. Then again, an artist can only interpret the story by way of the descriptions given him by the writer's script, so in some instances it's the writer who's to blame for the bad art. Carey's a great writer. That's why I blame Bachalo. I hated every issue of Ultimate X-Men that Bachalo drew. In fact, he's one of the reasons I stopped reading that title until recent issues. And I'm not the only one who made a similar decision. Marvel's sales on UXM must have dropped measurably after Bachalo took over for Kubert. So their not wanting to make a similar mistake with the departure of Bagley is a very smart decision.
From the few pages that were drawn by him in this issue, Immonen's style seems similar enough to Bagley's that readership on this title should remain strong. Plus, I know his work, and he's really good. Plus, he'll bring a number of loyal fans with him to this title. So it's a good move.
And Bendis turns in his "The Talk" issue. Not bad.
Overall, this issue was VERY GOOD. I'm looking forward to Immonen's first complete issue.
Monday, July 23, 2007
Thunderbolts: Desperate Measures
Thunderbolts: Desperate Measures
Explain to me what the point of this one-shot was? Explain to me why this wasn't merely an issue of the Thunderbolts' main title? How dumb. And what the hell? Osborn has a palm pilot device that cost 16 million dollars that lets him use satellites? That doesn't even make any sense! And if you overload Robbie with pain, then he'll send out a pulse that will incapacitate his foes? But what about Bullseye? Really stupid. This smells like ASS.
Explain to me what the point of this one-shot was? Explain to me why this wasn't merely an issue of the Thunderbolts' main title? How dumb. And what the hell? Osborn has a palm pilot device that cost 16 million dollars that lets him use satellites? That doesn't even make any sense! And if you overload Robbie with pain, then he'll send out a pulse that will incapacitate his foes? But what about Bullseye? Really stupid. This smells like ASS.
Justice League of America #11
Justice League of America #11
I'm torn. This issue is either really good or really bad. And I'm having a hard time figuring it out. From one angle, this story could possibly be a classic story of superheroes without any super powers. From another perspective, this story is soooooooooooooo decompressed it's stupid. There are so many internal inconsistencies, even when a lantern is hung upon them, that it just removes the reader from the story. For instance: Mari's powers can only be drawn from humans? Then how on Earth could she take Clark's powers? He's not human!
The art doesn't help this story either. It's too shaky.
Or maybe it does. Maybe the art contributes precisely to the feeling of claustrophobia that the writing's trying to evoke.
I can't rate this issue. It's either ASS or EXCELLENT. I don't know. I have no clue how to read it. Sorry.
After sleeping on it, I decided that I was being unfair to this issue, based on my bias of agreeing with the good folks at Comics Should Be Good that the last issue of this book was the WORST BOOK OF THE YEAR. You know what? This book, against all odds, is actually quite good. It's a story about a man who's put in superheroic situations alongside GODS, as if he had superpowers, and how he must cope when the fact that he has none comes front and center. And it's also the story of a woman who has lost her powers, a woman who was never alone due to her inherent connection with the animal kingdom and now finds herself utterly alone when that connection is stripped from her. And how she deals with it. And how they deal with each other. It's not a book about superheroics. It's just a story about two (relatively) normal people doing their best to be heroes. Doing their best to use their talents to make a difference in the world. It doesn't matter how they came to be in this predicament. It doesn't matter why. What matters is how they rise above their limitations and become the best that they can be, when the chips are down.
That said, this story is very well written. It accomplishes exactly what it should, and is, essentially, a done-in-one. And any flaws mentioned above are eminently excusable, due to the nature of the stress being put upon the protagonists. After considering this book more thoroughly, I fail to find any flaws with it, and must therefore give it a rating of EXCELLENT. You may disagree, but try to put aside any prejudices and appreciate this issue for what it is: a surprisingly EXCELLENT story.
I'm torn. This issue is either really good or really bad. And I'm having a hard time figuring it out. From one angle, this story could possibly be a classic story of superheroes without any super powers. From another perspective, this story is soooooooooooooo decompressed it's stupid. There are so many internal inconsistencies, even when a lantern is hung upon them, that it just removes the reader from the story. For instance: Mari's powers can only be drawn from humans? Then how on Earth could she take Clark's powers? He's not human!
The art doesn't help this story either. It's too shaky.
Or maybe it does. Maybe the art contributes precisely to the feeling of claustrophobia that the writing's trying to evoke.
I can't rate this issue. It's either ASS or EXCELLENT. I don't know. I have no clue how to read it. Sorry.
After sleeping on it, I decided that I was being unfair to this issue, based on my bias of agreeing with the good folks at Comics Should Be Good that the last issue of this book was the WORST BOOK OF THE YEAR. You know what? This book, against all odds, is actually quite good. It's a story about a man who's put in superheroic situations alongside GODS, as if he had superpowers, and how he must cope when the fact that he has none comes front and center. And it's also the story of a woman who has lost her powers, a woman who was never alone due to her inherent connection with the animal kingdom and now finds herself utterly alone when that connection is stripped from her. And how she deals with it. And how they deal with each other. It's not a book about superheroics. It's just a story about two (relatively) normal people doing their best to be heroes. Doing their best to use their talents to make a difference in the world. It doesn't matter how they came to be in this predicament. It doesn't matter why. What matters is how they rise above their limitations and become the best that they can be, when the chips are down.
That said, this story is very well written. It accomplishes exactly what it should, and is, essentially, a done-in-one. And any flaws mentioned above are eminently excusable, due to the nature of the stress being put upon the protagonists. After considering this book more thoroughly, I fail to find any flaws with it, and must therefore give it a rating of EXCELLENT. You may disagree, but try to put aside any prejudices and appreciate this issue for what it is: a surprisingly EXCELLENT story.
Ghost Rider #13
Ghost Rider #13
Did Ghost Rider actually just bring a building down on Hulk by wrapping his chain around it? What the hell? He could have unleashed the full fury of the Spirit of Vengeance on Hulk and instead, what does he resort to? MASSIVE PROPERTY DAMAGE. Oh yeah, that's not going to ruin a few lives, naw.
And why the hell does his internal monologue sound like a newbie wuss? What's up with that?
And the art is seriously underwhelming, to say the least.
However...........
The end of this story provides exactly the right point. As the Ghost Rider persona takes over completely, he leaves town. Because the Hulk is not guilty. And the Ghost Rider's purpose is to avenge the innocent. Which Dr. Strange, Black Bolt, Reed Richards, and Tony Stark most certainly are not. They are guilty of the deaths of millions of people on Hulk's world.
That said, I'm mystified as to why GR leaves town instead of siding with Hulk. Since he's in the right in this instance, don't all the souls of those who perished on his planet require vengeance?
Thus, this issue rates merely OKAY. And that's probably being overly generous.
Did Ghost Rider actually just bring a building down on Hulk by wrapping his chain around it? What the hell? He could have unleashed the full fury of the Spirit of Vengeance on Hulk and instead, what does he resort to? MASSIVE PROPERTY DAMAGE. Oh yeah, that's not going to ruin a few lives, naw.
And why the hell does his internal monologue sound like a newbie wuss? What's up with that?
And the art is seriously underwhelming, to say the least.
However...........
The end of this story provides exactly the right point. As the Ghost Rider persona takes over completely, he leaves town. Because the Hulk is not guilty. And the Ghost Rider's purpose is to avenge the innocent. Which Dr. Strange, Black Bolt, Reed Richards, and Tony Stark most certainly are not. They are guilty of the deaths of millions of people on Hulk's world.
That said, I'm mystified as to why GR leaves town instead of siding with Hulk. Since he's in the right in this instance, don't all the souls of those who perished on his planet require vengeance?
Thus, this issue rates merely OKAY. And that's probably being overly generous.
Action Comics #852
Action Comics #852
Is Kurt Busiek a great writer or what? An EXCELLENT issue that accomplishes in a few panels what it took three months to do to Jimmy Olsen in Countdown. And regardless of the four times in this issue that the editors pop up, reminding us to read Countdown, and telling us that it's absolutely necessary, I really think they're lying. I'm not going to bother reading Countdown to find out. I'll just come back to Action Comics in two weeks and see if I feel as if I'm missing anything. If so, I'll scan the back issues of Countdown. But I sure as hell am not going to buy that trash. What a waste of trees.
You know, if they got a writer who wasn't afraid to have some fun with the concept as opposed to angsting and killing, maiming and raping, and otherwise mistreating "Superman's Pal, Jimmy Olsen (volume 2)", I'd totally buy that book. Maybe Busiek wants to write it?
Is Kurt Busiek a great writer or what? An EXCELLENT issue that accomplishes in a few panels what it took three months to do to Jimmy Olsen in Countdown. And regardless of the four times in this issue that the editors pop up, reminding us to read Countdown, and telling us that it's absolutely necessary, I really think they're lying. I'm not going to bother reading Countdown to find out. I'll just come back to Action Comics in two weeks and see if I feel as if I'm missing anything. If so, I'll scan the back issues of Countdown. But I sure as hell am not going to buy that trash. What a waste of trees.
You know, if they got a writer who wasn't afraid to have some fun with the concept as opposed to angsting and killing, maiming and raping, and otherwise mistreating "Superman's Pal, Jimmy Olsen (volume 2)", I'd totally buy that book. Maybe Busiek wants to write it?
Monday, July 16, 2007
Y The Last Man #57
Y The Last Man #57
Apart from the gratuitous penis scene, (which shall not, under any circumstances, be reproduced here,) this book is really GOOD. Yorick and Beth get the reunion which we've been waiting on for the last five years, and we find out that Beth was going to dump him. Well, I certainly didn't see that coming, but then again, I'm slow when it comes to these things - just ask my wife. And so Yorick storms out, and Beth sits up waiting all night, and then, come morning, meets, of all people, HERO! And within seconds she meets Beth II and Yorick's daughter. And there we leave it. I can't really believe that there are only three issues left to this story. It seems like there's just so much more that could be told. Perhaps BKV will write a spinoff book? Regardless, I'm looking forward to the next three issues, even though that means it's all going to end.
Apart from the gratuitous penis scene, (which shall not, under any circumstances, be reproduced here,) this book is really GOOD. Yorick and Beth get the reunion which we've been waiting on for the last five years, and we find out that Beth was going to dump him. Well, I certainly didn't see that coming, but then again, I'm slow when it comes to these things - just ask my wife. And so Yorick storms out, and Beth sits up waiting all night, and then, come morning, meets, of all people, HERO! And within seconds she meets Beth II and Yorick's daughter. And there we leave it. I can't really believe that there are only three issues left to this story. It seems like there's just so much more that could be told. Perhaps BKV will write a spinoff book? Regardless, I'm looking forward to the next three issues, even though that means it's all going to end.
Superman Confidential #5
Superman Confidential #5
Finally, we find out that it wasn't a piece of Kryptonite narrating the first four issues, it was a sentient being trapped inside the piece of Kryptonite. No, really. Yeah, it sounds stupid to me too. Tell me again why we couldn't have been informed of this four issues ago? For god's sake, we've been thinking we were being lectured by a fucking rock for the past four issues. A ROCK! This book is way too stupid to be allowed to continue. I'm not even fucking reading it any more. CRAP.
Finally, we find out that it wasn't a piece of Kryptonite narrating the first four issues, it was a sentient being trapped inside the piece of Kryptonite. No, really. Yeah, it sounds stupid to me too. Tell me again why we couldn't have been informed of this four issues ago? For god's sake, we've been thinking we were being lectured by a fucking rock for the past four issues. A ROCK! This book is way too stupid to be allowed to continue. I'm not even fucking reading it any more. CRAP.
Sunday, July 15, 2007
X-Factor #21
X-Factor #21
Solidly GOOD. X-Factor gets back to being X-Factor, and doing what they do best. And Ric gets laid. Great dialogue, and excellent interactions. And it's only been two weeks since the last issue! I really wish this book were more pages, instead of having the LAME-O Beast story backup.
Solidly GOOD. X-Factor gets back to being X-Factor, and doing what they do best. And Ric gets laid. Great dialogue, and excellent interactions. And it's only been two weeks since the last issue! I really wish this book were more pages, instead of having the LAME-O Beast story backup.
World War Hulk: Gamma Corps #1
World War Hulk: Gamma Corps #1
That's a really stupid idea for a comic book. Seriously, I didn't even understand it. Am I supposed to know who these people are? The only one I know is General Ross, but wasn't he dead? Or was that just a dream? This book is so poorly written that I could barely even understand it. Tell me again, HOW these people are going to make a difference? WHAT they're going to do? WHY I should care? AWFUL. Just AWFUL.
That's a really stupid idea for a comic book. Seriously, I didn't even understand it. Am I supposed to know who these people are? The only one I know is General Ross, but wasn't he dead? Or was that just a dream? This book is so poorly written that I could barely even understand it. Tell me again, HOW these people are going to make a difference? WHAT they're going to do? WHY I should care? AWFUL. Just AWFUL.
Ultimate X-Men #84
Ultimate X-Men #84
Quite GOOD. I like where Bishop is shown to have been taking this recruitment plot: the creation of the Ultimate Universe's New X-Men. Ultimate Stryfe seems odd in his first appearance. Although obviously not a Cable clone, he's a natural ideological leader, though a poor combat leader, as he flees whenever things get hinky. Also, I'm wondering why some of his recruits have joined him, since his speech seems to accentuate mutants' outward physical differences. If that were truly the case, then wouldn't he be better served by trying to take over the Morlocks and turn them into his own private army?
Tell me, is the chick in the purple outfit Psylocke? She's never mentioned by name, and her powers seem to be different, but the costume seems reminiscent, plus she's got purple hair and refers to having been previously in another body.
Here's a question: did she have these powers in her previous form? And if so, would that imply that her powers are spiritual as opposed to physical? What would that even mean in the scheme of things?
I actually like the new costumes a lot. I've never really been a fan of costumes, but these seem more like work clothes rather than anything garish or outlandish. Except for Storm who's dressed like a whore, and Bishop who's got belt pouches. And Pyro of course, but that's not really a new costume he's wearing.
But remind me when this Sentinel attack began? I feel as if I've missed an issue or two here.
Quite GOOD. I like where Bishop is shown to have been taking this recruitment plot: the creation of the Ultimate Universe's New X-Men. Ultimate Stryfe seems odd in his first appearance. Although obviously not a Cable clone, he's a natural ideological leader, though a poor combat leader, as he flees whenever things get hinky. Also, I'm wondering why some of his recruits have joined him, since his speech seems to accentuate mutants' outward physical differences. If that were truly the case, then wouldn't he be better served by trying to take over the Morlocks and turn them into his own private army?
Tell me, is the chick in the purple outfit Psylocke? She's never mentioned by name, and her powers seem to be different, but the costume seems reminiscent, plus she's got purple hair and refers to having been previously in another body.
Here's a question: did she have these powers in her previous form? And if so, would that imply that her powers are spiritual as opposed to physical? What would that even mean in the scheme of things?
I actually like the new costumes a lot. I've never really been a fan of costumes, but these seem more like work clothes rather than anything garish or outlandish. Except for Storm who's dressed like a whore, and Bishop who's got belt pouches. And Pyro of course, but that's not really a new costume he's wearing.
But remind me when this Sentinel attack began? I feel as if I've missed an issue or two here.
Sub-Mariner #2
Sub-Mariner #2
Very cool cover, especially the title logo.
Wow! A spittle line! I haven't seen those since the 90s!
Well, this title still isn't much more than passably EH. The only reason to continue reading it is to find out whether Namor is truly dead or not. As to the how, I think it's quite obvious - Nitro did it. I really can't see how they're planning to drag this out to six issues. Perhaps three or four, but six? That's just too much.
Very cool cover, especially the title logo.
Wow! A spittle line! I haven't seen those since the 90s!
Well, this title still isn't much more than passably EH. The only reason to continue reading it is to find out whether Namor is truly dead or not. As to the how, I think it's quite obvious - Nitro did it. I really can't see how they're planning to drag this out to six issues. Perhaps three or four, but six? That's just too much.
Shadowpact #15
Shadowpact #15
But, but...I don't wanna die! I'm scared.
VERY GOOD. Especially for the fact that this book made me forget myself for a little while and actually fear for the safety of all those in Chicago.
But, but...I don't wanna die! I'm scared.
VERY GOOD. Especially for the fact that this book made me forget myself for a little while and actually fear for the safety of all those in Chicago.
Punisher War Journal #9
Punisher War Journal #9
Guess, what? This is the first issue of this title that I've read straight through since Frank donned his poor imitation of Cap's costume. Seriously - if you're going to go ahead and do something like that, then why don't you do it properly and wear the actual costume? Not some amalgamation.
Anyways, it turns out that I didn't actually need to read the last few issues, as everything I needed to know happens, or is explained, right here. Sure'n' that doesn't say good things for the last few issues. However, it allows this single issue to rate OKAY, so that's something.
Guess, what? This is the first issue of this title that I've read straight through since Frank donned his poor imitation of Cap's costume. Seriously - if you're going to go ahead and do something like that, then why don't you do it properly and wear the actual costume? Not some amalgamation.
Anyways, it turns out that I didn't actually need to read the last few issues, as everything I needed to know happens, or is explained, right here. Sure'n' that doesn't say good things for the last few issues. However, it allows this single issue to rate OKAY, so that's something.
Omega Flight #4
Omega Flight #4
What the? Why is Beta Ray Bill merely a guest star in what should rightfully be his book? And why is this entire book nothing more than one long fight scene? Sure, it may entertain the kiddies, but only if it's drawn properly, has good banter, and has good characterization, none of which this book has. The fight is so badly drawn and poorly exposited (expositioned?) that it's nearly incomprehensible. This is just stupid. AWFUL.
What the? Why is Beta Ray Bill merely a guest star in what should rightfully be his book? And why is this entire book nothing more than one long fight scene? Sure, it may entertain the kiddies, but only if it's drawn properly, has good banter, and has good characterization, none of which this book has. The fight is so badly drawn and poorly exposited (expositioned?) that it's nearly incomprehensible. This is just stupid. AWFUL.
New Avengers #32
New Avengers #32
VERY GOOD. If ever there was a way out of the mess that Civil War put us into, this is it. Of course, Tony Skrull is a Stark. And the guy who drafted the registration law, and the president, and my boss, and my mother - well, okay, maybe not my mother, but my boss is definitely a Skrull. And President Bush is clearly a Skrull as well. I mean, really, nobody can be that stupid unless it's on purpose! I'm really looking forward to seeing what Bendis does with this idea.
VERY GOOD. If ever there was a way out of the mess that Civil War put us into, this is it. Of course, Tony Skrull is a Stark. And the guy who drafted the registration law, and the president, and my boss, and my mother - well, okay, maybe not my mother, but my boss is definitely a Skrull. And President Bush is clearly a Skrull as well. I mean, really, nobody can be that stupid unless it's on purpose! I'm really looking forward to seeing what Bendis does with this idea.
Justice Society of America #7
Justice Society of America #7
Not bad. Though I still have a sour taste in my mouth from JLA#10, this book is actually quite readable. One queston though...does Steel look like that because he's naked? And why does he have a fin on his head? Oops, I guess that was two questions. Whatever.
But I love any scene with Starman in it, especially when said scene involves him eating sloppy joe, so OKAY.
Not bad. Though I still have a sour taste in my mouth from JLA#10, this book is actually quite readable. One queston though...does Steel look like that because he's naked? And why does he have a fin on his head? Oops, I guess that was two questions. Whatever.
But I love any scene with Starman in it, especially when said scene involves him eating sloppy joe, so OKAY.
JLA Classified #40
JLA Classified #40
Although I have been enjoying this storyline so far, it really needs to end already. This issue was either twice too long, or half as dense as it should have been. Or both. It really just seemed like filler. Perhaps I'd have enjoyed it more if the JLA's motivations weren't so impenetrable. EH.
Although I have been enjoying this storyline so far, it really needs to end already. This issue was either twice too long, or half as dense as it should have been. Or both. It really just seemed like filler. Perhaps I'd have enjoyed it more if the JLA's motivations weren't so impenetrable. EH.
Green Arrow: Year One #1
Green Arrow: Year One #1
OKAY. But, as I feared, this book is already altering Ollie's origin story, and is set to make his transformation into Green Arrow less of a personal spiritual journey, and more of a vengeance crusade - for someone doing something bad to him when he was breaking the law himself anyways. It's kind of lame, but I'll see where Jock and Diggle take it before passing judgement. All I know is, he'd better still use the elastic from his socks!
OKAY. But, as I feared, this book is already altering Ollie's origin story, and is set to make his transformation into Green Arrow less of a personal spiritual journey, and more of a vengeance crusade - for someone doing something bad to him when he was breaking the law himself anyways. It's kind of lame, but I'll see where Jock and Diggle take it before passing judgement. All I know is, he'd better still use the elastic from his socks!
Exiles #96
Exiles #96
Well, it's the best issue that we've gotten since Claremont took over on this title. Unfortunately, that's not saying much. The pace in this issue drags sooooooooooo slowly that at the end of the story it feels like everything within could have been accomplished in, possibly, the space of 3-5 pages - total. And weird shit has never been the foray of this book, and Claremont really shouldn't start with that now. See, there's something that he's obviously not grasping here. When you've got a format that WORKS, as Exiles did for roughly 90 issues before he came aboard, you DON'T - ABSOLUTELY DON'T - go TWEAKING IT!! That's just stupid.
Plus, this issue contains some typically awfully hackneyed Claremont dialogue, which in many instances is quite painful to read.
All told however, this book does merit at least an EH.
As I've said, the only reason I continue to read this is for its inclusion of Spider-Man 2099. As long as he remains in the title, all my objections are merely academic. If and when he gets dropped though, you can bet that I'll be dropping this entire series as well, assuming that the writing remains at this atrociously pitifully low level.
Well, it's the best issue that we've gotten since Claremont took over on this title. Unfortunately, that's not saying much. The pace in this issue drags sooooooooooo slowly that at the end of the story it feels like everything within could have been accomplished in, possibly, the space of 3-5 pages - total. And weird shit has never been the foray of this book, and Claremont really shouldn't start with that now. See, there's something that he's obviously not grasping here. When you've got a format that WORKS, as Exiles did for roughly 90 issues before he came aboard, you DON'T - ABSOLUTELY DON'T - go TWEAKING IT!! That's just stupid.
Plus, this issue contains some typically awfully hackneyed Claremont dialogue, which in many instances is quite painful to read.
All told however, this book does merit at least an EH.
As I've said, the only reason I continue to read this is for its inclusion of Spider-Man 2099. As long as he remains in the title, all my objections are merely academic. If and when he gets dropped though, you can bet that I'll be dropping this entire series as well, assuming that the writing remains at this atrociously pitifully low level.
Friday, July 13, 2007
Green Lantern #21
Green Lantern #21
That was really VERY GOOD. For the first time since either of these series began (Green Lantern Corps as well), I'm actually excited about the story possibilities. The Sinestro Corps was a stroke of genius. I'm surprised that nobody came up with the idea sooner. After all, every action has an equal and opposite reaction, just as every force in the universe, physical or metaphysical, has an opposite counterpart.
What I truly love about the Sinestro Corps is that Sinestro is not actually evil. What he's doing, he's doing to make the universe a better place. Some of the more powerful individuals he's absorbed into his Corps are evil, such as Superboy, Cyborg Superman, and the Anti-Monitor - although the case could be made for the Anti Monitor being the opposite force to the original Monitor, which would make him not evil, but rather a function of universal balance and harmony.
Parallax, on the other hand, seems to be evil as an entity. I think it's quite a statement towards the relative moral compasses of both Hal Jordan and Kyle Rayner that even when Hal was Parallax, he still did everything that he did to, in his mind, make the universe a better place. Whereas Kyle, who accepted the Green Lantern ring because he thought it'd be cool, has no deep seated sense of universal good. And therefore, the Parallax entity, which is one of the purest forms of evil in the universe - unless harnessed properly - has overwhelmed his personality to the point where he's really, really, EVIL! For once, I'm actually looking forward to the next chapter in Green Lantern Corps.
And also, Jack T. Chance!!!
That was really VERY GOOD. For the first time since either of these series began (Green Lantern Corps as well), I'm actually excited about the story possibilities. The Sinestro Corps was a stroke of genius. I'm surprised that nobody came up with the idea sooner. After all, every action has an equal and opposite reaction, just as every force in the universe, physical or metaphysical, has an opposite counterpart.
What I truly love about the Sinestro Corps is that Sinestro is not actually evil. What he's doing, he's doing to make the universe a better place. Some of the more powerful individuals he's absorbed into his Corps are evil, such as Superboy, Cyborg Superman, and the Anti-Monitor - although the case could be made for the Anti Monitor being the opposite force to the original Monitor, which would make him not evil, but rather a function of universal balance and harmony.
Parallax, on the other hand, seems to be evil as an entity. I think it's quite a statement towards the relative moral compasses of both Hal Jordan and Kyle Rayner that even when Hal was Parallax, he still did everything that he did to, in his mind, make the universe a better place. Whereas Kyle, who accepted the Green Lantern ring because he thought it'd be cool, has no deep seated sense of universal good. And therefore, the Parallax entity, which is one of the purest forms of evil in the universe - unless harnessed properly - has overwhelmed his personality to the point where he's really, really, EVIL! For once, I'm actually looking forward to the next chapter in Green Lantern Corps.
And also, Jack T. Chance!!!
Deadpool GLI Summer Fun Spectacular
Deadpool GLI Summer Fun Spectacular
EXCELLENT! Exactly what I'd expect from this book, and sometimes more. Why can't Marvel make this an ongoing humor title instead of relegating the GLA/X/C/D/I to these occasional one shots and rare crossover appearances? I'd totally buy that comic!
My favorite part of this book is when Big Bertha realizes that Deadpool likes her as a fatty, then angsts aloud as to why Wade can't recognize her for the beauty that she has inside her, whereupon Deadpool exclaims "you don't know how long I've waited for someone to say that" and takes off his mask to reveal his hideously scarred visage. Whereupon Bertha turns away and vomits. Question: if Bertha vomits like this will she revert to her Ashley persona?
I also loved the segments which poke fun at the bastardization of Speedball into the most egregious example of mischaracterization ever. Even when confronted with the complete illogic of his new path, he (the writers who created Penance and are writing him as such now) refuses to acknowledge that maybe, yeah, it doesn't make any sense after all!
I'd pay money to read this book monthly. Who's with me on that?
[Edit: Apparently not Paul O'Brien. He notes, correctly, that any scene with Deadpool in it tends to marginalize the comedic elements of the GLI. However, these scenes hardly comprise the bulk of the issue. Deadpool, for the most part, is merely used as a plot device, although cleverly so. As I mentioned above, one of these stories revolves around a date between him and Big Bertha. Although it certainly could have been played up more, the joke works even in its brevity. And a large portion of the issue doesn't have Deadpool in it at all! Squirrel Girl is much more the featured character in this book than Deadpool is, by any stretch, and any scene with her, even if not comedic, is pure gold. So I stand by my assessment. I'm not saying that Paul's wrong, he's just concentrating overly on certain elements of the issue while I am concentrating on others. Perhaps a fairer rating of the issue would be somewhere between our two ratings. But I'll leave that for someone else.]
EXCELLENT! Exactly what I'd expect from this book, and sometimes more. Why can't Marvel make this an ongoing humor title instead of relegating the GLA/X/C/D/I to these occasional one shots and rare crossover appearances? I'd totally buy that comic!
My favorite part of this book is when Big Bertha realizes that Deadpool likes her as a fatty, then angsts aloud as to why Wade can't recognize her for the beauty that she has inside her, whereupon Deadpool exclaims "you don't know how long I've waited for someone to say that" and takes off his mask to reveal his hideously scarred visage. Whereupon Bertha turns away and vomits. Question: if Bertha vomits like this will she revert to her Ashley persona?
I also loved the segments which poke fun at the bastardization of Speedball into the most egregious example of mischaracterization ever. Even when confronted with the complete illogic of his new path, he (the writers who created Penance and are writing him as such now) refuses to acknowledge that maybe, yeah, it doesn't make any sense after all!
I'd pay money to read this book monthly. Who's with me on that?
[Edit: Apparently not Paul O'Brien. He notes, correctly, that any scene with Deadpool in it tends to marginalize the comedic elements of the GLI. However, these scenes hardly comprise the bulk of the issue. Deadpool, for the most part, is merely used as a plot device, although cleverly so. As I mentioned above, one of these stories revolves around a date between him and Big Bertha. Although it certainly could have been played up more, the joke works even in its brevity. And a large portion of the issue doesn't have Deadpool in it at all! Squirrel Girl is much more the featured character in this book than Deadpool is, by any stretch, and any scene with her, even if not comedic, is pure gold. So I stand by my assessment. I'm not saying that Paul's wrong, he's just concentrating overly on certain elements of the issue while I am concentrating on others. Perhaps a fairer rating of the issue would be somewhere between our two ratings. But I'll leave that for someone else.]
Stephen Colbert's Tek Jansen #1
Stephen Colbert's Tek Jansen #1
I read this because I thought that it would be really funny. While it was slightly humorous, it was nowhere near as entertaining as I had expected. Scott Pilgrim is better. JLI was better. Blue Beetle and All-New Atom are both funnier than this CRAP. It's literally a short one line gag milked for 22 pages. What a waste of trees. Save the rainforest - don't buy the next issue.
I read this because I thought that it would be really funny. While it was slightly humorous, it was nowhere near as entertaining as I had expected. Scott Pilgrim is better. JLI was better. Blue Beetle and All-New Atom are both funnier than this CRAP. It's literally a short one line gag milked for 22 pages. What a waste of trees. Save the rainforest - don't buy the next issue.
Supergirl #19
Supergirl #19
This title has been soooooo unbelievably bad since Joe Kelley took over, so I'm very glad that he's leaving it. That said...
...nope, it's still bad. In fact, this book gets a well-deserved rating of ASS from me.
Seriously!
What the hell's up with that stupid headband that makes Kara look like she's wearing a dead animal on her head? And come on, folks! She's not really 16, she just looks like she is. In actuality, she's older than Superman! So what's with all of this "jailbait" business? And since when does United States law apply in such a fashion to aliens? Whose psychology and physiology is markedly different from that of humans? That's just stupid. And sure, this issue tries to hang a lantern on it, but it doesn't go far enough: what's with all the pseudo-metaphysical technobabble elitism? Just shut up and write dialogue that makes some fucking sense! Not just gobbledygook designed to fill space! This issue also tries to tie together every single storyline since the beginning of the series, which is problematic, because in real time, many of those stories occurred more than a year ago, and even if we did remember them, they were so bad that why would we actually care? Most of what I really remember from the Kandor storyline is Kara getting skeevy with someone who looked just like Clark. Yuck! And are people really stupid enough to think that they can punch Kara without hurting her?
Tony Bedard comes on next issue, thankfully. Unfortunately, next issue is an Amazons Attack crossover, a storyline so stupid in concept and execution that I can't believe that it's being written by Will Pfeifer. It seriously reads like a Dan Didiogasm. And then the following issue is a Countdown crossover which tries to sell the idea that Karate Kid would ever be a worthy opponent for Supergirl. Puhleeze! One punch and he's down! No question! He's got zero powers! Who's coming up with these stupid ideas? And I'm pretty much done with reading the stupidity that is Countdown. I really can't stand it. So, I probably won't read the next two issues. But at least the preview images of Renato Guedes' vision of Supergirl make her look like a real person!
I still can't believe that this tripe isn't yet on the chopping block, yet Manhunter was constantly being threatened with cancellation, as are Atom and Blue Beetle. What the hell is wrong with people that they'll be more consistent in buying crap than the good stuff?
You wanna know what absolutely pisses me off the MOST about this issue? Take a look at the solicitation:
ASS.
This title has been soooooo unbelievably bad since Joe Kelley took over, so I'm very glad that he's leaving it. That said...
...nope, it's still bad. In fact, this book gets a well-deserved rating of ASS from me.
Seriously!
What the hell's up with that stupid headband that makes Kara look like she's wearing a dead animal on her head? And come on, folks! She's not really 16, she just looks like she is. In actuality, she's older than Superman! So what's with all of this "jailbait" business? And since when does United States law apply in such a fashion to aliens? Whose psychology and physiology is markedly different from that of humans? That's just stupid. And sure, this issue tries to hang a lantern on it, but it doesn't go far enough: what's with all the pseudo-metaphysical technobabble elitism? Just shut up and write dialogue that makes some fucking sense! Not just gobbledygook designed to fill space! This issue also tries to tie together every single storyline since the beginning of the series, which is problematic, because in real time, many of those stories occurred more than a year ago, and even if we did remember them, they were so bad that why would we actually care? Most of what I really remember from the Kandor storyline is Kara getting skeevy with someone who looked just like Clark. Yuck! And are people really stupid enough to think that they can punch Kara without hurting her?
Tony Bedard comes on next issue, thankfully. Unfortunately, next issue is an Amazons Attack crossover, a storyline so stupid in concept and execution that I can't believe that it's being written by Will Pfeifer. It seriously reads like a Dan Didiogasm. And then the following issue is a Countdown crossover which tries to sell the idea that Karate Kid would ever be a worthy opponent for Supergirl. Puhleeze! One punch and he's down! No question! He's got zero powers! Who's coming up with these stupid ideas? And I'm pretty much done with reading the stupidity that is Countdown. I really can't stand it. So, I probably won't read the next two issues. But at least the preview images of Renato Guedes' vision of Supergirl make her look like a real person!
I still can't believe that this tripe isn't yet on the chopping block, yet Manhunter was constantly being threatened with cancellation, as are Atom and Blue Beetle. What the hell is wrong with people that they'll be more consistent in buying crap than the good stuff?
You wanna know what absolutely pisses me off the MOST about this issue? Take a look at the solicitation:
"Superstar writer Joe Kelly concludes his SUPERGIRL run with a grueling fight between Supergirl and Superman! Is the only way to save the universe to kill the Man of Steel?"Are they talking about the same issue here? Superman doesn't even appear in this issue until the last three pages, nor in costume until the final splash page, and they HUG on the penultimate page! WHAT THE FUCK? Even the title is captioned: "The Death of Superman Again!" What the hell?!? It has Kara straddling the "corpse" of Superman! Double what the hell?!?
ASS.
Monday, July 09, 2007
Thor #1
Thor #1
Not nearly as sacrilegious as I expected. I'm still not quite clear on the mystic explanation for the Gods and Asgard existing without the looming threat of Ragnarok, nor am I comfortable with the notion that Donald Blake has been waiting in limbo since Thor's original encounter with Beta Ray Bill, way back when, NOR can I completely buy that Thor got sent to limbo after the fall of the Gods, NOR can I truly believe that now that Odin's dead, some of the things he did have been nullified, but not others, but if I were to take these explanations at face value, without necessarily reading too much into them, then I'd say that this is a decently OKAY story.
And it's got beautiful art. Unfortunately, even the art isn't good enough to help me understand exactly WHO it is lifting Mjolnir is the desert, or WHEN this event occurs. But thankfully, the cover images have been retooled so that it no longer seems as if Thor is wearing fishnet stockings, so there's that.
At least it's not Clor.
Not nearly as sacrilegious as I expected. I'm still not quite clear on the mystic explanation for the Gods and Asgard existing without the looming threat of Ragnarok, nor am I comfortable with the notion that Donald Blake has been waiting in limbo since Thor's original encounter with Beta Ray Bill, way back when, NOR can I completely buy that Thor got sent to limbo after the fall of the Gods, NOR can I truly believe that now that Odin's dead, some of the things he did have been nullified, but not others, but if I were to take these explanations at face value, without necessarily reading too much into them, then I'd say that this is a decently OKAY story.
And it's got beautiful art. Unfortunately, even the art isn't good enough to help me understand exactly WHO it is lifting Mjolnir is the desert, or WHEN this event occurs. But thankfully, the cover images have been retooled so that it no longer seems as if Thor is wearing fishnet stockings, so there's that.
At least it's not Clor.
Runaways #27
This issue is not as good as I would have expected, but it's certainly not bad. Last time, the Runaways got shunted back in time. This time, they discover they've been time displaced 100 years, and meet another gang of superhumans, or "sticks", one of whom is apparently the winged monstrosity from last time. Though the art doesn't quite make that clear. Also, there's a puzzling scene where Karolina fends off an attempted rape, upends a flower cart, and then inspects the roses fallen from it before inexplicably flying off to sit on a building and spy on the urchin who was apparently selling them. It's not bad art, it's Whedon's fault. It truly feels as if there's at least a page's worth of exposition missing from this issue, and being that there's no letters page, there's no excuse for that. Plus there's some sort of Punisher analogue around, but his presence remains entirely obscure. Perhaps it's supposed to be ominous, but with zero context to put it in, it's merely puzzling - and instantly forgettable. Good comics craft would dictate that this character be introduced in a later issue wherein his appearance will be somehow immediately relevant to the plot.
Still, Whedon keeps the pace moving, and we find out that there's a group of superhuman bad guys around in this era too, being led by the late lamented Gert's parents.
My major concern with this issue is the potential problems it creates with Marvel's historical continuity. I'm not so familiar with Marvel history, but I seem to recall the original Human Torch being the first superhuman in the Marvel universe. Or possibly Namor? The presence of other superhumans, several decades early, throws that long-held belief into question. Sure, 1907 seems like a long time ago, but it really isn't. We're getting dangerously close to messing with the fabric of time as far as the Marvel universe's history goes. Now, perhaps this is the intended effect, but that doesn't mean I have to like it.
Also, although I have read every issue of this book, it'd still be nice to be told who the characters are - at least by name - ONCE in the issue. But only four ever get named, most of them indirectly. And the dinosaur too, also indirectly. Their powers are also not clearly defined for new readers. Sure, I'm NOT a new reader, but since this book would like to pull in the kids, it'd be natural for nearly every issue to be a jumping-on point. Perhaps this is the odd issue out. Perhaps. I'm willing to give it the benefit of the doubt as far as that's concerned. But it's really not good form to issue a book as impenetrable to new readers as this one.
Barely OKAY.
This issue is not as good as I would have expected, but it's certainly not bad. Last time, the Runaways got shunted back in time. This time, they discover they've been time displaced 100 years, and meet another gang of superhumans, or "sticks", one of whom is apparently the winged monstrosity from last time. Though the art doesn't quite make that clear. Also, there's a puzzling scene where Karolina fends off an attempted rape, upends a flower cart, and then inspects the roses fallen from it before inexplicably flying off to sit on a building and spy on the urchin who was apparently selling them. It's not bad art, it's Whedon's fault. It truly feels as if there's at least a page's worth of exposition missing from this issue, and being that there's no letters page, there's no excuse for that. Plus there's some sort of Punisher analogue around, but his presence remains entirely obscure. Perhaps it's supposed to be ominous, but with zero context to put it in, it's merely puzzling - and instantly forgettable. Good comics craft would dictate that this character be introduced in a later issue wherein his appearance will be somehow immediately relevant to the plot.
Still, Whedon keeps the pace moving, and we find out that there's a group of superhuman bad guys around in this era too, being led by the late lamented Gert's parents.
My major concern with this issue is the potential problems it creates with Marvel's historical continuity. I'm not so familiar with Marvel history, but I seem to recall the original Human Torch being the first superhuman in the Marvel universe. Or possibly Namor? The presence of other superhumans, several decades early, throws that long-held belief into question. Sure, 1907 seems like a long time ago, but it really isn't. We're getting dangerously close to messing with the fabric of time as far as the Marvel universe's history goes. Now, perhaps this is the intended effect, but that doesn't mean I have to like it.
Also, although I have read every issue of this book, it'd still be nice to be told who the characters are - at least by name - ONCE in the issue. But only four ever get named, most of them indirectly. And the dinosaur too, also indirectly. Their powers are also not clearly defined for new readers. Sure, I'm NOT a new reader, but since this book would like to pull in the kids, it'd be natural for nearly every issue to be a jumping-on point. Perhaps this is the odd issue out. Perhaps. I'm willing to give it the benefit of the doubt as far as that's concerned. But it's really not good form to issue a book as impenetrable to new readers as this one.
Barely OKAY.
Black Canary #1
Really, not that good. I was sincerely hoping for more. The scenes with Dinah interacting with Sin are competently executed, but I just can't bring myself to care much about the overall plot, probably because it involves characters that I am either unfamiliar with, or just don't care about much. I'm speaking, of course, of Dinah's ex-husband (what?) and Merlyn, respectively. Merlyn was a member of the league of Assassins? Huh. Whatever. Who cares? Also, though he claims to have come by most of the GA paraphernalia in his office "the hard way", what does that really mean? That he fought GA for a picture of him and Speedy? That he got beat up and Ollie left behind one of his action figures? Really? Sorry, that makes no sense!
Why is Dinah's motel room GREEN? And WHY is she staying in a MOTEL? She's been asked to wed one of the richest men in the DCU, and she's slumming it? WHY?
And is it just me, or does it seem at all strange to anyone that Dinah apparently uses her costume as jammies? It's actually quite disturbing. Dinah's getting ready for bed, Sin goes out to the ice machine, gets approached by a stranger, and Dinah shows up in full regalia to kick his ass. Isn't that odd? IS it just me? I suppose that fishnet stockings must be very comfortable to sleep in.
EH, whatever. Too bad this wasn't written by Gail Simone, it'd have been ten times better.
Really, not that good. I was sincerely hoping for more. The scenes with Dinah interacting with Sin are competently executed, but I just can't bring myself to care much about the overall plot, probably because it involves characters that I am either unfamiliar with, or just don't care about much. I'm speaking, of course, of Dinah's ex-husband (what?) and Merlyn, respectively. Merlyn was a member of the league of Assassins? Huh. Whatever. Who cares? Also, though he claims to have come by most of the GA paraphernalia in his office "the hard way", what does that really mean? That he fought GA for a picture of him and Speedy? That he got beat up and Ollie left behind one of his action figures? Really? Sorry, that makes no sense!
Why is Dinah's motel room GREEN? And WHY is she staying in a MOTEL? She's been asked to wed one of the richest men in the DCU, and she's slumming it? WHY?
And is it just me, or does it seem at all strange to anyone that Dinah apparently uses her costume as jammies? It's actually quite disturbing. Dinah's getting ready for bed, Sin goes out to the ice machine, gets approached by a stranger, and Dinah shows up in full regalia to kick his ass. Isn't that odd? IS it just me? I suppose that fishnet stockings must be very comfortable to sleep in.
EH, whatever. Too bad this wasn't written by Gail Simone, it'd have been ten times better.
All-Star Superman #8
All-Star Superman #8
It may very well be heresy to admit this publicly, but I really didn't enjoy this issue as much as I have those previous. Completely disregarding the brain aches I got trying to translate Bizarro speech into normal English (although the Bizarro version of the Star-Spangled Banner was brilliant!), the story just didn't seem to be a complete idea in any sense, something which has long (can't believe I'm saying that!) been a hallmark of this series. I can't bring myself to care for this issue, and the truth is that all the information contained within could very well have been imparted in the space of two pages. Given the fact that this book never comes out, wasting an issue on this "filler" strikes me as more of a cheat than anything else. EH.
It may very well be heresy to admit this publicly, but I really didn't enjoy this issue as much as I have those previous. Completely disregarding the brain aches I got trying to translate Bizarro speech into normal English (although the Bizarro version of the Star-Spangled Banner was brilliant!), the story just didn't seem to be a complete idea in any sense, something which has long (can't believe I'm saying that!) been a hallmark of this series. I can't bring myself to care for this issue, and the truth is that all the information contained within could very well have been imparted in the space of two pages. Given the fact that this book never comes out, wasting an issue on this "filler" strikes me as more of a cheat than anything else. EH.
Action Comics #851
Action Comics #851
This book has, essentially, three acts. The first one deals with Superman's acclimation to his all too short stay in the Phantom Zone, which is difficult to make sense of, as the art is the sloppiest I've ever seen by a Kubert. The second involves a powerless Superman taking on Dev-Em with the assistance of Mon-El in a pocket of real-time space within the Phantom Zone. Don't try to make sense of the science here. In terms of continuity, or even common sense, you'll give yourself a headache.
Then, finally there's the third act, where Clark gets back to Earth, Zod appears to want to get it on with Lois, Chris takes his father on and is bound for the beating of all beatings, and Supes pleads with Luthor for his help in taking the rogue Kryptonians down. Lex has Metallo, Parasite, and Bizarro administer a humbling, but short, beating, and informs Superman that he'll be working with them to accomplish the aforementioned goal. And all this will be concluded in Action Annual #11. Wasn't it less than a year ago that Annual #10 came out? Whatever. The most I can muster for this story, especially after waiting through what seemed to be endless fill-in stories, is an EH, because, really, THAT'S IT!?!?
This book has, essentially, three acts. The first one deals with Superman's acclimation to his all too short stay in the Phantom Zone, which is difficult to make sense of, as the art is the sloppiest I've ever seen by a Kubert. The second involves a powerless Superman taking on Dev-Em with the assistance of Mon-El in a pocket of real-time space within the Phantom Zone. Don't try to make sense of the science here. In terms of continuity, or even common sense, you'll give yourself a headache.
Then, finally there's the third act, where Clark gets back to Earth, Zod appears to want to get it on with Lois, Chris takes his father on and is bound for the beating of all beatings, and Supes pleads with Luthor for his help in taking the rogue Kryptonians down. Lex has Metallo, Parasite, and Bizarro administer a humbling, but short, beating, and informs Superman that he'll be working with them to accomplish the aforementioned goal. And all this will be concluded in Action Annual #11. Wasn't it less than a year ago that Annual #10 came out? Whatever. The most I can muster for this story, especially after waiting through what seemed to be endless fill-in stories, is an EH, because, really, THAT'S IT!?!?
Sunday, July 01, 2007
She Hulk #19
She-Hulk #19
Stu Cicero! Trapped in a world he never made! What the hell does that mean - "never made" - anyways? WAUUGH! Heh.
Mallory Book proving that the leader is not responsible for his actions due to his Gamma transformation by using She-Hulk's lack of inhibitions in relation to Jennifer Walters, primarily sexually (she did NOT have sex with the Juggernaut!), is a stroke of genius. It's about time that this title got back to what really made it excel above and beyond all the other titles out there, the courtroom and lawyering dramas. It hasn't been the same since Eros worked his mojo on Jen.
Apparently the comic book guys in the reference room didn't read Peter David's recent run on the Incredible Hulk (I don't blame them), or they'd realize that the incidents they're referring to, that of the Leader transferring his mind to another body, then dying and having his brain stored in a jar, were merely a dream.
Anyways, I'm glad to see the book back with what made me love it in the first place. VERY GOOD.
Stu Cicero! Trapped in a world he never made! What the hell does that mean - "never made" - anyways? WAUUGH! Heh.
Mallory Book proving that the leader is not responsible for his actions due to his Gamma transformation by using She-Hulk's lack of inhibitions in relation to Jennifer Walters, primarily sexually (she did NOT have sex with the Juggernaut!), is a stroke of genius. It's about time that this title got back to what really made it excel above and beyond all the other titles out there, the courtroom and lawyering dramas. It hasn't been the same since Eros worked his mojo on Jen.
Apparently the comic book guys in the reference room didn't read Peter David's recent run on the Incredible Hulk (I don't blame them), or they'd realize that the incidents they're referring to, that of the Leader transferring his mind to another body, then dying and having his brain stored in a jar, were merely a dream.
Anyways, I'm glad to see the book back with what made me love it in the first place. VERY GOOD.
Friday, June 29, 2007
Incredible Hulk #107
Incredible Hulk #107
I really like how this title has been focusing on background players lately. Interesting that the hulk's OWN title should barely have him in it. Of course, it would be better for the content between this book and World War Hulk to be swapped, but ah, if wishes were horses...(then beggars would ride? What does that even mean?)
VERY GOOD.
Good portrayals of Hercules and Archangel. Archangel as a reluctant hero(?!) who's essentially threatened into siding with the Hulk. I love how Hercules takes a beating from Hulk, because he KNOWS Hulk is right. Otherwise, he'd have just kept pounding on Hulk. After thousands of years, it's nice to know that Hercules can finally learn how to do what's right, without having to be drunk to do it. And I love Amadeus Cho as a recurring character.
I really like how this title has been focusing on background players lately. Interesting that the hulk's OWN title should barely have him in it. Of course, it would be better for the content between this book and World War Hulk to be swapped, but ah, if wishes were horses...(then beggars would ride? What does that even mean?)
VERY GOOD.
Good portrayals of Hercules and Archangel. Archangel as a reluctant hero(?!) who's essentially threatened into siding with the Hulk. I love how Hercules takes a beating from Hulk, because he KNOWS Hulk is right. Otherwise, he'd have just kept pounding on Hulk. After thousands of years, it's nice to know that Hercules can finally learn how to do what's right, without having to be drunk to do it. And I love Amadeus Cho as a recurring character.
Madame Mirage #1
Madame Mirage #1
I was really looking forward to reading this, as I've come to appreciate Paul Dini's work on Detective Comics tremendously. Tight plotting, clear storytelling, good characterizations. Unfortunately, this book has none of that. While the art is quite enjoyable, I had little or no clue what was going on for most of the issue. That's not what you want in a first issue, to say the least. Suffice it to say, I won't be reading issue #2. AWFUL.
I was really looking forward to reading this, as I've come to appreciate Paul Dini's work on Detective Comics tremendously. Tight plotting, clear storytelling, good characterizations. Unfortunately, this book has none of that. While the art is quite enjoyable, I had little or no clue what was going on for most of the issue. That's not what you want in a first issue, to say the least. Suffice it to say, I won't be reading issue #2. AWFUL.
Shadowpact #14
Shadowpact #14
I enjoy this book every month. This month is no exception. A charming little story which serves as the opening to a larger arc, but which actually would work quite well taken on its own. Zauriel accosts Blue Devil at the bar, sent by God to kill him to prevent his admirers from making deals with the devil to be just like him. Sure, it sounds farfetched, but this is the DCU, and Zauriel says it's happened, so I'll take him at his word. Cassidy takes Zauriel to Coast City to fight, then Zauriel airlifts them to an unpopulated region on the outskirts of town. And then, instead of fighting, they TALK! Whoa, breaking all the rules here, guys! Zauriel explains why Blue Devil must die, and BD actually agrees. Seeing that he won't have any trouble fulfilling his heavenly commandment, Zauriel offers BD a few days to look for a way out of his predicament. The first thing BD does is go on national TV and out himself as a fraud. After seeing this address, an attorney approaches him, saying that he'd love to represent Cassidy against the finest lawyers of hell, seeing as Blue Devil sold his soul for movie stardom, and never, in fact, acheived it! At the end of the issue, Blue leaves the team to try to correct his mistakes, and Zauriel takes his spot. See? Nearly entirely self-contained! Oh, and the new Doctor Gotham from last issue gets worked on a bit, and Laura Fell shows up at the bar! VERY GOOD.
I enjoy this book every month. This month is no exception. A charming little story which serves as the opening to a larger arc, but which actually would work quite well taken on its own. Zauriel accosts Blue Devil at the bar, sent by God to kill him to prevent his admirers from making deals with the devil to be just like him. Sure, it sounds farfetched, but this is the DCU, and Zauriel says it's happened, so I'll take him at his word. Cassidy takes Zauriel to Coast City to fight, then Zauriel airlifts them to an unpopulated region on the outskirts of town. And then, instead of fighting, they TALK! Whoa, breaking all the rules here, guys! Zauriel explains why Blue Devil must die, and BD actually agrees. Seeing that he won't have any trouble fulfilling his heavenly commandment, Zauriel offers BD a few days to look for a way out of his predicament. The first thing BD does is go on national TV and out himself as a fraud. After seeing this address, an attorney approaches him, saying that he'd love to represent Cassidy against the finest lawyers of hell, seeing as Blue Devil sold his soul for movie stardom, and never, in fact, acheived it! At the end of the issue, Blue leaves the team to try to correct his mistakes, and Zauriel takes his spot. See? Nearly entirely self-contained! Oh, and the new Doctor Gotham from last issue gets worked on a bit, and Laura Fell shows up at the bar! VERY GOOD.
Green Lantern: Sinestro Corps Special #1
Green Lantern: Sinestro Corps Special #1
Quite GOOD. Much better than I was expecting. Basically shows that this entire event has been planned since the beginning of Rebirth, and incorporates the Silver Age appearances of Sinestro and former run of Green Lantern very nicely into a scema that actually, for the first time, makes more sense than not. Johns has a plan. And as long as it doesn't involve Hal Jordan saving the Universe by kissing alien chicks, I'm cool with it. (But as far as that goes, since when are Zamorans purple? During Millennium - yes, I know it sucked - they looked like human Amazons. But I guess that would be too confusing nowadays, especially with the Amazons Attack! event occurring silmultaneously.)
Using Superboy Prime, the Anti-Monitor, (who I thought was dead, wasn't he? Wasn't Alex Luthor's tower built from his corpse? Whatever.) and the Cyborg Superman is a good move too, although in the case of Superboy, isn't it a bit of overkill? It's like loading a biological weapon into a nuclear bomb. Again, whatever. Still, it's nice to see that the really good bad guys didn't get forgotten.
Plus, Kyle as the new Parallax? Ion's a stupid character evolution, although at least the concept is explained well here. So I'm down with that, too.
Is it just me, or would it be really cool to have a "Tales of the Sinestro Corps" ongoing feature or featurette, even after this event concludes?
This book was REALLY LONG! I was quite pleased. And the art was nicely done, too.
Well, that's all I have to say about that.
Quite GOOD. Much better than I was expecting. Basically shows that this entire event has been planned since the beginning of Rebirth, and incorporates the Silver Age appearances of Sinestro and former run of Green Lantern very nicely into a scema that actually, for the first time, makes more sense than not. Johns has a plan. And as long as it doesn't involve Hal Jordan saving the Universe by kissing alien chicks, I'm cool with it. (But as far as that goes, since when are Zamorans purple? During Millennium - yes, I know it sucked - they looked like human Amazons. But I guess that would be too confusing nowadays, especially with the Amazons Attack! event occurring silmultaneously.)
Using Superboy Prime, the Anti-Monitor, (who I thought was dead, wasn't he? Wasn't Alex Luthor's tower built from his corpse? Whatever.) and the Cyborg Superman is a good move too, although in the case of Superboy, isn't it a bit of overkill? It's like loading a biological weapon into a nuclear bomb. Again, whatever. Still, it's nice to see that the really good bad guys didn't get forgotten.
Plus, Kyle as the new Parallax? Ion's a stupid character evolution, although at least the concept is explained well here. So I'm down with that, too.
Is it just me, or would it be really cool to have a "Tales of the Sinestro Corps" ongoing feature or featurette, even after this event concludes?
This book was REALLY LONG! I was quite pleased. And the art was nicely done, too.
Well, that's all I have to say about that.
Wolverine Origins #15
Wolverine Origins #15
That's it. I quit. Get another writer on this title and we'll talk. But every month I put myself through 22 pages of torture, and for what? For a book that gives me absolutely no pleasure, other than its art, and which is instantly forgettable. I have no real idea what Carbonadium is, even though it seems to be essential to the plot. And that's really a huge problem, this many issues in. I have no idea who half of these characters are. I have no idea of where I could read the stories which are obviously being referenced here. And you know what? I really don't care. The only good part of this issue is the epilogue, and even that gets flubbed. Bucky says one thing, but the coded message says another. And some code! A six year-old could read it! And how would he even know to look for it? And how would all the ads for disparate services be grouped so perfectly together? And how would he know WHICH bus station? Like I said, the only good part about this AWFUL comic is the art. And even that doesn't do it for me anymore. This is the end. I'm not reading this book again. Can anyone REALLY give me a good reason why I should?
That's it. I quit. Get another writer on this title and we'll talk. But every month I put myself through 22 pages of torture, and for what? For a book that gives me absolutely no pleasure, other than its art, and which is instantly forgettable. I have no real idea what Carbonadium is, even though it seems to be essential to the plot. And that's really a huge problem, this many issues in. I have no idea who half of these characters are. I have no idea of where I could read the stories which are obviously being referenced here. And you know what? I really don't care. The only good part of this issue is the epilogue, and even that gets flubbed. Bucky says one thing, but the coded message says another. And some code! A six year-old could read it! And how would he even know to look for it? And how would all the ads for disparate services be grouped so perfectly together? And how would he know WHICH bus station? Like I said, the only good part about this AWFUL comic is the art. And even that doesn't do it for me anymore. This is the end. I'm not reading this book again. Can anyone REALLY give me a good reason why I should?
Silver Surfer: Requiem #2
Silver Surfer: Requiem #2
While not as good as the first issue, this one was another well-done comic. A basically self-contained Silver Surfer story about the final days of his life spent on Earth, as told from the perspective of Spider-Man. Jeez, if all of JMS's Spidey stories were as good as this one, I'd still be reading Amazing Spider-Man.
Questions, asked and answered: So why does the Surfer ride around on a Surfboard. Doesn't it seem a little, as Spidey puts it, "Hokey?" Answers the Surfer, "It is not a surfboard. It is--there is a human phrase that covers it. 'Form follows function.'" It was never a surfboard, we just imagined it to be so. It is, in fact, merely a vehicle to allow the Surfer to transport himself across the vastness of space, without being forced to close himself off from its majesty. Good question. It seems like this series is asking all the "silly" ("There are no silly questions. Merely good questions that remain unasked." I thank my second grade teachers for that one. It has dictated the course of my life.) questions that nobody ever thought to ask, and comes up with satisfying answers for them. And in turn offers us more complex questions to ponder. I don't want to make more out of this book than what it is - after all, it's merely a comic book - but it seems to be the closest thing to a readable philosophical survey (meaning the questions remain open ended...for pondering, but with no clear answers presented) that I have ever read, albeit in comics format.
To sum up the plot, imbuing Mary Jane with the Power Cosmic for an hour is a wonderful thing. And how nice to see that years from now, Spidey and MJ forever, no matter what JoeyDaQ might dictate editorially. And it's likewise nice to be shown Peter's selflessness in giving her the privilege which was intended for him.
Oddly, when the Surfer ends up giving the entire world a portion of his Power Cosmic, in order to make a go at ending the world's troubles by letting them understand the beauty of the Universe in which they reside, it seems that Fidel Castro is still alive. Or maybe it's just a clone. If they could clone a GOD, why not a dictator?
This particular issue started off rather slow, with a four page sequence (that truly felt longer - when I confirmed its length, I scarcely believed it) of Spider-Man battling a difficult opponent. Basically, he's outclassed. And then the Surfer shows up. And ends it all in seconds. Heh. Genius. Then he "surfs" away, while Peter calls out to him to stop and talk for a second. And when he finally unburdens himself, albeit in a different manner than in the last issue. This time it's "what could be done to fix the world so that people would no longer fight and oppress each other?" - a question which, until the very end, Peter cannot even begin to answer.
There was another point at which I feared that the book might be going off the rails: when Peter brings MJ to be imbued with the full Power Cosmic, I got the sense of "oh no, it's the Power Cosmic that's killing Norrin Radd, and now it's gonna kill MJ too, just like with the Spidey Spunk!", but then I rationalized those fears away by realizing that brief exposure to the power wouldn't kill her, it was merely a lifetime of exposure to it (compare this with tanning, which is slowly but surely killing us all with UV rays) - and who really knows how long it had been before we first saw the Silver Surfer - that was killing him. And I further realized, even though the book doesn't state this explicitly, that relinquishing the Power Cosmic would NOT cure Norrin Radd - the damage has already been done by his lifetime of exposure. Better for him to die as he's lived rather than to spend his final days yearning for a time that he could be free amidst the vast expanses of the universe.
I was going to bust the book down to very good, but upon reviewing my quibbles with it, I believe that it deserves to retain the rank of EXCELLENT which I shall continue to bestow upon it.
Also, I just realized: it hasn't even been a month since the first issue of this book was released! Sure, it goes towards cashing in on the popularity (or lack thereof) of the new Fantastic Four movie, but it remains refreshing to get a comic that's MORE THAN on time. (As opposed to my postings - sorry about that. I just wasn't feeling it last week, and barely read anything. It happens every so often - "Comic Book Burnout", I believe it's called. There's no scientific explanation for it yet.)
Another nice touch: Peter blesses the Silver Surfer with Requiescat in Pace, instead of the more common Rest in Peace, the backronym for RIP. Nice. Peter is, after all, extremely intelligent. That, to my mind, is exactly what he'd say. Well done.
And last, but not least, the art is beautiful yet again. Quite deserving of a rating of EXCELLENT, in my humble opinion.
While not as good as the first issue, this one was another well-done comic. A basically self-contained Silver Surfer story about the final days of his life spent on Earth, as told from the perspective of Spider-Man. Jeez, if all of JMS's Spidey stories were as good as this one, I'd still be reading Amazing Spider-Man.
Questions, asked and answered: So why does the Surfer ride around on a Surfboard. Doesn't it seem a little, as Spidey puts it, "Hokey?" Answers the Surfer, "It is not a surfboard. It is--there is a human phrase that covers it. 'Form follows function.'" It was never a surfboard, we just imagined it to be so. It is, in fact, merely a vehicle to allow the Surfer to transport himself across the vastness of space, without being forced to close himself off from its majesty. Good question. It seems like this series is asking all the "silly" ("There are no silly questions. Merely good questions that remain unasked." I thank my second grade teachers for that one. It has dictated the course of my life.) questions that nobody ever thought to ask, and comes up with satisfying answers for them. And in turn offers us more complex questions to ponder. I don't want to make more out of this book than what it is - after all, it's merely a comic book - but it seems to be the closest thing to a readable philosophical survey (meaning the questions remain open ended...for pondering, but with no clear answers presented) that I have ever read, albeit in comics format.
To sum up the plot, imbuing Mary Jane with the Power Cosmic for an hour is a wonderful thing. And how nice to see that years from now, Spidey and MJ forever, no matter what JoeyDaQ might dictate editorially. And it's likewise nice to be shown Peter's selflessness in giving her the privilege which was intended for him.
Oddly, when the Surfer ends up giving the entire world a portion of his Power Cosmic, in order to make a go at ending the world's troubles by letting them understand the beauty of the Universe in which they reside, it seems that Fidel Castro is still alive. Or maybe it's just a clone. If they could clone a GOD, why not a dictator?
This particular issue started off rather slow, with a four page sequence (that truly felt longer - when I confirmed its length, I scarcely believed it) of Spider-Man battling a difficult opponent. Basically, he's outclassed. And then the Surfer shows up. And ends it all in seconds. Heh. Genius. Then he "surfs" away, while Peter calls out to him to stop and talk for a second. And when he finally unburdens himself, albeit in a different manner than in the last issue. This time it's "what could be done to fix the world so that people would no longer fight and oppress each other?" - a question which, until the very end, Peter cannot even begin to answer.
There was another point at which I feared that the book might be going off the rails: when Peter brings MJ to be imbued with the full Power Cosmic, I got the sense of "oh no, it's the Power Cosmic that's killing Norrin Radd, and now it's gonna kill MJ too, just like with the Spidey Spunk!", but then I rationalized those fears away by realizing that brief exposure to the power wouldn't kill her, it was merely a lifetime of exposure to it (compare this with tanning, which is slowly but surely killing us all with UV rays) - and who really knows how long it had been before we first saw the Silver Surfer - that was killing him. And I further realized, even though the book doesn't state this explicitly, that relinquishing the Power Cosmic would NOT cure Norrin Radd - the damage has already been done by his lifetime of exposure. Better for him to die as he's lived rather than to spend his final days yearning for a time that he could be free amidst the vast expanses of the universe.
I was going to bust the book down to very good, but upon reviewing my quibbles with it, I believe that it deserves to retain the rank of EXCELLENT which I shall continue to bestow upon it.
Also, I just realized: it hasn't even been a month since the first issue of this book was released! Sure, it goes towards cashing in on the popularity (or lack thereof) of the new Fantastic Four movie, but it remains refreshing to get a comic that's MORE THAN on time. (As opposed to my postings - sorry about that. I just wasn't feeling it last week, and barely read anything. It happens every so often - "Comic Book Burnout", I believe it's called. There's no scientific explanation for it yet.)
Another nice touch: Peter blesses the Silver Surfer with Requiescat in Pace, instead of the more common Rest in Peace, the backronym for RIP. Nice. Peter is, after all, extremely intelligent. That, to my mind, is exactly what he'd say. Well done.
And last, but not least, the art is beautiful yet again. Quite deserving of a rating of EXCELLENT, in my humble opinion.
Wednesday, June 20, 2007
The Irredeemable Ant-Man #9
The Irredeemable Ant-Man #9
I just picked this up. I guess it must have just gotten left behind. But it's an incredibly EXCELLENT issue.
But...what's this? Could Eric O'Grady be becoming redeemable? (Or would that be unirredeemable?) Certainly not! Could he? There he is, having made a real friend of the Black Fox, having done Monstro a tremendous favor for nothing, and feeling bad about the $#!++y things he said to his girlfriend, Abigail. Actually crying! Does it make me a wuss if I admit that I cried too? It does? Well, then, I absolutely, positively, 100% affirm that I DID NOT cry! But I did smile wistfully when I saw Eric and Black Fox playing Wii with each other. And I laughed for nearly a minute straight when I got a look at Slaying Mantis' Superhuman Registration Card! Does this mean that the title will be changing? Perhaps to The UNirredeemable Ant-Man? Hopefully not ending, as this is one of the few books with the guts to call it like it is regarding that Civil War stupidity - "that's just a marketing term. It was a street fight -- not a war." That's absolutely true. And is, in fact, the most clever and refreshing quote I've read all week! Quote of the Week! And it's also so refreshing that this book is one of the few at Marvel without an Initiative banner. Those things are just so darn annoying, especially since the story inside usually has nothing to do with The Initiative.
And it has another EXCELLENT Mini Marvels back-up strip by Chris Giarrusso!
I just picked this up. I guess it must have just gotten left behind. But it's an incredibly EXCELLENT issue.
But...what's this? Could Eric O'Grady be becoming redeemable? (Or would that be unirredeemable?) Certainly not! Could he? There he is, having made a real friend of the Black Fox, having done Monstro a tremendous favor for nothing, and feeling bad about the $#!++y things he said to his girlfriend, Abigail. Actually crying! Does it make me a wuss if I admit that I cried too? It does? Well, then, I absolutely, positively, 100% affirm that I DID NOT cry! But I did smile wistfully when I saw Eric and Black Fox playing Wii with each other. And I laughed for nearly a minute straight when I got a look at Slaying Mantis' Superhuman Registration Card! Does this mean that the title will be changing? Perhaps to The UNirredeemable Ant-Man? Hopefully not ending, as this is one of the few books with the guts to call it like it is regarding that Civil War stupidity - "that's just a marketing term. It was a street fight -- not a war." That's absolutely true. And is, in fact, the most clever and refreshing quote I've read all week! Quote of the Week! And it's also so refreshing that this book is one of the few at Marvel without an Initiative banner. Those things are just so darn annoying, especially since the story inside usually has nothing to do with The Initiative.
And it has another EXCELLENT Mini Marvels back-up strip by Chris Giarrusso!
Tuesday, June 19, 2007
Nova #1 - #3
Nova #1 - #3
Wow. These first three issues have been really good. Perhaps not Excellent, but nearly so. What makes them so incredible is, among other things, Nova's reaction to the aftermath of Civil War. As someone who's been off-world since before any of the Civil War stupidity began, he's shocked to discover the degree of importance which those he encounters ascribe to what, in the cosmic scale of things, amounts to not much more than a minor scuffle. While he was out saving the Galaxy, these small-minded individuals were ignoring anything beyond their petty disputes, elevating their small conflict to a disproportionate scale of import. And Rich recognizes this fact. And he tries to impress it upon those he speaks with - his parents, cops, Stark, the Thunderbolts, and - the stupidest evolution of a character in the history of the Marvel universe - "Penance". Nova BEGS Robbie not to get caught up in the petty dramas of self-important individuals. And then he just can't stand it anymore and takes off.
The best part of the third issue occurs following the Thunderbolts' confrontation with Nova where they put civilians in massive jeopardy, blow up entire buildings, and all because Richard isn't registered? Sure he is! He's a registered member of the Nova Corps! And if S.H.I.E.L.D. and the CSA (still the Confederate States of America to me) are unable to recognize the authority of any law force stationed in another country, let alone another world or part of the galaxy, well, then, there's something incredibly wrong with them.
At least Tony Stark takes them to task for having put civilians in danger for such a spurious goal as apprehending NOVA! He promises consequences, but I doubt that these will be forthcoming in any other book. Seriously, most of the writers on Civil War aftermath books seem to think that it was a terrific plot device, and the greatest thing since the New X-Men! This book shows it for what it is. Stupid. And, unfortunately, something that must now be dealt with. I've said it before, and I'll say it again - this is what happens when you make a penciller your editor-in-chief.
VERY GOOD.
Also, it's quite refreshing to actually have a book bannered as an Initiative crossover which has something to do with the Initiative, unlike most books bannered thusly, which often don't even pay it lip service!
Wow. These first three issues have been really good. Perhaps not Excellent, but nearly so. What makes them so incredible is, among other things, Nova's reaction to the aftermath of Civil War. As someone who's been off-world since before any of the Civil War stupidity began, he's shocked to discover the degree of importance which those he encounters ascribe to what, in the cosmic scale of things, amounts to not much more than a minor scuffle. While he was out saving the Galaxy, these small-minded individuals were ignoring anything beyond their petty disputes, elevating their small conflict to a disproportionate scale of import. And Rich recognizes this fact. And he tries to impress it upon those he speaks with - his parents, cops, Stark, the Thunderbolts, and - the stupidest evolution of a character in the history of the Marvel universe - "Penance". Nova BEGS Robbie not to get caught up in the petty dramas of self-important individuals. And then he just can't stand it anymore and takes off.
The best part of the third issue occurs following the Thunderbolts' confrontation with Nova where they put civilians in massive jeopardy, blow up entire buildings, and all because Richard isn't registered? Sure he is! He's a registered member of the Nova Corps! And if S.H.I.E.L.D. and the CSA (still the Confederate States of America to me) are unable to recognize the authority of any law force stationed in another country, let alone another world or part of the galaxy, well, then, there's something incredibly wrong with them.
At least Tony Stark takes them to task for having put civilians in danger for such a spurious goal as apprehending NOVA! He promises consequences, but I doubt that these will be forthcoming in any other book. Seriously, most of the writers on Civil War aftermath books seem to think that it was a terrific plot device, and the greatest thing since the New X-Men! This book shows it for what it is. Stupid. And, unfortunately, something that must now be dealt with. I've said it before, and I'll say it again - this is what happens when you make a penciller your editor-in-chief.
VERY GOOD.
Also, it's quite refreshing to actually have a book bannered as an Initiative crossover which has something to do with the Initiative, unlike most books bannered thusly, which often don't even pay it lip service!
More on fanfic
The problem is that, as pointed out by some, “fan fiction” characterizes an entire genre of writing. (One could go so far as to say that ALL comics are fan fiction, since they are written by fans, and that if the writers AREN’T fans, then they have no business writing! - Take, for example, many of the Pre-OYL Batman and Superman books, especially Batman, which read as if the writers actually HATED Batman’s guts, not to mention those of his supporting cast.)
There’s good fan-fiction and bad fan-fiction. Many of today’s writers got their starts because someone noticed their personal fan-fiction and thought that it was good enough to pay them for it. Devin Grayson is a very clear example, whether you like her work or not.
Then there’s bad fan-fiction. This type of work can often characterized as pieces which are rife with misspellings, poor grammar and syntax, many internal contradictions, and a disregard to established characterization or continuity.
To say that something is reminiscent of “fan-fiction” says nothing of one’s opinion of the work. It is indeed similar to comparing the work in question to “pre-Raphaelite architecture”.
In order for a reviewer to use the term as a criticism, he must first explain what he considers to be BAD (about) fan-fiction - at least once - and then contrast the work in question to said fanfic. Otherwise, usage of the term tells the reader nothing concrete - it can be construed in many different ways. So, sure, some readers may get it - but only those who are extremely familiar with the reader’s likes and dislikes. Those who are not on such intimate terms with the reviewer are more likely than not to feel lost and confused.
Case in point: “McDuffie though, has all the bad aspects of fanfiction, except it’s competently executed enough that the laughably bad elements of fanfiction are eliminated.”
What does that mean? All the bad elements of fanfiction except not? Most of the problems with fanfiction are competency issues - basically people who, pardon the expression, can’t write for shit.
But since the reviewer states that McDuffie’s work IS competent, what exactly does he view as negative about it? What additional elements does he view as negative about fanfiction in general? This is what is not clearly elucidated and becomes difficult for the casual reader (which, I’d venture to say, most readers are,) to penetrate.
Avengers Classic #1
Avengers Classic #1
Wow! That was one of the best books I've read this year! Lee and Kirby's story still holds up - but that's not the centerpiece of this issue: it's the Dwayne McDuffie and Oeming piece "Some Assembly Required" or "What If...The Avengers had been written like JLI?" Michael Avon Oeming's art on this section is absolutely amazing, and the dialogue by McDuffie is outstanding. While we're talking about JLI, bring in Kevin Maguire to do the book's third feature "The Real Origin of the Avengers", wherein Stan Lee reveals that it was all about the royalties...and Captain America too. Maguire's art looks a bit off in places, though. But it's really nice to see Stan Lee looking like he did forty something years ago! Both of these latter stories have EXCELLENT dialogue, and lots of cute visual details as well. I'd give this issue Quote of the Week if I could narrow it down to one. But I can't. So I won't. There's only one possible rating for this book: EXelCELLENTsior!
And how cool is it that they're going to be reprinting the original letters pages?
Wow! That was one of the best books I've read this year! Lee and Kirby's story still holds up - but that's not the centerpiece of this issue: it's the Dwayne McDuffie and Oeming piece "Some Assembly Required" or "What If...The Avengers had been written like JLI?" Michael Avon Oeming's art on this section is absolutely amazing, and the dialogue by McDuffie is outstanding. While we're talking about JLI, bring in Kevin Maguire to do the book's third feature "The Real Origin of the Avengers", wherein Stan Lee reveals that it was all about the royalties...and Captain America too. Maguire's art looks a bit off in places, though. But it's really nice to see Stan Lee looking like he did forty something years ago! Both of these latter stories have EXCELLENT dialogue, and lots of cute visual details as well. I'd give this issue Quote of the Week if I could narrow it down to one. But I can't. So I won't. There's only one possible rating for this book: EXelCELLENTsior!
And how cool is it that they're going to be reprinting the original letters pages?
Monday, June 18, 2007
On "fan-fiction", "Mary Sue", and "continuity porn"
For most of the last twenty years, the term “fan-fiction” meant a story using the trademarked characters of others - necessarily published online, anonymously, or with massive disclaimers to preclude lawsuits - which was not published with the authorization of the entity whose trademarked characters appeared within.
Stories published in novel format involving Sherlock Holmes and Professor Moriarty (there are lots of these) are NOT fan-fiction, as they are authorized by the estate of Sir Arthur Conan Doyle.
Stories published online involving (this is real) Gambit and Rogue using a dampener collar to negate her powers so that they could have sex ARE fan-fiction. (But seriously, why DIDN’T they ever?)
It has irked me ever since the term fan-fiction started appearing in comics criticism. If the story is published by the entity which owns the characters, then it, by established definition, is NOT fan-fiction.
Mary Sue-ing is something else entirely though, as when Devin Grayson created a character in Nightwing who was quite obviously supposed to represent herself. Still, this was signed off on by DC editorial, so it can NOT be termed fan-fiction.
It seems that nowadays, whenever a writer decides to take a direction with the characters or books they’re writing that a reviewer does not agree with (however justifiably), said reviewers often attempt to disqualify the work by terming it fan-fiction, or worse, continuity-porn - another term which must be addressed. Until recently, continuity was a major factor in super hero comics. It was important to readers to make everything being done nowadays by characters fit with their established histories. Recently, when writers attempt to do so, they are criticized.
In my opinion, this sort of name calling is nothing but sloppy reviewing. It allows the reviewer to denigrate the work being critiqued without having to explain to their readers what their actual objections to the work are. It’s akin to saying “this rubs me the wrong way”, which, in and of itself, is acceptable - because it applies a personal feeling to the critique. However, when critics use terms like those being discussed, it is basically taking a personal feeling and attempting to justify it via a pseudo-logical argument. It’s a cheat. "I don't like this. I don't know why, I just don't." And this shouldn’t be done. Unfortunately, I see no signs of it stopping, nor do I envision it stopping. The most that can be done is for reviewers like ourselves to lead the way by refusing to use these terms, in favor of using actual logical arguments against works which we don’t like.
Sub-Mariner #1
Sub-Mariner #1
Well, it's competent, at least. Really, though, I don't see the need for this story. And where's the Initiative? The book is bannered a crossover, so wouldn't that imply their involvement?
In the scope of the larger Marvel Universe, now that the Superhuman Registration Act has gone into effect, what are the general populace going to do the next time a Stamford-scale tragedy occurs? They've already blamed the superheroes, and were listened to. So who are they going to blame now?
Civil War was stupid, there's no doubt about that. Seriously, people don't react as they were portrayed in that series. However, since they have been portrayed like that, what will these irrational fear mongerers do now? Who will they scapegoat next?
Notice that I didn't have much to say about this particular book? That's because I really don't believe that Namor is going to die as hinted at in the book's opening pages. It makes no sense. (Therefore, you must acquit.) Whatever, all I can muster so far is an EH. At least it's better than the Namor series from a few years back which tried to rewrite Namor's origin in modern times or some such nonsense.
Well, it's competent, at least. Really, though, I don't see the need for this story. And where's the Initiative? The book is bannered a crossover, so wouldn't that imply their involvement?
In the scope of the larger Marvel Universe, now that the Superhuman Registration Act has gone into effect, what are the general populace going to do the next time a Stamford-scale tragedy occurs? They've already blamed the superheroes, and were listened to. So who are they going to blame now?
Civil War was stupid, there's no doubt about that. Seriously, people don't react as they were portrayed in that series. However, since they have been portrayed like that, what will these irrational fear mongerers do now? Who will they scapegoat next?
Notice that I didn't have much to say about this particular book? That's because I really don't believe that Namor is going to die as hinted at in the book's opening pages. It makes no sense. (Therefore, you must acquit.) Whatever, all I can muster so far is an EH. At least it's better than the Namor series from a few years back which tried to rewrite Namor's origin in modern times or some such nonsense.
Birds of Prey #106
Birds of Prey #106
I've had this review sitting around, because I forgot to publish it:
Dark Vengeance! SSSS!!! The only bad point in this issue is not enough Ice. Otherwise, KICKASS!! EXCELLENT.
I've had this review sitting around, because I forgot to publish it:
Dark Vengeance! SSSS!!! The only bad point in this issue is not enough Ice. Otherwise, KICKASS!! EXCELLENT.
Superhero Songs
I've been meaning to talk about this for a while, as I'm sure that some of you may appreciate it.
There's an underappreciated subgenre of modern music which stretches through multiple genres of music - from Classical to Hip Hop, from Country to Metal. That's right, I'm talking about songs about or inspired by superheroes.
I got the idea to research this topic way back when Superman Returns was released. My wife and I went to see it in IMAX 3D, but unfortunately arrived after all but the front rows had been filled. IMAX 3D is a wonderful idea, but it really doesn't work if you're so close to the screen that you can't take in the entire picture at once.
So we stayed for another showing, and this time we sat in the back row. It was so much more enjoyable that way.
During the break between showings, I noticed that every single song being played on the theater's speaker system concerned superheroes in some manner. Sure, some were only cursory references, but it still intrigued me. So, after doing some research, I've compiled a list of songs based or inspired, or at least referencing superheroes in some manner. It's by no means definitive. And the association may be tenuous at best for a number of the songs. But as I've listened to various of them on constant repeat at one point or another (right now, I've been listening to Danny Elfman's brilliant theme for the Flash TV show from back in 1990-1991), I figured that now would be as good a time as any to share some of my playlist with you.
1. The Flash - TV Theme - Danny Elfman
2. The Ballad of Barry Allen - Jim's Big Ego (led by Jim Infantino, co-creator Carmine's nephew)
3. Arthur Curry - Ookla the Mok
4. Surfing with the Alien - Joe Satriani (a Silver Surfer song, made obvious by the Surfer's presence on the album cover)
5. Back to Shall-Bal - Joe Satriani
6. Revolution - Aimee Allen (theme to the short-lived tv series, Birds of Prey)
7. There There - Radiohead (opening music for the unaired pilot of Global Frequency - goddamn WB!)
8. Save Me - Evanescence (from the Daredevil soundtrack, notable for the fact that the video used clips from the film)
9. I Am the Law - Anthrax (Judge Dredd)
10-11. Iron Man - Black Sabbath; Ozzy Osbourne (both versions. In the aftermath of Civil War, the Iron Man in the song seems much closer to the Iron Man in the comics than ever before. Could this be an indication of where Marvel intends to take the character?)
12. Hero - Chad Kroeger (from the Spider-Man soundtrack)
13. Sanctuary - Darling Violetta (the Angel theme song. Several remixes of this song exist - try to find the original.)
14-15. Sunshine Superman - Donovan; Jewel (sure, lots of songs make mention of a Superman, but this one mentions Green Lantern too! The remake is pretty good.)
16. Superman - Five for Fighting
17. Save Me - Remy Zero (Smallville's theme song)
18. Thor (The Powerhead) - Manowar (maybe not the Thor from comics, but come on: "Thor! The Mighty. Thor! The Brave." How could I not include that?)
19. Real World - Matchbox 20 (he gets "this funky high under a yellow sun". If that's not a Superman reference, then I don't know what is.)
20-21. Buffy the Vampire Slayer - TV Theme - Nerf Herder; The Breeders (The Breeders' version can be found on the BTVS - The Ultimate Soundtrack disc.)
22. Batman and Robin - Snoop Dogg
23. Superman - The Clique; R.E.M. (also used for the theme to the release of Lotus' R5 devlopers' pack years back. I actually prefer the original version.)
24. Jimmy Olsen's Blues (Pocket Full of Kryptonite) - Spin Doctors
25. In the Garage - Weezer (mentions Kitty Pryde and Nightcrawler)
26. Ode to a Superhero - Weird Al Yankovic (his Spider-Man/Piano Man parody)
27. Psychotron - Megadeth (full of refences to Deathlok)
28. Ten Feet Tall and Bulletproof - Travis Tritt (another Superman song. Sure, I hate country, but...)
29. Save Me - Aimee Mann (from the Magnolia soundtrack. It has a single reference to Superman - obviously the superhero, as he's preceded by a mention of Peter Pan. And it's a great song from a great film.)
30. Kryptonite - Three Doors Down
31. Superbird - Country Joe and the Fish (makes mention of Superman, The Fantastic Four, and Spider-Man)
32. Superman - Crash Test Dummies
33. Superman's Dead - Our Lady Peace (probably not the Superman, but a great song nonetheless. And if not for the Superman, would any popular songs make reference to Superman?)
34. Magneto and the Titanium Man - Paul McCartney and Wings
35. The NEXTWAVE Theme Song!!!
That's just a selection. They're not all good songs, but they all certainly qualify - as the properties they reference have all been featured in comic books. More later.
There's an underappreciated subgenre of modern music which stretches through multiple genres of music - from Classical to Hip Hop, from Country to Metal. That's right, I'm talking about songs about or inspired by superheroes.
I got the idea to research this topic way back when Superman Returns was released. My wife and I went to see it in IMAX 3D, but unfortunately arrived after all but the front rows had been filled. IMAX 3D is a wonderful idea, but it really doesn't work if you're so close to the screen that you can't take in the entire picture at once.
So we stayed for another showing, and this time we sat in the back row. It was so much more enjoyable that way.
During the break between showings, I noticed that every single song being played on the theater's speaker system concerned superheroes in some manner. Sure, some were only cursory references, but it still intrigued me. So, after doing some research, I've compiled a list of songs based or inspired, or at least referencing superheroes in some manner. It's by no means definitive. And the association may be tenuous at best for a number of the songs. But as I've listened to various of them on constant repeat at one point or another (right now, I've been listening to Danny Elfman's brilliant theme for the Flash TV show from back in 1990-1991), I figured that now would be as good a time as any to share some of my playlist with you.
1. The Flash - TV Theme - Danny Elfman
2. The Ballad of Barry Allen - Jim's Big Ego (led by Jim Infantino, co-creator Carmine's nephew)
3. Arthur Curry - Ookla the Mok
4. Surfing with the Alien - Joe Satriani (a Silver Surfer song, made obvious by the Surfer's presence on the album cover)
5. Back to Shall-Bal - Joe Satriani
6. Revolution - Aimee Allen (theme to the short-lived tv series, Birds of Prey)
7. There There - Radiohead (opening music for the unaired pilot of Global Frequency - goddamn WB!)
8. Save Me - Evanescence (from the Daredevil soundtrack, notable for the fact that the video used clips from the film)
9. I Am the Law - Anthrax (Judge Dredd)
10-11. Iron Man - Black Sabbath; Ozzy Osbourne (both versions. In the aftermath of Civil War, the Iron Man in the song seems much closer to the Iron Man in the comics than ever before. Could this be an indication of where Marvel intends to take the character?)
12. Hero - Chad Kroeger (from the Spider-Man soundtrack)
13. Sanctuary - Darling Violetta (the Angel theme song. Several remixes of this song exist - try to find the original.)
14-15. Sunshine Superman - Donovan; Jewel (sure, lots of songs make mention of a Superman, but this one mentions Green Lantern too! The remake is pretty good.)
16. Superman - Five for Fighting
17. Save Me - Remy Zero (Smallville's theme song)
18. Thor (The Powerhead) - Manowar (maybe not the Thor from comics, but come on: "Thor! The Mighty. Thor! The Brave." How could I not include that?)
19. Real World - Matchbox 20 (he gets "this funky high under a yellow sun". If that's not a Superman reference, then I don't know what is.)
20-21. Buffy the Vampire Slayer - TV Theme - Nerf Herder; The Breeders (The Breeders' version can be found on the BTVS - The Ultimate Soundtrack disc.)
22. Batman and Robin - Snoop Dogg
23. Superman - The Clique; R.E.M. (also used for the theme to the release of Lotus' R5 devlopers' pack years back. I actually prefer the original version.)
24. Jimmy Olsen's Blues (Pocket Full of Kryptonite) - Spin Doctors
25. In the Garage - Weezer (mentions Kitty Pryde and Nightcrawler)
26. Ode to a Superhero - Weird Al Yankovic (his Spider-Man/Piano Man parody)
27. Psychotron - Megadeth (full of refences to Deathlok)
28. Ten Feet Tall and Bulletproof - Travis Tritt (another Superman song. Sure, I hate country, but...)
29. Save Me - Aimee Mann (from the Magnolia soundtrack. It has a single reference to Superman - obviously the superhero, as he's preceded by a mention of Peter Pan. And it's a great song from a great film.)
30. Kryptonite - Three Doors Down
31. Superbird - Country Joe and the Fish (makes mention of Superman, The Fantastic Four, and Spider-Man)
32. Superman - Crash Test Dummies
33. Superman's Dead - Our Lady Peace (probably not the Superman, but a great song nonetheless. And if not for the Superman, would any popular songs make reference to Superman?)
34. Magneto and the Titanium Man - Paul McCartney and Wings
35. The NEXTWAVE Theme Song!!!
That's just a selection. They're not all good songs, but they all certainly qualify - as the properties they reference have all been featured in comic books. More later.
JLA Classified #39
JLA Classified #39
This story remains GOOD, even after its third installment. Kid Amazo is well equipped to fight his programming due to his background in Philosophy - a hook that we would never get from any other writer than Milligan (maybe DeMatteis and Veitch, too). Kid Amazo, as a means of rebelling against his programming, dresses up like a super hero and fights bad guys, hoping to force a confrontation with his "father". Good stuff.
My only quibble is that Frank's girlfriend dumps him waaaay too easily, which makes no sense unless she's enacting a plan initiated by Wonder Woman for some reason.
Superman seems to take much more of a philosophical role in this book than he normally woruld, encroaching on territory which would normally be Batman's purview. Also, it seems that the Justice League featured in this story is quite similar to that featured in the Justice League television series, especially in the characterization of Batman - he actually smiles!
Like I said, a GOOD issue, with absolutely none of it feeling like filler. From the next issue solicit, it seems that the storyline spans at least five issues, more likely six. I hope that it continues to move along at this pace, because this speed really feels like a good fit for the story. There's a lot to tell, and Milligan has been telling it well.
This story remains GOOD, even after its third installment. Kid Amazo is well equipped to fight his programming due to his background in Philosophy - a hook that we would never get from any other writer than Milligan (maybe DeMatteis and Veitch, too). Kid Amazo, as a means of rebelling against his programming, dresses up like a super hero and fights bad guys, hoping to force a confrontation with his "father". Good stuff.
My only quibble is that Frank's girlfriend dumps him waaaay too easily, which makes no sense unless she's enacting a plan initiated by Wonder Woman for some reason.
Superman seems to take much more of a philosophical role in this book than he normally woruld, encroaching on territory which would normally be Batman's purview. Also, it seems that the Justice League featured in this story is quite similar to that featured in the Justice League television series, especially in the characterization of Batman - he actually smiles!
Like I said, a GOOD issue, with absolutely none of it feeling like filler. From the next issue solicit, it seems that the storyline spans at least five issues, more likely six. I hope that it continues to move along at this pace, because this speed really feels like a good fit for the story. There's a lot to tell, and Milligan has been telling it well.
Fables #62
Fables #62
Wow! That was REALLY REALLY GOOD! I've still got some unanswered questions, but I see now that all is proceeding according to a plan. Is this the endgame? It certainly feels like everything which happened up until now has been leading to this. If so, I'm saddened, but satisfied nonetheless. And if not, hooray! An EXCELLENT story in this EXCELLENT series. Even better for the fact that although this is part three of an arc, it reads well enough as a single issue to be taken on its own merits.
Wow! That was REALLY REALLY GOOD! I've still got some unanswered questions, but I see now that all is proceeding according to a plan. Is this the endgame? It certainly feels like everything which happened up until now has been leading to this. If so, I'm saddened, but satisfied nonetheless. And if not, hooray! An EXCELLENT story in this EXCELLENT series. Even better for the fact that although this is part three of an arc, it reads well enough as a single issue to be taken on its own merits.
Batman Confidential #6
Batman Confidential #6
I haven't exactly been waiting for each issue of this book to hit the stands, but when it does show up, I find myself very pleased after having read it. This issue is no exception. The conclusion to a VERY GOOD inaugural storyline set in the very early days of the Bat. So early, in fact, that this issue marks the point at which Bruce Wayne began the Wayne Foundation and ceased all defense contracting by his company. Unfortunately, while a grand gesture, I wonder what all those employees of Wayne's munitions and armory plants thought when they got pink slipped. Somehow, I don't quite think that altruism will go over so well with the blue-collareds. Of course, Bruce being Bruce, it's quite likely that he found other places for them within his company. My point is, that's not the kind of thing that can be done overnight, which is what Bruce is shown to have done here. Still, this detracts not at all from the main storyline, that of the Batman's dismantling of Lex Luthor's plan to use government funded super soldier drones to take over the United States.
A nice touch in the artwork in this issue is that in close-ups of the Batman's cowl, it's obvious that it's taut fabric, as opposed to a helmet or Kevlar. It's a nice touch, as Batman developed his armory over time by seeing what was necessary and adapting his costume and utilities to match. It's that kind of attention to smail details that I appreciate in the books that I read.
Next issue begins a new storyline though, with a new team. Diggle did a great job. I would definitely read his work elsewhere if given the chance. However, I've never heard of this fellow Michael Green. They say he's a writer/producer on "Heroes". So perhaps he'll do just as well. I'm not keeping my hopes up, though. (Also problematic may be the fact that most often, television writers are unable to turn their scripts in on time.)
I haven't exactly been waiting for each issue of this book to hit the stands, but when it does show up, I find myself very pleased after having read it. This issue is no exception. The conclusion to a VERY GOOD inaugural storyline set in the very early days of the Bat. So early, in fact, that this issue marks the point at which Bruce Wayne began the Wayne Foundation and ceased all defense contracting by his company. Unfortunately, while a grand gesture, I wonder what all those employees of Wayne's munitions and armory plants thought when they got pink slipped. Somehow, I don't quite think that altruism will go over so well with the blue-collareds. Of course, Bruce being Bruce, it's quite likely that he found other places for them within his company. My point is, that's not the kind of thing that can be done overnight, which is what Bruce is shown to have done here. Still, this detracts not at all from the main storyline, that of the Batman's dismantling of Lex Luthor's plan to use government funded super soldier drones to take over the United States.
A nice touch in the artwork in this issue is that in close-ups of the Batman's cowl, it's obvious that it's taut fabric, as opposed to a helmet or Kevlar. It's a nice touch, as Batman developed his armory over time by seeing what was necessary and adapting his costume and utilities to match. It's that kind of attention to smail details that I appreciate in the books that I read.
Next issue begins a new storyline though, with a new team. Diggle did a great job. I would definitely read his work elsewhere if given the chance. However, I've never heard of this fellow Michael Green. They say he's a writer/producer on "Heroes". So perhaps he'll do just as well. I'm not keeping my hopes up, though. (Also problematic may be the fact that most often, television writers are unable to turn their scripts in on time.)
Friday, June 15, 2007
Green Lantern Corps #13
Green Lantern Corps #13
That's an ugly cover, but it hides a pretty GOOD issue. Finally, a basically done-in-one issue which wraps up the crazy Mogo storyline, uses the Lantern team of Isamot Kol and Vath Sarn more effectively than has been done since their introduction, and really gets the most out of Soranik Natu. It also has good characterizations of Kilowog and Guy and a well-done (re)introduction to Mogo's sector partner, a sentient insect named Bzzd. (See? I'm trying here.)
This is the kind of issue that should have been done a year ago. It sets up major Lanterns, provides a good introduction and plenty of face time, has them interact, and resolves a plot issue all at once.
Oh yeah, the resolution? Well, one of my friends said that he thought that Mogo had defected to the Sinestro Corps. Not so, but he was close - all the crazy shit on Mogo has been caused by a sentient fugus that is no doubt a member of the Sinestro Corps. Mogo defeats said fungus by maneuvering himself into the path of an asteroid to wipe it out.
See? I'm not biased against this series. When a book is GOOD, I'll admit it. I just wish every issue of this title were, too.
That's an ugly cover, but it hides a pretty GOOD issue. Finally, a basically done-in-one issue which wraps up the crazy Mogo storyline, uses the Lantern team of Isamot Kol and Vath Sarn more effectively than has been done since their introduction, and really gets the most out of Soranik Natu. It also has good characterizations of Kilowog and Guy and a well-done (re)introduction to Mogo's sector partner, a sentient insect named Bzzd. (See? I'm trying here.)
This is the kind of issue that should have been done a year ago. It sets up major Lanterns, provides a good introduction and plenty of face time, has them interact, and resolves a plot issue all at once.
Oh yeah, the resolution? Well, one of my friends said that he thought that Mogo had defected to the Sinestro Corps. Not so, but he was close - all the crazy shit on Mogo has been caused by a sentient fugus that is no doubt a member of the Sinestro Corps. Mogo defeats said fungus by maneuvering himself into the path of an asteroid to wipe it out.
See? I'm not biased against this series. When a book is GOOD, I'll admit it. I just wish every issue of this title were, too.
Exiles #95
Exiles #95
Okay, so I see that Claremont is now co-writing this title. Does that mean that he'll soon be gone? One can only hope.
Reading this issue feels like watching a movie where the audio and visual aren't synched up quite properly. First example? Betsy shouts "OFF!" while erecting a psychokinetic energy barrier, while the lights go on on - simultaneously, and Morph shrieks like a little girl. Cute, but what?
Next, the monologues as the characters remember back to their first days as Exiles - or whatever - are completely disjointed. To continue the film metaphors, it's as if they were spliced in from a different part of the film, or as if the projectionist forgot to load one of the reels.
Then the Exiles appear to have been sitting down at a table to eat. Thing is, the only one of them who has food in front of him is Morph, the only one who doesn't NEED to eat, and quite possibly can't. Maybe that's why the food is still in front of him - he couldn't eat it. But does that mean that the others were so hungry that they ate their plates and utensils too? Secondly, the art makes it seem as if Blink is coming into the room instead of standing up from the meal, as I suppose she must be. Either that or she's coming back from the kitchen alone where the rest of the team sent her because for some reason she's bussing the table. What? Why the hell aren't they helping? Okay, Miguel and Betsy I can understand, they cooked. But what about the rest of them?
Then Heather's hologram comes on and says that she was waiting for them to ask her a question so that the program could run. Problem is, Blink asked a question in the first few minutes following their arrival at the crystal palace, namely, "Heather, what happened to your control room?" If that's not a question, then I really don't know what crazy ass planet Claremont comes from. That's a fucking question!
And the dialogue. Oh my god, the dialogue. It's just so unbelievably hackneyed. Nobody I have ever met in my entire life talks like that. There even seem to be entire lines of conversation missing!
Another observation: what do the Exiles do when they get home and find the place abandoned? Why of course, they go sightseeing, musing to themselves. Then they have a huge meal. Sorry, if that's the way they do things, then I'd rather these not be the heroes I'd have to rely on. Like, what about repairing the apparent damage so they could maybe, oh, I don't know, actually try to figure out what happened? It's just so incredibly stupid. Claremont at his best. Or worst, depending on your perspective, I suppose.
Now an observation as to wardrobe. The Exiles return wearing COMPLETELY NEW OUTFITS! So, I guess they had time to go shopping before they came home. And the baggage restrictions must have been so tight that they couldn't bring their costumes with them. And apparently, they're able to get back to the dimension nexus of the crystal palace at a whim. And then they change clothes. And then they change clothes AGAIN. And then AGAIN!
Later on, there's a scene where Miggy's working upside down on the controls. And he drops a wrench that looks like it could only be used to bash someone on the head, not to perform delicate repairs with. But the point is, he DROPS it! For absolutely NO APPARENT REASON!
Then, on the next page, Blink says "get suited up Exiles,we're back in business." The thing is, Miggy is the only one not in costume! And on the same page, Miguel says that the reality in trouble appears to be very similar to his own. The thing is, the individuals there all seem to be current analogues. So either he's lying, wrong, or the master of bad dialogue strikes AGAIN!
Yuck. If Claremont is truly going to be leaving this title soon, it can't be soon enough. AWFUL.
Okay, so I see that Claremont is now co-writing this title. Does that mean that he'll soon be gone? One can only hope.
Reading this issue feels like watching a movie where the audio and visual aren't synched up quite properly. First example? Betsy shouts "OFF!" while erecting a psychokinetic energy barrier, while the lights go on on - simultaneously, and Morph shrieks like a little girl. Cute, but what?
Next, the monologues as the characters remember back to their first days as Exiles - or whatever - are completely disjointed. To continue the film metaphors, it's as if they were spliced in from a different part of the film, or as if the projectionist forgot to load one of the reels.
Then the Exiles appear to have been sitting down at a table to eat. Thing is, the only one of them who has food in front of him is Morph, the only one who doesn't NEED to eat, and quite possibly can't. Maybe that's why the food is still in front of him - he couldn't eat it. But does that mean that the others were so hungry that they ate their plates and utensils too? Secondly, the art makes it seem as if Blink is coming into the room instead of standing up from the meal, as I suppose she must be. Either that or she's coming back from the kitchen alone where the rest of the team sent her because for some reason she's bussing the table. What? Why the hell aren't they helping? Okay, Miguel and Betsy I can understand, they cooked. But what about the rest of them?
Then Heather's hologram comes on and says that she was waiting for them to ask her a question so that the program could run. Problem is, Blink asked a question in the first few minutes following their arrival at the crystal palace, namely, "Heather, what happened to your control room?" If that's not a question, then I really don't know what crazy ass planet Claremont comes from. That's a fucking question!
And the dialogue. Oh my god, the dialogue. It's just so unbelievably hackneyed. Nobody I have ever met in my entire life talks like that. There even seem to be entire lines of conversation missing!
Another observation: what do the Exiles do when they get home and find the place abandoned? Why of course, they go sightseeing, musing to themselves. Then they have a huge meal. Sorry, if that's the way they do things, then I'd rather these not be the heroes I'd have to rely on. Like, what about repairing the apparent damage so they could maybe, oh, I don't know, actually try to figure out what happened? It's just so incredibly stupid. Claremont at his best. Or worst, depending on your perspective, I suppose.
Now an observation as to wardrobe. The Exiles return wearing COMPLETELY NEW OUTFITS! So, I guess they had time to go shopping before they came home. And the baggage restrictions must have been so tight that they couldn't bring their costumes with them. And apparently, they're able to get back to the dimension nexus of the crystal palace at a whim. And then they change clothes. And then they change clothes AGAIN. And then AGAIN!
Later on, there's a scene where Miggy's working upside down on the controls. And he drops a wrench that looks like it could only be used to bash someone on the head, not to perform delicate repairs with. But the point is, he DROPS it! For absolutely NO APPARENT REASON!
Then, on the next page, Blink says "get suited up Exiles,we're back in business." The thing is, Miggy is the only one not in costume! And on the same page, Miguel says that the reality in trouble appears to be very similar to his own. The thing is, the individuals there all seem to be current analogues. So either he's lying, wrong, or the master of bad dialogue strikes AGAIN!
Yuck. If Claremont is truly going to be leaving this title soon, it can't be soon enough. AWFUL.
Thursday, June 14, 2007
New Warriors #1
New Warriors #1
EH. Really, the thing that annoys me the most about this book is Beak's "new" new look. I mean, when he lost his mutation, he still had a ginormous schnoz. But here he is looking like a pretty boy. And he's married. And has kids. And what's he doing? Hitting on another girl. The pathos we're supposed to feel for Sophia is tainted, because...she never had wings! She was a weather manipulator, kind of like a lower grade Storm. And if non powered people do non powered things and catch criminals, isn't that called a citizens arrest? Isn't that supposed to be legal? So what's the big deal here? Whatever.
EH. Really, the thing that annoys me the most about this book is Beak's "new" new look. I mean, when he lost his mutation, he still had a ginormous schnoz. But here he is looking like a pretty boy. And he's married. And has kids. And what's he doing? Hitting on another girl. The pathos we're supposed to feel for Sophia is tainted, because...she never had wings! She was a weather manipulator, kind of like a lower grade Storm. And if non powered people do non powered things and catch criminals, isn't that called a citizens arrest? Isn't that supposed to be legal? So what's the big deal here? Whatever.
World War Hulk #1
World War Hulk #1
While a bit unwieldly at times, this book is still one of the best things I've read since the beginning of Civil War. I can't tell you how much I was looking forward to Hulk ripping Iron Man's puny human head off. However, now that that's done, is the rest of the War going to be about taking vengeance on Reed and Strange? Not to mention Doc Samson. Anyways, a VERY GOOD start to this year's summer event from Marvel, and as I said in an earlier post, Hulk's anger is righteous and I hope that he gets his vengeance.
While a bit unwieldly at times, this book is still one of the best things I've read since the beginning of Civil War. I can't tell you how much I was looking forward to Hulk ripping Iron Man's puny human head off. However, now that that's done, is the rest of the War going to be about taking vengeance on Reed and Strange? Not to mention Doc Samson. Anyways, a VERY GOOD start to this year's summer event from Marvel, and as I said in an earlier post, Hulk's anger is righteous and I hope that he gets his vengeance.
New X-Men #39
New X-Men #39
Skottie Young is extremely versatile. However, as far as his work on this title, which has been all action and no respite for this and last issues, I think that the style he's chosen is horribly mismatched.
Sure, it's cute and all, but it doesn't work well for action sequences. For dialogue sequences where no crazy shit is going on it's perfect, but not for this.
It seems that this title is once again devolving into a death fest. People seem to be dying left and right, either at the hands of Belasco, or at the hands of Magik. It's weird, I thought she was a hero!
I have no idea who half of these kids are supposed to be. Have we ever seem them before? And why don't we even get little caption boxes telling us who they are? Perhaps it's the art, but I really don't recognize them.
The art in this book isn't half as bad as Bachalo's work on X-Men, but it's still difficult to read.
Fortunately, the action sequences don't really make much of a difference. In fact, they could probably be omitted entirely and merely referenced in dialogue and the story would work just as well. Not that I like where the story seems to be going, but at least it's competent. A very low OKAY.
[Edit: On further rumination, it pisses me off that this issue is EXACTLY the same as last issue, yet nothing happens. And with the supposed "death" of X-23, it's patently obvious that none of these "deaths" are going to stick, which robs the story of any dramatic tension whatsoever, not that there was that much to begin with. New rating: CRAP.]
Skottie Young is extremely versatile. However, as far as his work on this title, which has been all action and no respite for this and last issues, I think that the style he's chosen is horribly mismatched.
Sure, it's cute and all, but it doesn't work well for action sequences. For dialogue sequences where no crazy shit is going on it's perfect, but not for this.
It seems that this title is once again devolving into a death fest. People seem to be dying left and right, either at the hands of Belasco, or at the hands of Magik. It's weird, I thought she was a hero!
I have no idea who half of these kids are supposed to be. Have we ever seem them before? And why don't we even get little caption boxes telling us who they are? Perhaps it's the art, but I really don't recognize them.
The art in this book isn't half as bad as Bachalo's work on X-Men, but it's still difficult to read.
Fortunately, the action sequences don't really make much of a difference. In fact, they could probably be omitted entirely and merely referenced in dialogue and the story would work just as well. Not that I like where the story seems to be going, but at least it's competent. A very low OKAY.
[Edit: On further rumination, it pisses me off that this issue is EXACTLY the same as last issue, yet nothing happens. And with the supposed "death" of X-23, it's patently obvious that none of these "deaths" are going to stick, which robs the story of any dramatic tension whatsoever, not that there was that much to begin with. New rating: CRAP.]
New Avengers #31
New Avengers #31
Huh. Well, that was unexpected. Whodathunkit? But does it really explain anything? Or, as Danny implies, does it only raise additional questions?
Take a look at that last page - Jessica really should be breast feeding her baby. He's apparently not getting enough nutrients!
The best part of this issue was the scene where Spidey and Hawkeye/Ronin were quipping together. In fact, it was so good that I'm going to post a scan of it here and nominate it for Quote of the Week!
This book is highly OKAY, but in the wake of Civil War still doesn't seem to have found its footing. Prior to CW it was mostly good. Lately it's been - not so much.
Green Arrow #75
Green Arrow #75
What??? That's it? It's over? Why? This series has consistently been one of my favorites over the last several years. Even when their own writers were screwing up Batman and Superman, even the Flash, this series maintained a sense of constancy throughout. It was a touchstone. A sign of just how good the DCU could be. Sure, there were bad parts, most notably giving Mia HIV. But that seems to have gone by the wayside. Perhaps in the NEW DCU she's no longer infected?
Another high point is the art. Even when the pencils changed hands, the art retained the qualities that made it so readable in the beginning of the series.
But what's this? After we were promised that Ollie + Dinah forever, we don't even get an answer here? We have to wait for another miniseries? And why do we need a series about Green Arrow: Year One? We know how he started. And there was the Year One annual a few years back to refresh us on it. And he's referred back to it many times. I'd go so far as to say that we need a Green Arrow: Year One miniseries like we need a miniseries about Daredevil's father...waitaminit...darn.
I just hope that DC editorial makes the right decision here and allows GA to finally find some happiness in the arms of the only woman he's ever truly loved.
VERY GOOD.
What??? That's it? It's over? Why? This series has consistently been one of my favorites over the last several years. Even when their own writers were screwing up Batman and Superman, even the Flash, this series maintained a sense of constancy throughout. It was a touchstone. A sign of just how good the DCU could be. Sure, there were bad parts, most notably giving Mia HIV. But that seems to have gone by the wayside. Perhaps in the NEW DCU she's no longer infected?
Another high point is the art. Even when the pencils changed hands, the art retained the qualities that made it so readable in the beginning of the series.
But what's this? After we were promised that Ollie + Dinah forever, we don't even get an answer here? We have to wait for another miniseries? And why do we need a series about Green Arrow: Year One? We know how he started. And there was the Year One annual a few years back to refresh us on it. And he's referred back to it many times. I'd go so far as to say that we need a Green Arrow: Year One miniseries like we need a miniseries about Daredevil's father...waitaminit...darn.
I just hope that DC editorial makes the right decision here and allows GA to finally find some happiness in the arms of the only woman he's ever truly loved.
VERY GOOD.
Friendly Neighborhood Spider-Man #21
Friendly Neighborhood Spider-Man #21
After reading that scene with Robbie and JJ earlier in the book, I seriously thought that Jameson was going to have a change of heart. That it was time that he finally saw his misguided crusade against Spider-Man for what it was. Boy, was I kidding myself, or what? His ego is too big to ever let him admit fault or even the slightest bit of responsibility for the perpetuation of the "Spider-Man as public menace" meme.
Ero still doesn't grab me as a villain. To me, she recalls the worst bits of JMS' spider totem ideas for Spidey without bringing in any of the positive aspects of that storyline.
It's cute, though, that Spidey gets to fighting her with his spikes. Kinda sorta like he's going Wolverine on her, or something.
The dialogue in this book is great and witty as always. I just really don't care about the villain at all. I'm scared for Spidey, sure, but does anyone really think that anything would really happen to him? NOW who's kidding themselves? To me, it's all about making the villain interesting, and Ero just really doesn't fit the bill. Seriously, didn't we FINISH the "Other" storyline?
The only reason I'll give this book a rating of OKAY is due to the dialogue.
After reading that scene with Robbie and JJ earlier in the book, I seriously thought that Jameson was going to have a change of heart. That it was time that he finally saw his misguided crusade against Spider-Man for what it was. Boy, was I kidding myself, or what? His ego is too big to ever let him admit fault or even the slightest bit of responsibility for the perpetuation of the "Spider-Man as public menace" meme.
Ero still doesn't grab me as a villain. To me, she recalls the worst bits of JMS' spider totem ideas for Spidey without bringing in any of the positive aspects of that storyline.
It's cute, though, that Spidey gets to fighting her with his spikes. Kinda sorta like he's going Wolverine on her, or something.
The dialogue in this book is great and witty as always. I just really don't care about the villain at all. I'm scared for Spidey, sure, but does anyone really think that anything would really happen to him? NOW who's kidding themselves? To me, it's all about making the villain interesting, and Ero just really doesn't fit the bill. Seriously, didn't we FINISH the "Other" storyline?
The only reason I'll give this book a rating of OKAY is due to the dialogue.
Countdown #46
Countdown #46
No matter how much time is supposedly progressing within this series, the actual plot shows little, if any, forward momentum. I really don't care for this book. I may read it for a while longer, but it's the kind of book wherein you must turn your brain off before reading it, and then just READ it. There's no enjoyment here (save for Jurgens' back-up strips - who would have figured, right?), and there's absolutely no emotion felt by the readers for the characters as written. They're flat, two-dimensional. In fact, most of the characters could probably be substituted with others and nobody would notice. This entire exercise is failing. EH.
No matter how much time is supposedly progressing within this series, the actual plot shows little, if any, forward momentum. I really don't care for this book. I may read it for a while longer, but it's the kind of book wherein you must turn your brain off before reading it, and then just READ it. There's no enjoyment here (save for Jurgens' back-up strips - who would have figured, right?), and there's absolutely no emotion felt by the readers for the characters as written. They're flat, two-dimensional. In fact, most of the characters could probably be substituted with others and nobody would notice. This entire exercise is failing. EH.
Cable & Deadpool #41
Cable & Deadpool #41
Another amazing cover by the incredibly versatile Skottie Young. Wow - get a load of that!
As much as I disliked last issue, this one was rather good. We get back to Cable again, Deadpool comes in to save the day, Domino gets to do some stuff, and Cable and Deadpool make up. Not too shabby. Unfortunately, all this comes with a hefty price tag - the utter destruction of Providence. Obviously, it's something that was very difficult to fit into the general Marvel universe, but it was still a nice idea. Now, though, Cable has to start all over.
The X-Men cameo in this issue isn't too annoying, as their entire function is to summarize the events in the last X-Men issue. That's okay with me. I haven't been reading X-Men, as I've said before, because I really can't stand the art - I just find it unbelievably distracting. When I read a comic book I don't want to have to puzzle over what the hell is supposed to be going on in its panels. The visual information should jump out at me. It shouldn't be incomprehensible. I shouldn't have to spend ten minutes on each action sequence trying to figure out what the hell is happening. I shouldn't have to complain this much either.
So imagine my chagrin when I got to this issue's final page and learned that it was going to be continued in X-Men #200! Why? Fortunately though, if this issue is any indication, I'll probably be able to skip it, as the next issue of C&D will fill me in adequately as to the events which occurred therein. VERY GOOD. This issue contains all the elements that made me love this book in the first place.
Another amazing cover by the incredibly versatile Skottie Young. Wow - get a load of that!
As much as I disliked last issue, this one was rather good. We get back to Cable again, Deadpool comes in to save the day, Domino gets to do some stuff, and Cable and Deadpool make up. Not too shabby. Unfortunately, all this comes with a hefty price tag - the utter destruction of Providence. Obviously, it's something that was very difficult to fit into the general Marvel universe, but it was still a nice idea. Now, though, Cable has to start all over.
The X-Men cameo in this issue isn't too annoying, as their entire function is to summarize the events in the last X-Men issue. That's okay with me. I haven't been reading X-Men, as I've said before, because I really can't stand the art - I just find it unbelievably distracting. When I read a comic book I don't want to have to puzzle over what the hell is supposed to be going on in its panels. The visual information should jump out at me. It shouldn't be incomprehensible. I shouldn't have to spend ten minutes on each action sequence trying to figure out what the hell is happening. I shouldn't have to complain this much either.
So imagine my chagrin when I got to this issue's final page and learned that it was going to be continued in X-Men #200! Why? Fortunately though, if this issue is any indication, I'll probably be able to skip it, as the next issue of C&D will fill me in adequately as to the events which occurred therein. VERY GOOD. This issue contains all the elements that made me love this book in the first place.
Buffy The Vampire Slayer #4
Buffy The Vampire Slayer #4
Well that was quite a lot of fun. This issue was EXACTLY what the final segment of the TV shows used to be like. Breakneck action with dialogue that flows between characters and scenes, without any letup. It reminds me just why I loved the show so much. And how every year Ally McBeal kept get nominated for an Emmy as a comedy, but Buffy never did - it was just outrageous! Not that Ally wasn't funny, but it wasn't half as witty as most episodes of Buffy!
I'm sorry to read that Joss is stepping away from the series to become its executive producer, but nothing else. Still, BKV's no slouch, and I know that he's a long time Buffy fan, so maybe this series will do alright under his pen. Still, there's no match for Joss.
I love that Joss was able to keep this story moving along, bringing in a host of elements, but never once letting the story slow down or suffer from it. If only he could do likewise for Astonishing X-Men, which merely seems to meander from issue to issue - well-written as they may be, nothing happens! This arc saw a complete story told from beginning to end, with the inclusion of new and old, villains, elements, and friends. It is wonderfully EXCELLENT. I'm so glad that I've been buying this series. I look forward to its future issues.
Well that was quite a lot of fun. This issue was EXACTLY what the final segment of the TV shows used to be like. Breakneck action with dialogue that flows between characters and scenes, without any letup. It reminds me just why I loved the show so much. And how every year Ally McBeal kept get nominated for an Emmy as a comedy, but Buffy never did - it was just outrageous! Not that Ally wasn't funny, but it wasn't half as witty as most episodes of Buffy!
I'm sorry to read that Joss is stepping away from the series to become its executive producer, but nothing else. Still, BKV's no slouch, and I know that he's a long time Buffy fan, so maybe this series will do alright under his pen. Still, there's no match for Joss.
I love that Joss was able to keep this story moving along, bringing in a host of elements, but never once letting the story slow down or suffer from it. If only he could do likewise for Astonishing X-Men, which merely seems to meander from issue to issue - well-written as they may be, nothing happens! This arc saw a complete story told from beginning to end, with the inclusion of new and old, villains, elements, and friends. It is wonderfully EXCELLENT. I'm so glad that I've been buying this series. I look forward to its future issues.
Wednesday, June 13, 2007
Ultimate Fantastic Four #42
Ultimate Fantastic Four #42
See, I'm still not caring about this series under Mike Carey's pen. It's just been so utterly and completely EH, that, like I said last time, much as it pains me to admit, I miss Mark Millar.
I feel completely lost from the very beginning. Not even - from the recap page! It's like there's an entire issue missing between last issue and this one. I had no idea who half these people were, where they came from, or what they were doing in the Baxter building.
Mike Carey really doesn't know how to write these characters properly. For instance, since Reed is so brilliant, then why would a machine that he created read an object with no gravity well to be a star? First of all, that's just ridiculous. Anybody with even a rudimentary knowledge of astronomy knows that the best way to find stars that you can't see is to check for the presence of their gravity affecting neighboring objects. Since these stars are in an alternate universe, wouldn't it make sense that the best way of detecting them would not be to say "ooooh, shiny", but rather to try to detect centers of immense gravity? Wouldn't that just make sense?
Also, has Reed not gotten in enough trouble tapping alternate universes? Let's see: the negative zone, the Marvel Zombie universe, the Ultimate Squadron Supreme universe, the Thanos universe, President Thor's universe - am I missing any? Do you see a pattern here? NONE of those experiments ended well for Reed. None. So what the hell's wrong with this kid, that for fun he just goes ahead and devises other methods of tapping alternate universes? Isn't he supposed to be smarter than that? And if he really IS that stupid, then why don't the powers that be at the Baxter building have safeguards to prevent Reed from doing this over and over again? At least during most of the aforementioned episodes there was a good reason for Reed to try. Here? He wants to make some thingamabob doohickey work, so naturally his first impulse is to tap energy sources from alternate universes! Wha huh?
Also mischaracterized: Sue Storm. Since when is she a bimbette? She's a frickin' scientist for god's sake - she doesn't say things like "pick that one, it looks shiny". I mean, seriously, what the hell?
And let me get this straight, the Ultimate universe's version of the Silver Surfer is basically something like a sun eater? How does that make any sense whatsoever? Seriously, the version in the mainstream Marvel universe makes more sense than this. See what happens when you make Galactus into Gah-Lak-Tus? You end up with shite like this.
Paqual Ferry's art seems to be solidifying somewhat, but it still needs quite a lot of work.
The only positive aspect of this book involves a poker game played by Ben Grimm, his mother (of all people), and Willie Lumpkin!
Everything else is pure garbage.
Utterly CRAP.
This story is so obviously contrived - there's absolutely no reason for the Silver Surfer to be here except to capitalize on the fact that the new Fantastic Four movie is opening this coming weekend.
And does this book not actually HAVE an editor on it? Dear Marvel, would you consider hiring me? I'd work pro bono...
See, I'm still not caring about this series under Mike Carey's pen. It's just been so utterly and completely EH, that, like I said last time, much as it pains me to admit, I miss Mark Millar.
I feel completely lost from the very beginning. Not even - from the recap page! It's like there's an entire issue missing between last issue and this one. I had no idea who half these people were, where they came from, or what they were doing in the Baxter building.
Mike Carey really doesn't know how to write these characters properly. For instance, since Reed is so brilliant, then why would a machine that he created read an object with no gravity well to be a star? First of all, that's just ridiculous. Anybody with even a rudimentary knowledge of astronomy knows that the best way to find stars that you can't see is to check for the presence of their gravity affecting neighboring objects. Since these stars are in an alternate universe, wouldn't it make sense that the best way of detecting them would not be to say "ooooh, shiny", but rather to try to detect centers of immense gravity? Wouldn't that just make sense?
Also, has Reed not gotten in enough trouble tapping alternate universes? Let's see: the negative zone, the Marvel Zombie universe, the Ultimate Squadron Supreme universe, the Thanos universe, President Thor's universe - am I missing any? Do you see a pattern here? NONE of those experiments ended well for Reed. None. So what the hell's wrong with this kid, that for fun he just goes ahead and devises other methods of tapping alternate universes? Isn't he supposed to be smarter than that? And if he really IS that stupid, then why don't the powers that be at the Baxter building have safeguards to prevent Reed from doing this over and over again? At least during most of the aforementioned episodes there was a good reason for Reed to try. Here? He wants to make some thingamabob doohickey work, so naturally his first impulse is to tap energy sources from alternate universes! Wha huh?
Also mischaracterized: Sue Storm. Since when is she a bimbette? She's a frickin' scientist for god's sake - she doesn't say things like "pick that one, it looks shiny". I mean, seriously, what the hell?
And let me get this straight, the Ultimate universe's version of the Silver Surfer is basically something like a sun eater? How does that make any sense whatsoever? Seriously, the version in the mainstream Marvel universe makes more sense than this. See what happens when you make Galactus into Gah-Lak-Tus? You end up with shite like this.
Paqual Ferry's art seems to be solidifying somewhat, but it still needs quite a lot of work.
The only positive aspect of this book involves a poker game played by Ben Grimm, his mother (of all people), and Willie Lumpkin!
Everything else is pure garbage.
Utterly CRAP.
This story is so obviously contrived - there's absolutely no reason for the Silver Surfer to be here except to capitalize on the fact that the new Fantastic Four movie is opening this coming weekend.
And does this book not actually HAVE an editor on it? Dear Marvel, would you consider hiring me? I'd work pro bono...
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