GraphiContent

CBR Review: The Mighty Thor #10

2012-01-30T17:34:00.002-05:00

I recently reviewed The Mighty Thor #10 for CBR and, in the process, wrote the following sentences: "In the wake of Fear Itself, Asgard has become Asgardia, Tanarus has replaced Thor as God of Thunder both in actuality and the memory of everyone save Loki, and Thor finds himself about to be eaten by the god-eater Demogorge. Each of these stories could be dragged out and advanced in small increments; instead, Matt Fraction speeds ahead, establishing the true identity of Tanarus right away, transforming the political landscape of Asgardia, and returning Thor to his prime. It’s a story where what’s coming is a little obvious and that feeds into the pacing. There’s pleasure in watching a fake Thunder god stomp around alienating the Asgardians while Thor slowly regains his memory and his power. The way that Fraction is building this story, only three parts in, is one where the inevitable confrontation is something that readers will relish."

You can read the rest HERE!

CBR Review: Batman: The Dark Knight #5

2012-01-30T17:32:00.002-05:00

I recently reviewed Batman: The Dark Knight #5 for CBR and, in the process, wrote the following sentences: "The dissonance between concept and execution is one of the most frustrating things to witness. Fantastic ideas rife with possibilities explored in the most mundane and unoriginal fashions are more disappointing than tripe that never aspires to anything more. Batman: The Dark Knight #5 has some genuinely intriguing variations on the Scarecrow’s usual fear toxin and conceptions of fear, but does nothing with them. This is a comic more interested in reliving the same dull fight that we’ve seen far too many times before: Batman vs. Superman, round 713. If anything, this comic is one held back, seemingly, by two heroes fighting for the sake of it. And that’s a shame."

You can read the rest HERE!

CBR Review: Justice League Dark #5

2012-01-30T17:30:00.002-05:00

I recently reviewed Justice League Dark #5 for CBR and, in the process, wrote the following sentences: "The conclusion to 'In the Dark,' the opening story of Justice League Dark, is surprising in the way that it subverts the usual concepts of heroism and team-building. By this point in the ‘origin story’ of a superhero team, the members will have united to fight their common threat and, once defeating it, realize that this little team they’ve formed is pretty great and should continue. That doesn’t happen here. Instead, what we get is the singular triumph of one man despite the best efforts of his supposed teammates and a splintered group of individuals who want nothing to do with one another. It is both an impressive feat to pull off and the logical endpoint (or, jumping off point perhaps?) of this series."

You can read the rest HERE!

29: I Work Best with a Deadline

2012-01-29T11:00:00.001-05:00

In 366 days, I'm shutting GraphiContent down as an active blog.

28: Singing, Dancing to the Morning Song

2012-01-28T00:28:00.003-05:00

Well, that didn't go at all like planned, did it? The rtf file titled '28' for your viewing pleasure:

January -- Marvel Boy

February -- The Annotated Mantooth

March -- Messner-Loebs Thor

April -- Marshal Law

May -- Channel Zero

June -- Holy Terror

July

August

September

October

November

December

List of books that could be done:
Automatic Kafka

The Authority

Punisher: Welcome Back, Frank

From Hell

Rucka Detective Comics

Busiek/Perez Avengers

Spider-Clone

X-Man/Counter X-Man

The Incal

Six posts were all I could muster. Plus, this seventh half-assed, self-pitying piece of shit. A year well-spent, no?

I was tempted to call this series of posts an ambitious failure, but that would be wrong. There wasn't much ambition here, was there? A vague structure that never quite worked and didn't really go anywhere except for late-night 'rants' that weren't as entertaining as I hoped. I liked some of what I wrote and that's something. Sometimes, though, I feel like one of those people I hate. One of those creators who talks up a new project, who has a lot of good ideas, and, yet, months go by and you don't see any new issues. Everyone wonders what happens. How can they not deliver? I don't understand still, because I'm not them. I do know it's easy to waste a day. Or two. Or three hundred, sixty-five.

Part of the problem is the idea: explore my comic reading past and see what it says about me now. You know what it says? That I reread some comics that I read when I was younger. Bravo, Chad, you're a genius. What began as a decent post where I had something to say turned into a series of failures as I struggled to say something once a month and couldn't even do that. 28 was the year where I struggled to have anything to say. I talked a lot of shit. How much of it was worth paying attention to? And, yet, I stand by all of it. I stand by the mean things and the stupid things and the thoughtless things and the tossed off things and the half-assed things... I meant them all, after all. I also meant the things I worked at like the Blogathon, of course. But, I really meant that bad stuff, because that's where my head was at most of the year. It's still there. And it will be there tomorrow, most likely, when I'm 29. That shit doesn't change over night.

I didn't enjoy writing about comics this past year. That's a generalisation, obviously. Sometimes, I enjoyed it more than anything. As a rule, though, it was pulling teeth. And it showed most likely.

'28' will always be unfinished. Rushing to finish it would be a lie. I tried to do something and didn't actually try. I failed.

Maybe 29 will be different.

Later

Sketch Reviews (January 26 2012)

2012-01-26T17:50:00.001-05:00

Smaller week, but that's a nice change of pace.

Captain America & Bucky #626: I really liked last issue, the first done by James Asmus and Francesco Francavilla, but this one left me cold. The best parts of the first issue were when it focused on the replacement Captain America and Bucky. This issue seemed to languish, focusing on the modern day stuff where everything is very typical superhero comic. They finally found an area of Marvel history ripe for exploration and it's glossed over? Francavilla's art is nice, of course. Not sure how long I'm sticking with this, especially with the change of focus coming up. [***]

Secret Avengers #21.1: I love how the membership of the team of 'classified' when every ad for the new creative team shows the members of the team. I get it, that's not the team yet, but still... All in all, a good issue. Remender has a nice take on Hawkeye that reminds me of the old Cap/Hawkeye dynamic. I'll want to see a 'regular' issue before I make any final judgments on sticking with this comic. Right now, it stays. [***1/2]

The Ultimates #6: Another quiet issue. And that's good. A lot happens in quiet issues like this. The opening scene where Fury is trying to get Steve Rogers to come back is great -- it isn't to be part of the Ultimates, it's just to convince the president that attacking the Children of Tomorrow is suicide, that they need to accept that the Children are a superior force to such a degree that the only way to move forward is to ignore them and try to go on. It's such an unusual 'status quo' for a superhero comic. Throw in some great scenes with Tony Stark, the new Captain Britain, Reed Richards and the Falcon, and Hawkeye trying to rewrite the rules of the game and this continues to be one of my favourite comics. It pushes my personal buttons. Brandon Peterson does some decent work, but I can't wait for the full return of Esad Ribic (though, where was Dean White?). [****]

The Unwritten #33.5: The 'origin' of Madame Rausch and it's... pretty fucked up. Vincent Locke returns to help out on the art. This was an issue that I wasn't really into at first, but it won me over by the end. Not many comics can pull off these half issues that fill in gaps... but The Unwritten can. I'll miss them when they're gone, I think. This world is so rich that there's always room to explore the mixture of fact and fiction. [***3/4]

Astonishing Spider-Man & Wolverine: The trade came out yesterday and reading it was something I did this morning. I had heard a lot of good things and they were all right. Jason Aaron is quite good at delivering weird, 'awesome' stuff without it being empty and there just to be there. Granted, the villain of this story lends himself to random awesome like this, but... hey, who am I to complain? I didn't really buy how much the two dislike one another at first. That fed into the story and lent itself to something of an emotional arc. Once again, Spider-Man finds some measure of happiness and it's taken away from him. Probably the best 'astonishing' comic I've read from Marvel -- the first that seemed to really grasp the point (or, the point Marvel has been trying to make in the press) about the line. There may have been a lot of references to things that longtime readers would understand, but this was a very basic story that mostly presented the two heroes in a way that matches up with the movie versions. If you haven't given it a read, it's worth tracking down. [****]

Later

CBR Review: Daredevil #8

2012-01-23T23:38:00.001-05:00

I recently reviewed Daredevil #8 for CBR and, in the process, wrote the following sentences: "The conclusion to 'Devil and the Details,' the two-part crossover with Amazing Spider-Man that began last week, lives up to the promise of its first chapter. Mark Waid writing the entire story helps avoid the problems of many crossovers where a shift in tone and storytelling break up the flow and cohesion of the narrative. Instead, the only shift is from Spider-Man’s narrative perspective to Daredevil’s, which is also story-driven since it begins a Spider-Man story and ends a Daredevil story. And, like the first part, Daredevil #8 has some pretty great-looking art, swapping Emma Rios for Kano with colorist Javier Rodriguez sticking around to help provide some visual coherence between the issues."

You can read the rest HERE!

CBR Review: Uncanny X-Men #5

2012-01-23T23:37:00.002-05:00

I recently reviewed Uncanny X-Men #5 for CBR and, in the process, wrote the following sentences: "Last issue’s focus on the Phalanx shunted the Extinction Team to the side. Gillen spends a lot of this issue focusing on the members of the team. The early explorations of Tabula Rosa allow for quiet moments of conversation, be it some flirting between Namor and Hope, Storm reminding Cyclops of the break in the mutant community, or Psylocke struggling with being on similar moral ground to Magneto. The team isn’t quite the blank slate that Tabula Rosa is, but it does require some fleshing out since it is so new and the dynamics of it haven’t been entirely established yet. The opening story arc of the relaunched Uncanny X-Men provided hints of that, and this breather/intro issue lets Gillen show off one of his best assets as a writer: the way he writes individual characters."

You can read the rest HERE!

CBR Review: Avengers #21

2012-01-23T23:35:00.002-05:00

I recently reviewed Avengers #21 for CBR and, in the process, wrote the following sentences: "Superheroes don’t seem to deal with surprises too well. It’s not uncommon for the heroes, early in the story, to be ambushed by the villains and react poorly, unable to cope with the shock of the bad guy jumping out and yelling 'Gotcha!' Only when the heroes have been beaten down and given time to think and to plan, that they manage to defeat the villain. The Avengers vs. Norman Osborn (the rematch!) isn’t much different. For the premier superhero team on the planet, they’re taken off the board fairly easily. It may be predictable in the structure of the story, but Brian Michael Bendis and Renato Guedes still entertain as the heroes fall one by one in this issue."

You can read the rest HERE!

Sketch Reviews (January 19 2012)

2012-01-19T13:36:00.001-05:00

Man, did Haunt #21 actually come out this week? Because my shop didn't get it. Another shortage perhaps? Ah well, I should get it in the next two weeks. But, let's discuss the comics I did get (and am not reviewing for CBR)...

Batman Odyssey #4: Either I'm not following along carefully enough or, sometimes, Neal Adams just makes leaps in storytelling logic that you just have to roll with. Batman suddenly ranting at the scientists was funny -- and he blew up Robin! In some places, Adams's crazy lack of logic works and, in others, it's just baffling. Thankfully, the former beats out the latter. Only three more issues left. [***]

Deadpool MAX II #4: Agent X (the X-Man!) is such a delightful twisting on the concept in some mirror version of Deadpool. The end of the issue was hilarious. Kyle Baker was missed last issue and returns with gusto. Only two more issues left. [****]

Moon Knight #9: I love how the only logical explanation for Buck as to why Moon Knight would want Captain America's shield, Spider-Man's webshooters, and Wolverine's claws is that those are the voices in his head. Now, that's the truth -- but who the fuck WOULDN'T have their support guy build those for him? Those seem like excellent crimefighting tools to have. Why aren't the Avengers arming all of their members with electronic Cap shields for times where a shield like that would be useful? I kind of want to see Moon Knight begin to hear Thor's voice so he demands a hammer, too. I'm really liking this series. An issue-long fight where you genuinely feel like the hero is in danger is a rare thing. The 1-2-3 narration shift was too cute for me -- why bring out the weapons one at a time like that? Seems like a pretty dumb strategy... Can't wait to see what happens next. [***3/4]

Prophet #21: Good issue. That it's different and confident in its storytelling seems to make people think that it's the greatest thing since forever (if I can be condescending and presumptive). I liked it. I liked the confidence and the sense that this was going somewhere right away. I liked the narration and the art. I like that John Prophet is a bit of a blank slate -- almost like a machine. The different alien stuff was quite good, too. Nothing that pushed this into 'great' territory for me... but, fuck, how many first issues do that? [***3/4]

Wonder Woman #5: Surprising design for Hades. Tony Akins does a good job of not changing the visual tone of the book radically. The picture of what's happening seems more complete -- and, if I read the end of the issue right, Diana is showing some sly intelligence. [***1/2]

Later

Best of 2011: Ten Pre-2011 Comics that I Read in 2011

2012-01-17T23:21:00.001-05:00

Something that always gets lost in the end of the year round-ups of the best comics published that year is the influence of past works upon the year. No one just reads brand new work the entire year and ignoring the comics from prior to the year in question gives an incomplete view of the year. When I used to run down my favourite albums of the year, I'd always do a section for the albums from prior years that I'd only just gotten that year. I figured I'd do the same for comics this year. Presented in alphabetical order are my ten favourite comics (or groups of comics) that I read in 2011 that were published prior to 2011.

Astonishing X-Men: Ghost Box, Astonishing X-Men: Exogenetic, and Astonishing X-Men: Xenogenesis by Warren Ellis, Simone Bianchi, Phil Jimenez, Kaare Andrews, and others. I honestly can't remember if I got Ghost Box this year or in late 2010. Let's just assume it was this past year to make things easier. These three trades comprise Warren Ellis's three stories on Astonishing X-Men and, if you're a fan of Ellis's writing, they're entertaining little stories where he treats the X-Men like the frontline response of an endangered species struggling to stay alive, protect the future, and fuck up anyone who crosses them. Not a take that everyone likes, but I really like it. Ellis's approach to the characters is very much in line with where Cyclops is right now and that's an interpretation of the character that I enjoy. Hell, it may be my favourite version of the character. Ellis also focuses heavily on genetics, alternate realities, and variations on the idea of a 'mutant.' He's paired with some good artists and is obviously just having some fun with the tools available.

'Breed: The Book of Genesis and 'Breed: The Book of Ecclesiastes by Jim Starlin. With Image publishing 'Breed III this year, they also put out trades of the first two 'Breed mini-series. The three volumes function together as a whole to tell one big story: Ray Stoner discovers, while serving as a soldier in Vietnam, that he's not human -- he's half human, half demon. Demons have been softening the world up for decades to make it right for them to come here and consume it. So, he must go against the demons and other 'breeds to try and destroy the leader of the demons, his own father. I didn't know much about 'Breed before reading 'Breed III and these trades made that a lot clearer. Jim Starlin has said that this is his favourite series and it's one that allows for a wide range of concepts and stories. He may have stuck to a fairly strict straight line, but, in there, is magic, sci-fi, war, romance, noir... basically, it's a series that accomodates everything. Hell, in 'Breed III, he brought in all of his other major creator-owned characters to help Stoner out! This was a major gap in my Starlin knowledge, now filled.

Elektra Lives Again by Frank Miller and Lynn Varley. I got one of the reprints that's regular comic size, something that Retailer Tim informed me was a mistake. Me, I'm just happy to have gotten a chance to read this story. Frank Miller applying some his later style to Matt Murdock and telling a story where Murdock wanders around not knowing what's really going on. It's a story about a superhero out of his depth and utterly ineffective. So much happens that we don't know about because we're so tied to Murdock. It's original and rather astonishing. And utterly gorgeous.

The Flash: The Trial of the Flash by Cary Bates, Carmine Infantino, and others. I got this because of Graeme and Jeff talking it up so much. One of those rare instances of DC using their 'Showcase Presents...' books to collect a big story rather than just X number of issues of a title. The story itself is a rather loose one throughout with a lot of the usual superhero bullshit popping up. What made the biggest impression upon me was how this changed my opinion of Barry Allen. Before this, I thought he was a boring, one-dimensional character. Now, I understand that he's a selfish asshole like every other Silver Age DC hero. One of the main subplots of the story revolves around Barry's fiancee going crazy because he stood her up on their wedding day -- where the Flash apparently killed the Reverse-Flash to save her life. Instead of just telling her that he's the Flash and he was late because he was fighting his arch-nemesis, he lets her get put in a mental hospital and, then, fakes his own death. Now, if this Barry Allen was the one currently in the DCU, I think I'd be much on board with the character. This was also my first extended exposure to Carmine Infantino's art. I know it's later in his career, but he made a lot of strange choices. Lots of slanted panels mixed with extreme close-ups that left you wonder what you were looking at. Very different from most superhero art.

Jack Kirby's Fourth World Omnibus Vol. 1 by Jack Kirby. DC has finally begun releasing these omnibi in softcover for those of us who missed the hardcovers. This first volume is mostly introductions and Jimmy Olsen comics. I rather like the way that Kirby was establishing his own little corner of the DCU with four comics, each offering a different perspective. He just hits the ground running and doesn't look back. The common thread through all four titles is Darkseid as he schemes to find the human who can comprehend the Anti-Life Equation. You can already see the connection to The Eternals, which was more focused and shied even further away from the superhero stuff. There isn't a lot of straight up superhero content in these comics aside from Superman. The New Gods all wear their costumes and have powers, but don't seem like 'superheroes.' I'm curious how those ideas will further develop over the next three volumes -- all of which I'd love to see released in 2012.

Various Hellblazer comics by Jamie Delano, Si Spencer, Peter Milligan, Ian Rankin, and a whole host of artists. I continue to own more Hellblazer comics than any other series. I added, what, nine trades, two original graphic novels, and a "Vertigo Resurrected" reprint to my collection this year? The bulk of that was comprised of comics written by the first Hellblazer writer and the current one, Jamie Delano and Peter Milligan. I don't buy single issues of Hellblazer much and, usually, wind up reading big chunks of issues. It's strange to read the beginning of the series and where it is now in the same year. John Constantine has changed quite a bit -- although not as much as you'd think. Jamie Delano's Constantine is a bit of fuck up and neophyte when it comes to magic. He knows some stuff and is a player, but he's got a lot to learn and is definitely not the biggest man on the block. By the time we get to Milligan, Constantine is the fucking man. Guys like Warren Ellis and Brian Azzarello wrote him in a way where magic wasn't a problem at all. He could almost do anything. His main problem is that he's a selfish bastard. Milligan amps that personality defect up to the point where it gets in the way of magic. Everything is so easy for him that he has to struggle with his true nature to not abuse his power -- and there are always types of magic out there that he still knows shitall about. Milligan's version of the character is one that definitely goes back to its roots. Before 2011, I'd read more Hellblazer comics than any other series (probably) and, yet, I was missing a big chunk of what makes the character who he is. And I'm still missing stuff. Bring on 2012.

Pretty much the complete Marshal Law by Pat Mills and Kevin O'Neill. I already owned some of Marshal Law and read most of what I didn't own since my dad had them when I was growing up. But, this year, I bought everything I didn't have and read the entire run of mini-series and graphic novels, including the two novellas Mills and O'Neill did. It's funny how influential these comics were (something that's still not recognised really, even though everyone who writes about them mention how influential they were) and, yet, how, with each progressive series, they became more childish, more self-parodic, and less influential. That doesn't mean that they stop being 'good,' just that there isn't much new said after the initial six-issue series. There are small moments in the rest that add to the good Marshal's character or further explore the concepts of abuse of power, guilt, and sense of betrayal by the government and superheroes. That the character is continually pushed to the point where, in the novellas, he suffers a full psychotic break between his 'real life' as Joe and his 'night life' as Marshal Law. Towards the end, neither Mills nor O'Neill seem to care as much. And why would they? What is there to say in a crossover with the Mask except that no matter what, Marshal Law is the dominant personality? They even forego the usual parodies by the end. How long can you keep making the same jokes? The Boys found some more to make, but even those grew tired at times. It's funny that, by the end, Marshal Law returned, in a sense, to where it began: focusing on broader statements and the characters, not worrying about sticking it to specific superheroes.

100 Bullets by Brian Azzarello and Eduardo Risso. I don't know what to say about this. I read this series for the first time in a week? Maybe less? It's all kind of a blur. A blur that I really enjoyed, which is why I read through it so quickly. A big series about violence and power that was every bit as good as everyone told me it would be. The way that it mixed in the larger story with the smaller contained elements, building on what came before was impressive. I'd read a few things that Risso had drawn before, but prolonged exposure to his art was something entirely different. Watching him build the world and characters with Azzarello, making the visuals matter as much as the writing (more in places). I think that's part of what makes these longterm Vertigo series work for me: a strong, consistent visual voice. It's part of what makes Preacher and Transmetropolitan so great -- and part of the reason why The Invisibles is always lacking to a degree for me. If there's one comic I want to reread in 2012, it's 100 Bullets. A slower read where I can take my time and really think about things as I go.

Ronin by Frank Miller and Lynn Varley. Another comic that my dad had and I'd flipped through a bit. I'd never read it proper. Bought the original issues cheap this year and... wow, this is Frank Miller throwing everything he can on the page. Every influence, every bit of craziness, all of it is just tossed out like this could be the last comic book he ever gets to make. And why not? It was his chance to do six issues of a comic where he wasn't stuck working with decades of continuity and expectations -- these were his characters, his world, and he didn't slow down or back off of anything. You can see the grotesque side of his art coming out in places here and that's the Miller I like best. I like the messy, ugly Miller. This isn't my favourite work of his yet... probably not top five. But, I've only read it once and moved on. It was a busy year of catching up after finally getting a full time job. Hopefully, I'll get the chance soon to go back and slow down, give it the look it deserves. Hell, I can say that for everything here, can't I?

Silver Surfer: Parable by Stan Lee and Moebius. I buy the issues and Marvel decides to put out a new collection a few months later. That's my sort of luck. I'm great at hunting down original issues only for a collection to be announced within the year. Anyway... The original issues didn't age well (which is why I'm getting the upcoming hardcover). Not the best way to read this series for the first time -- still, Moebius art on shitty paper is still better than no Moebius art at all, right? His Silver Surfer is just so casual on his board. It's not an intense riding the waves look. It's a guy who stands completely secure in who he is and what's going on. He looks like a guy standing on a street corner waiting for the bus, not someone flying an insane speeds hundreds of feet in the air. It's one of those odd approaches to a character that changes how you see them. I wound up looking at these two issues every day for a few weeks. Just flipping through them, checking out a panel here, a panel there. I did the same thing with that Incal hardcover that came out with the original colouring. Moebius is one of those artists whose work I can spend hours lingering over.

CBR Review: Scalped #55

2012-01-16T11:31:00.002-05:00

I recently reviewed Scalped #55 for CBR and, in the process, wrote the following sentences: "The first half of Scalped #55 is devoted to Dash and Snuka trying their best to rip each other apart with their bare hands. The dialogue is minimal, leaving R.M. Guéra’s art to carry the fight. His art is rough and messy, like always, and that conveys the passion and pure blood lust of the fight. These are men that hate one another, both skilled fighters, and both willing to do anything to kill the other. Guéra’s layouts are stacks of panels that overlap and are chaotic to a degree. It’s a dark, ugly fight that’s always moving and hard to follow at times. And that’s a good thing. The lack of clarity in some panels reinforces the nature of the fight. If we could see everything clearly, it would lose the energy and chaos that drive it."

You can read the rest HERE!

CBR Review: Amazing Spider-Man #677

2012-01-16T11:29:00.001-05:00

I recently reviewed Amazing Spider-Man #677 for CBR and, in the process, wrote the following sentences: "It’s been 30 issues since Mark Waid last wrote Amazing Spider-Man and he’s returned to the title for a short crossover with Daredevil. Continued in next week’s Daredevil #8, 'Devil and the Details' has Spider-Man enlisting Daredevil’s help after the Black Cat is arrested for a robbery, assuming that Matt Murdock may be the lawyer she’ll need to clear her name. It’s a simple plot that can be done in two issues and allows Waid to focus on the characters, an area where he excels. That and Emma Rios on art makes Amazing Spider-Man #677 a great start to this two-issue crossover."

You can read the rest HERE!

CBR Review: Secret Avengers #21

2012-01-16T11:27:00.002-05:00

I recently reviewed Secret Avengers #21 for CBR and, in the process, wrote the following sentences: "As the last episode of Star Trek: The Next Generation reminded us, all good things must come to an end. For the past six months, Warren Ellis’s issues of Secret Avengers have been action-packed mash-ups of mad science, superheroics and espionage with a new artist each issue. He’s worked with some of the best artists in comics over these six issues and what better way to end than to reunite with his Nextwave collaborator Stuart Immonen in the first issue to use the entire six-person team? Things go boom, of course. Who would have it any other way?"

You can read the rest HERE!

Sketch Reviews (January 12 2012)

2012-01-12T18:10:00.001-05:00

Batwoman #5: Interesting turn of events -- the art still outpaces the writing to a large degree, which makes me a little worried about what happens come next issue. From what I've seen, Amy Reeder is a good artist, but she's following an amazing one that's been the sole reason to buy this comic. There always feels like there's something missing in each issue. Not like they've left out stuff you don't need or can figure out... like there's something essential missing. I don't know what it is, though. I'm useless, I guess. [****]

Captain America #7: Well, shit, Steve Rogers, if you didn't get on board with torture, maybe you wouldn't be doubting yourself so much. Also, stop hating mutants and just hire a telepath to shut those riots down. Tactical genius my ass. Ooooh, Alan Davis art! [***1/2]

Frankenstein, Agent of SHADE #5: The other side of OMAC #5 and it blends scenes we saw there with no information that fleshes them out. A really well done crossover between the two books. Really interesting to see someone other than Giffen draw OMAC as well. I liked Ponticelli's interpretation. [****]

Journey into Mystery #633: I love how those fear beings are a subtle wink at the Endless. Each one is described with one of the names of the Endless -- or is so obviously one of them. Funny little joke. Also, Loki ain't no snitch. [***3/4]

Justice League Dark #4: My shop finally got the copies they were shorted on a couple of weeks back... I'm not entirely sold on this series yet. The slow gathering of the characters isn't my ideal structure. However, this issue saw more progress in that department and actually ramped up the plot a bit. [***1/4]

New Avengers #20: The two-page splash where the New Avengers and New Dark Avengers rush at one another is a fun video game page. The concept is a little dumb, sure, but the execution is inventive enough, especially now that there are only a few one-to-one matches on the two teams. What's going on with Jessica, though? I can't see how she would be the mole in the group... who knows though. With two Avengers teams, it's nice to see that Bendis is having Osborn take two different approaches to each one. [***1/2]

Punishermax #21: Someone needs to do a comparison between this and Scalped #55, which also came out this week. Two big fight scenes, two brutal-as-fuck fight scenes, and both approached very differently by two different artists. Maybe I will if I find the time -- and, as much I would like to, CBR isn't set up with reviews to do a joint review like that (and that's totally understandable since why should they be ready to have someone review two comics from two different publishers at the same time because they both happen to have fights scenes written by the same writer?). The mixture of memories was masterful, especially when it got to the present in a quick succession. I have no idea what's coming in issue 22 and I can't wait. [****1/2]

The Unwritten #33: That is one hell of an ending -- and damn clever. I loved the different stories. Great storyarc. [****]

Wolverine and the X-Men #4: A really good 'breather' issue after the first story. Nice to take some time and get a sense of the school some more. Hell, I'd be happy if that's all this book did. But, I also miss The Intimates... [****]

Later

Best of 2011: CBR Top 100

2012-01-11T01:51:00.002-05:00

The CBR top 100 of 2011 went up a few weeks back. I gave my picks and wrote some blurbs with an early draft of my top 10 comics of the year. That list has since changed and will see the light of day sometime before the month is over. The blurbs I wrote were done with an emphasis on brevity. Basically, a bunch of blurbs that could function as pull quotes. Hey, if you aren't delivering pull quotes on 'best of the year' lists, when are you?

#100-76, including my blurb for Prison Pit Book 3.

#75-51, including my blurb for Vengeance.

#50-26, including my blurbs for Punishermax and Deadpool MAX.

#25-11, which has no blurbs by me.

#10-1, including my blurbs for Scalped and Daredevil.

Other blurbs I wrote:

Butcher Baker, the Righteous Maker (Written by Joe Casey; Art by Mike Huddleston; Published by Image Comics)
Joe Casey and Mike Huddleston let loose to do as they please, combining superhero comics with trucking movies with crazy pop art extravaganzas. Every issue shows some new crazy wonderment -- hell, every page does! This comic is everything a superhero comic book should be.

Ultimates (Written by Jonathan Hickman; Art by Esad Ribic; Colors by Dean White; Published by Marvel Comics)
The relaunched Ultimates has pushed the boundaries of what we expect from superhero comics, free of continuity concerns and able to genuinely change the world it depicts. The biggest revelation has been the art team of Esad Ribic and Dean White, a duo that manage to bring epic scope, deep beauty, and fierce energy to every page.

Criminal: The Last of the Innocent (Written by Ed Brubaker; Art by Sean Phillips; Published by Icon)
Ed Brubaker explores nostalgia, both in the real world and the comics world, with depth and care, while Sean Phillips shows a bit of range to go with his expert storytelling. The Last of the Innocent is uncompromising right to the end and will make you want to go back and reread it right away.

Holy Terror (Everything by Frank Miller; Published by Legendary Comics)
No one draws cities better than Frank Miller. No one draws widescreen big pages than Frank Miller. No one draws rain better than Frank Miller. Holy Terror has all of that and more. It’s a gorgeous work that I’ve spent far too much time just looking at.

Expect some other Best of 2011 posts over the next while, including my usual post on Joe Casey's work from the year, some notable comics that I think are worth mentioning, the ten comics released prior to 2011 that I got this year that I think deserve notice, and the revised top ten list.

CBR Review: Avengers Annual #1

2012-01-08T07:26:00.002-05:00

I recently reviewed Avengers Annual #1 for CBR and, in the process, wrote the following sentences: "Four months ago, New Avengers Annual #1 began the story that Avengers Annual #1 concludes this week. That’s a bit of a wait on the second half of a two-part story where the first half ended with Wonder Man and his Revengers setting their sights on Avengers Tower after taking down the New Avengers in Avengers Mansion. Brian Michael Bendis planted the seeds for Simon Williams’s turn on his former teammates in the early issues of Avengers and, despite Williams’s warnings, the Avengers are still taken off guard by his attack. While there are some big fights in this issue, it’s Williams’s argument that the Avengers should be disbanded that takes center stage and is, by far, the most interesting thing in this issue."

You can read the rest HERE!

CBR Review: Avengers: X-Sanction #2

2012-01-08T07:24:00.002-05:00

I recently reviewed Avengers: X-Sanction #2 for CBR and, in the process, wrote the following sentences: "Loeb’s tenure on Cable lasted from just before 'The Age of Apocalypse' to just after 'Onslaught,' and, during that run, Cable’s techno-organic virus became one of the central ideas. His struggle to contain and control the virus played a large part, so it’s no surprise to see Loeb returning to that in this event. Cable only has three things on his mind (the Avengers, Hope, and the virus) and each plays into the other. That basic presentation of the character on display makes Cable easy to understand; the simple rhythm of his thought process and desires gives the issue a steady pace that Loeb and Ed McGuinness use to suck the reader in and surprise at key moments."

You can read the rest HERE!

The Joe Casey Vengeance Reading List

2012-01-06T00:43:00.001-05:00

I got an e-mail earlier this week asking for what comics I'd recommend for anyone reading Vengeance and wanting to know the background on various characters and concepts Joe Casey is using in that series. I shared my 'essential' list with said e-mailer and he wanted more, so here's the essential stuff plus a few more suggestions if you're willing to do the extra work and maybe spend the extra cash...

The Essentials
* Cable #59-62 (introduction of Jack Truman)
* Deathlok #1-11 (more on Jack Truman and Larry Young)
* Uncanny X-Men #408-409 and annual 2001 (Stacy X first appeared in Casey's Uncanny X-Men run and these issues are the best and showcase her well)
* The Last Defenders #1-6 (how the Defenders you see in Vengeance came to be)
* Dark Reign: Zodiac #1-3 (the big Z himself)

Further Reading
* Uncanny X-Men #394-407 (the rest of Casey's run on the title, so more on Stacy X and the first issue has a young mutant that easily could have been the 'next generation Magneto' stand-in for Vengeance instead of the man himself)
* X-Men: Children of the Atom #1-6 (Casey writing teens and Magneto)
* Incredible Hulk #468-474 (Devlin Deangelo appears here)
* Heroes Reborn: Masters of Evil #1 (Casey writing villains being villains)
* Avengers: Earth's Mightiest Heroes #1-8 and Avengers: Earth's Mightiest Heroes II #1-8 (Casey writing the Avengers in a similar way to the Teen Brigade and using some of the villains that play a role in Vengeance... er, sort of)
* Avengers: The Origin #1-5 (the Rick Jones-era Teen Brigade in action)
* Iron Man: The Inevitable #1-6 (Casey writing about the balance between good/evil, order/chaos)
* Age of Heroes #4 (short, SHORT story by Casey and Nathan Fox featuring Zodiac)
* The Intimates #1-12 (from DC/Wildstorm and it's Casey writing about teens, more for the folks who love his take on the young folks in Vengeance)

Someone suggested proper annotations, but that's not my style.

Sketch Reviews (January 4 2012)

2012-01-05T00:33:00.001-05:00

Every new year is the same as the old one at first. Except I reset the lists where I keep track of things for the year like what books I've read, what CDs and DVDs I've bought, and... well, that's it. That's what matters, right?

Action Comics #5: Well done, Grant Morrison. You turned Brainiac into a more boring version of Plex. And Superman into a more boring version of Noh-Varr. Hey, I wanted more Marvel Boy, didn't I? It's a shame it's been repurposed as a Superman comic. Now, if he starts writing swear words into Metropolis... [**3/4]

Animal Man #5: Steve Pugh returns for no reason other than he drew Animal Man once upon a time and... uh... nonetheless, I do enjoy the art on this book. Unlike anything else in superhero comics right now -- and Lemire is hitting the right beats and tone. [***3/4]

The Defenders #2: I miss The Intimates. The bottom of those comic pages had ambition, son. An interesting issue, not quite cohesive or entertaining enough yet. Not crazy enough. [***1/2]

Fatale #1: I love the way Phillips draws Jo's face. It's different from his usual women. Not a knock you on your ass first issue, but intriguing. I'll stick with Brubaker and Phillips forever most likely. [***2/3]

OMAC #5: I don't know which I liked more: Frankenstein kicking the shit out of OMAC or Father Time trash-talking Maxwell Lord. [****]

Stormwatch #5: Goddamn, that last page has me getting off this particular train. I gave it five issues and it was almost there a couple of times... but, fuck it, I don't care. I'll just reread the Ellis stuff. [dropped]

Uncanny X-Men #4: The ending was a bit obvious from the getgo with the middle not inherently compelling enough to keep my interest. The tie-in to Sinister had me hoping that this would be something more than a one-off where we're supposed to care that Hugh dies at the end. [*3/4]

Wolverine and the X-Men: Alpha & Omega #1: I like Brian Wood's Quentin Quire. Not sure if it's my Quentine Quire, but he's entertaining -- more so than the one we've seen Jason Aaron write so far. Then again, hitting the right tone for that character is tough. Not many people could do it. I think Fraction could if he tried. Joe Casey could without trying. Wood is making a go of it. Not sold on the premise entirely yet and a little disappointed with how restrained the Boschi/Brown art is. Between this and Huat's work on Annihilators, I'm wondering where my Ghost Rider boys are at these days... [***]

Later

CBR Review: Vengeance #6

2012-01-03T02:20:00.002-05:00

I recently reviewed Vengeance #6 for CBR and, in the process, wrote the following sentences: "It’s the event comic you didn’t read this year. The one that spanned dimensions and time, pulling in various heroes and villains, all for a big showdown in Latveria with the Teen Brigade, Kristoff and the Last Defenders on one side, the Young Masters of Evil on the other and the In-Betweener in the middle. Vengeance has acted as a culmination of sorts for Joe Casey’s Marvel work and nowhere is that more apparent than in this issue where characters and ideas from almost everything he’s done for the company collide. There’s even a visual callback to the first issue by Nick Dragotta that shows that this comic is pulling in details from itself."

You can read the rest HERE!

CBR Review: Haunt #20

2012-01-03T02:18:00.002-05:00

I recently reviewed Haunt #20 for CBR and, in the process, wrote the following sentences: "The relationship between Daniel and Kurt is broken down for reasons that aren’t entirely clear yet. Kurt seems to relish in the pain his brother is receiving, making jokes and quoting song lyrics. The set up of two people coming together to form a superpowered being isn’t new, nor is the two not getting along, but never has it been taken to such an extreme, particularly with brothers. Even a rescue by a strange short-wearing, katana-carrying, bearded man by the name of Still Harvey Tubman doesn’t entirely make things better when he has to berate Kurt (who he can see and hear somehow) into getting off his ghostly butt and merge with his brother to bring Haunt out."

You can rest the rest HERE!

CBR Review: Gødland #35

2012-01-03T02:17:00.003-05:00

I recently reviewed Gødland #35 and, in the process, wrote the following sentences: "The end is nigh for Gødland. It may be crawling its way towards the end, but the end is coming and this issue points in that direction strongly. Gødland #35 is a mix of finishing up old business, the title’s usual cosmic tripiness and setting things in motion for the end of the series with what looks to be a Gød-level event. After a string of issues that hovered around the 20-page mark, this one increases to 26, but you’d believe it was 36 with the amount of content Joe Casey and Tom Scioli pack in."

You can read the rest HERE!

CBR Review: Annihilators: Earthfall #4

2012-01-03T02:15:00.004-05:00

I recently reviewed Annihilators: Earthfall #4 for CBR and, in the process, wrote the following sentences: "The end of Annihilators: Earthfall is filled with little moments of potential and hints of a story that could have easily been the basis for a big multi-book event story for Marvel, but none of it pays off enough. The story is too big for the comic. Instead of creating an impression of so much content, scale and story that every page is a crazed mess of trying to fit it all in, Dan Abnett and Andy Lanning rush through and use the same storytelling that they would use if there was enough room. The limitations and execution of this series undercut the story potential, no more so than in this final issue where the end just sort of happens."

You can read the rest HERE!

CBR Review: Captain America & Bucky #625

2011-12-30T23:02:00.002-05:00

I recently reviewed Captain America & Bucky #625 for CBR and, in the process, wrote the following sentences: "2011 is almost over and, to celebrate, Marvel Comics has lined up its shipping schedule to provide a triple dose of Captain America comics this week. It's both an ending and a beginning for the two issues of Captain America released, and Captain America & Bucky shifts dramatically from its opening storyarc with a new co-plotter/scripter and artist in James Asmus and Francesco Francavilla, respectively. More than that, the title puts the focus on a different Captain America and Bucky than readers expect: the men who replaced the originals after their 'deaths' in 1945."

You can read the rest HERE!

CBR Review: Captain America #6

2011-12-30T23:01:00.002-05:00

I recently reviewed Captain America #6 for CBR and, in the process, wrote the following sentences: "2011 is almost over and, to celebrate, Marvel has lined up its shipping schedule to provide a triple dose of Captain America comics this week. It’s both an ending and a beginning with Captain America #5 concluding the opening story arc of the relaunched title before issue six can pick up where it left off and start a new story. That the beginning of the new story ships on the same day as the end of the previous one makes for a smooth transition and could blur the line between the two, except Ed Brubaker and Alan Davis make such a strong impression in this issue that it stands clearly on its own."

You can read the rest HERE!

CBR Review: Captain America #5

2011-12-30T23:00:00.001-05:00

I recently reviewed Captain America #5 for CBR and, in the process, wrote the following sentences: "2011 is almost over and, to celebrate, Marvel has lined up its shipping schedule to provide a triple dose of Captain America comics this week. It’s both an ending and a beginning with Captain America #5, concluding the opening story arc of the relaunched title before issue six can pick up where it left off and start a new story. This issue puts its eyes firmly on what’s coming next, providing immediate closure of the dangers facing Captain America and company, and planting seeds for the dangers of 2012."

You can read the rest HERE!

Sketch Reviews (December 29 2011)

2011-12-29T23:48:00.001-05:00

Christmas has come and gone. It was a nice few days. Nice to see my family and Michelle's family. Nice to just be away from the usual daily grind bullshit. This year, things seemed skewed towards books over DVDs and CDs as far as presents went. I guess people think I'm not reading enough. This week, my shop had a post-Christmas sale, so I managed to get caught up on Jamie Delano Hellblazer trades (the new edition of the second volume came out this week and my shop had the third and fourth volumes). I also got a couple of Astro City trades as well as Banner by Azzarello and Corben. There was plenty more that tempted me, but I had to draw the line somewhere. Also, Diamond shorted my shop on a couple of titles -- but they did overship the new issue of Angel and Faith (30 or so copies instead of the two or three my shop ordered), so that had them covered.

The Mighty Thor #9: A weird case of this comic being less than the sum of its parts. I genuinely enjoyed almost every scene in it and, yet, it didn't feel like it added up to anything. Maybe because it seems like we're in act two of it already. Maybe it's some unconventional storytelling that will add up in the end. [***]

Secret Avengers #20: For a time travel story, this was surprisingly linear. Last week of the year and this issue may have been enough to make me reconsider this title for my best of the year list. Damn fine comic book. [****1/4]

Spaceman #3: Bringing in Carter was a surprise -- and the end was pretty good. Each issue is more interesting than the previous. And... RISSO! [****]

The Ultimates #5: Man, pity those poor fucks who didn't pick up Ultimate Hawkeye... A bit of a breather issue as everyone tries to figure out what you do after a huge chunk of Europe is absorbed into a City populated by people that could kill the rest of the world without too much effort. Hickman doesn't quite push it as far as I'd like, but this is interesting territory -- like I said on the podcast, it's similar territory to where the X-titles have been at times, except it's actually addressing the issues raised instead of finding 'clever' ways to sweep them aside. Esad Ribic not doing the full issue is a shame, but Peterson's art is better than I remember... Not too sure about the ending, though. [***3/4]

Uncanny X-Men #3: Who would have thought that I'd actually enjoy Mr. Sinister as a villain? [***1/2]

The Unwritten #32.5: Another half issue, one that goes back to Gilgamesh and gives us some of the history of Pullman. Me, I'm just happy to read any comic drawn by Dean Ormston. [***1/2]

Later

The Splash Page Podcast 2011 Holiday Spectacular

2011-12-23T01:03:00.003-05:00

Tim and are back with a new edition of the Splash Page Podcast! It's our special Christmas gift to all of you listeners. In this episode, we talk mostly about the best of 2011 with such topics as Holy Terror, some Marvel books like Daredevil, The Ultimates, and Uncanny X-Force, Scalped, Bendis's Avengers work, Casanova: Avaritia, Vengeance, Tim's Alan Moore writing, and, then, we go into a long big talk about comics that touches on a variety of subjects before moving into books for the end. This episode is pretty much what you'd expect from us and was quite fun to do. Since it is a holiday episode, it's bookended by a couple of songs from the Barenaked Ladies's holiday album. So, download, listen, and enjoy -- and have a happy holidays!

You can download and listen to the Splash Page Podcast 2011 Holiday Spectacular HERE!

CBR Review: Batman, Incorporated: Leviathan Strikes! #1

2011-12-23T00:45:00.002-05:00

I recently reviewed Batman, Incorporated: Leviathan Strikes #1 for CBR and, in the process, wrote the following sentences: "Ostensibly Batman, Incorporated issues #9 and #10, Batman, Incorporated: Leviathan Strikes! #1 ends the first ‘season’ of the title and sets the stage for next year’s return and conclusion to Grant Morrison’s tenure on the Batbooks. The wait for this comic may have been long, but with Cameron Stewart and Chris Burnham providing the art, it was well worth it. Morrison delivers both an entertaining ‘done in one’ style adventure spotlighting Stephanie Brown and an ambitious issue that pushes the story about as far as it can go before it breaks. It ends with the big reveal of who is behind Leviathan, the criminal organization that Batman has created Batman, Incorporated to fight. It’s the sort of issue that arrives just in time to remind critics that, maybe, they left Batman, Incorporated off their top ten of 2011 lists and that, obviously, was a mistake."

You can read the rest HERE!

CBR Review: Avengers #20

2011-12-23T00:44:00.001-05:00

I recently reviewed Avengers #20 for CBR and, in the process, wrote the following sentences: "There’s something inexplicably silly about Avengers #20. The return of Norman Osborn has, so far, been a lot of sound and fury signifying nothing. Brian Michael Bendis has shown the behind-the-scenes build-up to Osborn's eventual strike on the Avengers over the past few months in Avengers and New Avengers and, here, it begins: with Norman Osborn standing on the lawn of Avengers Mansion ranting and raving while everyone tries not to look too embarrassed about the crazy man who shouts too much. Finally, it has begun, and it begins like that? The follow-up is so by the book in its predictability that one wonders what the point is at times."

You can read the rest HERE!

Where It's At These Days

2011-12-22T13:56:00.004-05:00

If I had Tumblr, that would be a better place to post this:

It's all on me, though; it's Charlie Brown kicking at the football. Pieces of shit act like pieces of shit. That's what they're supposed to do, it's why they're put on the planet. You don't get to be mad at D&Q for acting like D&Q, or at DC for acting like DC. It's the same rule for us as it is for creators: comics fucked Kirby, and it'll fuck you, too. I'm just a half-ass blogger with a small audience whose posting schedule got cut down by about 75 percent in the last year. I'm getting the exact treatment I deserve. The only difference is that I really don't care. I don't want to make comics, ever, and I don't ever want to have a professional job in comics past the one I have right now. They have nothing to threaten me with, nothing they can take away from me. I don't need review copies or advance previews or insider access. I don't need to be liked by people with no talent. I don't need to hear the gossip about who is sleeping with Paul Levitz' ex-girlfriend or the latest Scott Snyder office meltdown. Those are the things they try to ply you with: "Here's a story, the real story, about why Mark Waid doesn't work here anymore." Go away. Tell Rich Johnston. I don't care about any of it. Everything I ever hear about these people only convinces me further that I want nothing to do with them.
--Tucker Stone in an interview with Tom Spurgeon

Sketch Reviews (December 21 2011)

2011-12-22T00:55:00.001-05:00

The sooner we get past all of this, the sooner I can relax... and sleep and hang out and just enjoy six days without work. No offence.

Batman: Odyssey #3: Deadman going batshit crazy on those trolls was fun. The 'war' was more tell than show. And Batman can't kill because wah wah wah. Loser. [***1/4]

Daredevil #7: Another holiday issue, Marvel? You made my heart grow three times. The best part is obviously "I hate that guy." [***3/4]

Punishermax #20: The strongest issue of this arc yet. The various flashbacks/memories were excellent -- and Frank showing how he'll sacrifice everything to win seems like it will come back into play. No one is getting out alive, folks. No one. [****]

Wolverine and the X-Men #3: I REMEMBER QUENTIN QUIRE! [***3/4]

Wonder Woman #4: Goddamn, that sequence with Hera on Paradise Island... goddamn Cliff Chiang! Also, that final page is just Azzarello showing off. [****]

I also got Officer Downe: Bigger Better Bastard Edition because I am a sucker. And, yes, Mr. Casey, I take that whole spiel about no subtext to be a challenge. Fuck your intentions. Like I care.

Later

CBR Review: The Boys: Butcher, Baker, Candlestickmaker #6

2011-12-21T23:15:00.002-05:00

I recently reviewed The Boys: Butcher, Baker, Candlestickmaker #6 for CBR and, in the process, wrote the following sentences: "Upon finishing The Boys: Butcher, Baker, Candlestickmaker #6, the conclusion to the mini-series spotlighting Butcher prior to The Boys, there was a feeling of emptiness, that the comic that I’d just read was a bit unnecessary. The fifth issue ended on such a strong point with Butcher earning his spot in Mallory’s group that this concluding issue is an exercise in tying up loose ends that aren’t really loose at all. It’s the issue that answers the minutiae of Butcher’s past and ends on a crude note when he finishes his little monologue to his father’s corpse. The series to this point was compelling, but this is a dull, uninteresting place to end."

You can read the rest HERE!

CBR Review: Frankenstein, Agent of SHADE #4

2011-12-19T23:38:00.002-05:00

I recently reviewed Frankenstein, Agent of SHADE #4 for CBR and, in the process, wrote the following sentences: "Frankenstein, Agent of S.H.A.D.E. finishes its first story arc as Frankenstein and the Creature Commandos take on the Monster Planet that seeks to enter our dimension. Like the issues before it, there’s not much here except some high impact action and crazy ideas. Then again, what else does this comic need? Set the heroes up against hordes of monsters that no one feels remorse for and let them slaughter their way to our protection. This is a comic that wallows in the grotesque beauty of one set of ‘monsters’ slaying another."

You can read the rest HERE!

CBR Review: Journey into Mystery #632

2011-12-19T17:38:00.002-05:00

I recently reviewed Journey into Mystery #632 for CBR and, in the process, wrote the following sentences: "Of all of the comics to do a Christmas issue, Journey into Mystery wouldn’t have been my first guess. Or even my twentieth. The focus on Loki and the Asgardians immediately makes a holiday-themed issue seem unlikely and, yet, here we are with Journey into Mystery #632, a Yule issue. And it works wonderfully. Kieron Gillen continues to write this series so well that any situation or context is appropriate and moves the story forward while showing us new things about each of the characters. Joining him this issue are Mitch Breitweiser and Bettie Breitweiser, who they capture the holiday look of the issue perfectly."

You can read the rest HERE!

CBR Review: SHIELD #4

2011-12-19T17:35:00.002-05:00

I recently reviewed SHIELD #4 for CBR and, in the process, wrote the following sentences: "Getting a handle on S.H.I.E.L.D. and where it’s going is always a challenge. For a series that is taking the long view on the Marvel Universe, it spends much of its time focusing on the smaller moments that affect the characters. Big, sprawling wars are glossed over, while discussions of motivations are given a lot of attention. On the surface, not much happens in S.H.I.E.L.D. #4 and, yet, in focusing on the smaller moments, even using the same three pages (altered in each case) three times, gives the issue an easy, relaxed feeling. It’s a comic that celebrates and luxuriates in the wonders that it deals in."

You can read the rest HERE!

CBR Review: Sacrifice #1

2011-12-19T17:33:00.003-05:00

I recently reviewed Sacrifice #1 for CBR and, in the process, wrote the following sentences: "After his last self-published hit, Our Love is Real, went through multiple printings and eventually landed at Image, there’s been a bit of buzz surrounding the first issue of Sam Humphries’ follow-up, a six-issue mini-series, Sacrifice. Self-published like Our Love is Real, Sacrifice is quite different in content, not focusing on the sexually liberated future of Our Love is Real and, instead, telling the beginning of an odd tale about a teen suffering from epileptic seizures who may be transported back in time to the Aztecs before the Spanish wiped them out. With Dalton Rose joining him on art, Sacrifice is as surprising and challenging a first issue as you’re likely to find."

You can read the rest HERE!

Sketch Reviews (December 15 2011)

2011-12-15T13:52:00.001-05:00

Just pushing on through to the holidays. Hitting that point where I don't have much to say it seems. My Random Thoughts this week was half Tragically Hip lyrics for that reason. I'm just in a 'hunker down and read and watch and listen and not say a damn thing' mood. But, let's get to it anyway...

Avengers 1959 #4: At some point, I lost the plot and, yet, that doesn't matter. It's just watching Chaykin do his thing and going along for the ride that matters. The details are inconsequential. [***3/4]

Avengers: X-Stinction #1: I'll possibly do a '28' post on this and my love of Cable. I wasn't sure if I'd get this issue, right up until I walked through my shop's doors, and, then, it was in my pull file (probably because I buy the Avengers titles), so I got it. Very direct and some very nice moments on art. Pretty good, actually. [***1/4]

Batwoman #4: Increasingly, the writing seems to be coming into focus. The opening pages are wonderful... all of the pages are wonderful. [****]

New Avengers #19: I really hope that Victoria Hand isn't working with Osborn, because that would be stupid. The Avengers don't really trust her, so the betrayal is minimal -- it's almost like she would be proving them right. Osborn trying to outdo the Avengers in public is one of those plots that seems good in theory until someone with half a brain shrugs, says "Who gives a fuck what people think, you're a bad guy and I'm going to kick your ass," and then does so. You almost want Frank Miller's Batman to pop out from behind a bush and mumble about how the heroes have always been criminals and just beat the shit out of any bad guy he can find before disappearing into the night. Honestly, I could see Bendis make that a way to separare the Avengers and the New Avengers. Captain America and the Avengers are concerned with what the public thinks, while Luke Cage and the New Avengers are used to people not liking them and doing the job anyway. Still, an issue with some nice moments -- I liked the Luke/Jessica stuff. [***1/4]

The Unwritten #32: But... what about Frankenstein's Monster? Digging this storyarc so far. [***1/2]

Doc Bizarre, MD: An entertaining, goofy sort of story. Judging from the backmatter, this was originally an idea pitched to the Cartoon Network and it's easy to see why. Tone down Epoch a little, maybe make the first 'case' not about a Frankenstein-esque scientist who takes shortcuts, thereby making an impotent monster, and it's a good idea for a cartoon for kids. 'Monster doctor,' basically. Judging from reactions before I got this (finally!), I was expecting something a little more slight. Bizarre amused me quite a bit with his constant 'professionalism' no matter what happened. A bit more direct than Charlatan Ball. Suriano is damn talented. [****]

I also got the first half of Sgt. Rock: Between Hell & A Hard Place thanks to the first Vertigo Resurrected issue of this two-issue reprint (that also includes a couple of older Sgt. Rock stories with Joe Kubert art -- I assume the second issue will as well, which is a great idea). I haven't read it yet since the second issue is out next week and I'd rather just wait until then.

Later

CBR Review: Moon Knight #8

2011-12-12T09:01:00.002-05:00

I recently reviewed Moon Knight #8 for CBR and, in the process, wrote the following sentences: "There are some comics where the early issues tell you everything you need to know about it and the creative team. If you don’t like the first couple of issues, there isn’t much chance you’ll like issues seven or eight, and you can completely write that book off as not for you. The early issues of Moon Knight weren’t bad, or bad enough to drive me away, but they definitely didn’t suggest the rise in quality that’s slowly been happening as Brian Michael Bendis and Alex Maleev build on previous issues to create a familiar sensation when you’re reading an issue. It’s not just a new issue, it’s a chance to hang out with characters that feel like friends. Moon Knight has become a pretty good ‘hang out’ comic."

You can read the rest HERE!

CBR Review: Action Comics #4

2011-12-12T08:58:00.003-05:00

I recently reviewed Action Comics #4 for CBR and, in the process, wrote the following sentences: "For the first time since its relaunch, Action Comics doesn’t read as though propelled forward by creative energy and a strange sort of madness. The first three issues all had a spark to them that drove them forward and, though this fourth issue continues the story they began, there’s something missing. On the surface, everything seems the same and, yet, there’s a feeling that this issue is merely a means to an end."

You can read the rest HERE!

CBR Review: 'Breed III #7

2011-12-12T08:57:00.003-05:00

I recently reviewed 'Breed III #7 for CBR and, in the process, wrote the following sentences: "The story of ’Breed finally comes to the end after three mini-series that started back in 1994, with Ray Stoner teaming with his half-brother to take down their father, the leader of the demons set on devouring Earth. This third and final series has seen its share of surprises from the salvation of Earth being a young cancer-stricken boy to Starlin bringing together his various creator-owned characters -- including Darklon the Mystic, Kid Kosmos, and Vanth Dreadstar -- to support Stoner. This finale packs in a few more surprises. It’s a satisfying conclusion that allows Starlin to show off his artistic chops more than he has in the past few years in the battle of two shapeshifters."

You can read the rest HERE!

Sketch Reviews (December 8 2011)

2011-12-08T18:45:00.001-05:00

Looks like I could finish Trailer Park Boys tomorrow. Just have the last three episodes of season seven, the final TV special, and the second movie to go. Pushing on, boys. Pushing on. So, the comics I bought and am not reviewing for CBR:

Animal Man #4: Travel Foreman's refinement continues and is damn impressive. Jeff Lemire's writing is at its best in this issue when he's setting up mood... the plot stuff just seems to get in the way. [***3/4]

The Boys #61: Goddamn, Hughie is getting annoying. The comic recognises this, but still. The Mother's Milk stuff seems a little distracting at this point in the book's run. Everything else seems pointed towards the finish line except for that. Russ Braun... I almost dread Darick Robertson's eventual return (probably for the final arc) because his work has been great. They really lucked out with him coming aboard. [***1/2]

Deadpool MAX-Mas #1: Finally, David Lapham draws some Deadpool and Bob! A strange sort of mash-up of A Christmas Carol and It's a Wonderful Life where Bob is given every reason not to live. The perfect Christmas present. If this doesn't fill you with holiday job, only Cable can... [****]

The Defenders #1: An enjoyable first issue. A bit busy and superficial in places, but definitely one of the more promising things I've seen from Fraction at Marvel since Iron Fist. Consider me aboard for the first few issues at least. [***1/2]

Men of War #4: Real world power is powerless in fictional world... also, when Ivan Brandon leaves, I do, too. [***]

OMAC #4: My favourite issue so far. They managed to touch on Kevin's personal life and still provide some great action. At this rate, Max Lord will run out of people to send after OMAC... [****]

Stormwatch #4: Another book I'll probably drop when Paul Cornell departs (though, unlike Men of War, I'll possibly pick up issue seven to see if there's a big change). Probably the most cohesive issue so far with a stronger focus than the first three. Stormwatch itself is still so scattershot as a group that I don't have a handle on them. The end of the issue is promising... [***]

Later

CBR Review: Haunt #19

2011-12-04T23:37:00.002-05:00

I recently reviewed Haunt #19 for CBR and, in the process, wrote the following sentences: "The most immediate change for Haunt with this issue is the art. I hesitate to say something like 'Nathan Fox is the furthest thing from Greg Capullo as you can find,' but the two styles are different in many ways. At their surface, the focus on dynamic movement and mood over correct anatomy is a shared trait. Fox is willing to bend characters and events as far as necessary to get across the feeling of a scene. Late in the issue, when Haunt takes on some soldiers for Second Church, the pages are a mess of blacks, reds, and white, nothing but frenetic action that looks pretty damn cool."

You can read the rest HERE!

CBR Review: Avengers Origins: Thor #1

2011-12-04T23:36:00.002-05:00

I recently reviewed Avengers Origins: Thor #1 for CBR and, in the process, wrote the following sentences: "Focusing on Thor, Loki, and Sif as young teens, Avengers Origins: Thor shows how Mjolnir was created, how Thor struggled to earn it, and, how, when he finally did, became so cocky and willful that Odin banished him to Earth to teach him a lesson in humility. Where Immonen’s writing shines is the way she writes the trio of Thor, Sif, and Loki. She manages both to make them seem like the characters we know better as adults and present them as teens with less maturity and subtlety. All three are far more prone to voicing their complaints and acting without thinking, as well as indulging in quite a bit of mockery at one another’s expense. That strong character work makes the well-worn plot fresher than it has any right to be."

You can read the rest HERE!

You Don't Just Want to Break Me, You Want to Tear Me Apart

2011-12-02T23:42:00.001-05:00

I love writing negative reviews. I love trashing bad comics. I fucking love it. I also love writing positive reviews. I love praising good comics. Mostly because I love my job. As a reviewer, all I'm asked to do is read something and then spend 500 words telling you what I think about it, hopefully in an entertaining and well-written fashion. I'll certainly cop to falling down on that last part sometimes, but never on telling you what I honestly think (except for that Secret Invasion #8 review -- and I've apologised for that numerous times -- it was early in my professional career and haunts me to this very day). To me, a positive review is something that happens when I read a good comic and a negative review is something that happens when I read a bad comic (and an average review happens when I read a mediocre comic, which is far more likely). But, that's not how everyone sees it usually it seems.

***

I've never been on the same page as everyone when it comes to negativity. It seems that, in comics, negativity is the enemy much of the time. You need to be positive about comics! Comics are fragile little birds that need love and warmth to grow and if you continually point out how shitty a lot of them are, well, comics could disappear. And it would be your fault, you negative, hateful motherfucker. Comics are for entertainment! Stop thinking so much, sit back, just enjoy them for what they are. Comics were meant for kids, how good do you expect them to be? Comics are meant for people who already know comics, how good do you expect them to be? If you don't have anything nice to say, you shouldn't say anything at all. You shouldn't review comics you don't already like. If you loved comics, you wouldn't say such mean things. The people making those comics tried really, really hard and you shouldn't dismiss those efforts so easily. You shouldn't take joy in hurting the feelings of another human being. What you say can cost someone money. Their job. Their house.

Christ...

***

Negativity always seemed more worthwhile. Praising quality has always seemed somewhat empty in a way. What does it accomplish? It makes people feel good, maybe points people in the direction of something great, and provides a nice quote for press releases (or tweets or covers or whatever). And I do like celebrating the things I love. There's a reason why I do a 'best of the year' list and several posts spotlighting other comics I thought were great (or interesting) and worth notice. But, it never seems as useful as tearing something apart and revealing it for the useless piece of shit that it is. Focusing on the positive is too much like living in denial. If you ignore the crap, it doesn't go away, it's allowed to grow. The whole concept of setting a good example by praising books is about as effective as the idea that Superman acts as an inspiration for humanity. Does it change a few people? Sure. That's it, though. Part of it is that I both understand the difference in how people perceive positivity and negativity, and I don't understand it. It's okay to be honest and perhaps a little hyperbolic in my writing style when I love something, but it's not when I hate something. It's okay to be gleeful in praise, but not in harsh criticism... I understand why people see things that way (and I see things that way myself to a degree), but it strikes me as fundamentally unfair and hypocritical.

***

If something is great, you know what we say? It was worth the money spent. Meaning, it held up its end of the transaction. Part of me sees positive reactions as the standard, the bare minimum in a sense. I paid my three (or four or whatever) bucks and expected a good comic. I should be overjoyed when I get a good comic? Really? Bravo, you produced a 4 star comic! That's the goddamn job. That's what people are paying for. When a comic is bad, it's not living up to its end of the bargain. It's the terrible meal you got at a restaurant. It's something below standards. That's (one of the reasons) why negativity feels more essential, more necessary: it points out the things that aren't delivering what's promised. They're the wastes of money. And time. And effort.

***

I tend to hate it when creators e-mail me about reviews, positive or negative. Because I'm simply doing my job and being honest. I couldn't give a fuck about who makes the comics. I really couldn't, because what does it matter? I don't know these people, I'm not their friend nor their enemy. A positive review is the same as a negative review. I'm not doing anyone a favour by liking their comic book. That's not something to thank me for. On a personal level, I'm sure it's gratifying that I, as a reader, enjoy what you do and that's fine, but, as a critic, it's immaterial. Because I could have just as easily hated it and I would have wrote a negative review about it and, after that, felt the exact same as I did when I wrote the positive review. What it really comes down to is that I didn't do anything special when I wrote that glowing review of your work -- just as I didn't do anything mean or cruel by writing that review that completely tore all of your hard work to shreds. It's the same thing to me, it's the job.

***

This may sound terribly mean, but I'd much rather see 'death watch' lists on comics sites for comics that they think should be cancelled for qualitative reasons, not economic ones. I honestly could care less about what comics sell. What business is it of mine? It doesn't chance my buying habits much. Hell, whenever a comic is selling low and people start trying to raise awareness about it to prevent it from getting shitcanned, I wonder why they weren't already doing that if they supposedly love that comic so much. Why weren't you so active in trying to get it readers when there wasn't a danger of it going away? There's no good answer to that question, by the way. The only answer is laziness and the sort of thinking that leads to people blaming a last minute loss on a single action in a sporting event instead of everything that led to that moment being so pivotal. I've stopped getting upset over the economic realities of comics (and TV and movies and books and music). Quality will be ignored and disappear; mediocrity will be loved and flourish. That's the way it goes generally with exceptions -- many, many exceptions usually, more than you'd imagine exist.

Fuck sales numbers.

Leave that shit up to the people who are actually affected by them, which probably isn't you or me. If you cared so much, you'd put a much larger focus on what's good and what's bad. You would make the efforts to promote those things you love right away, not when they're in danger; you would also try to get rid of the horrible shit that clutters the shelves, the fucking gravel that chokes the flowers (or whatever your preferred metaphor is). It's not a one-way street and you already make those decisions to a degree. Seriously. When you don't buy something, you're basically saying "I want that to be cancelled because it's not worth my money." But, fuck, god forbid you're active about it. God forbid you hurt someone's feelings. You've already made the decision that a large group of people aren't worth your money... is it wrong to say that out loud? Sometimes I don't know. Sometimes I wonder if that isn't what we need.

***

It's not so much 'fuck positivity,' more that you need both and I wish people would realise that.

Sketch Reviews (December 1 2011)

2011-12-01T19:01:00.001-05:00

Sometimes, things don't work out how you'd like. My shop didn't order me Doc Bizarre, M.D. or the new Vertigo Resurrected book. No big worries since I'll get them in a couple of weeks, but it kind of put a damper on my enthusiasm. Otherwise, it's been a day of Trailer Park Boys.

Batman: Odyssey Vol. 2 #2: Discussing Neal Adams's work on this series makes me feel like I'm stoner in the '70s. Just muttering "Crazy" over and over... [***1/4]

Daredevil #6: Oh, Marcos Martin... you make me read comics slow. [****]

Spaceman #2: Not as impressive as the first issue. This issue seemed to fly right by without as much meat on its bones. It relied on the art a bit more and reading between the lines on some things. Speaking of the art, it's Eduardo Risso... showing that he can dirty up the future like no other. [***3/4]

The Ultimates #4: Oddly, I was most excited by something Dean White said in his little interview at the end of the comic: "The People versus the Children is going to be pretty epic." Funny how, between this and Ultimate Hawkeye, Jonathan Hickman has made the titular heroes of this comic the least interesting thing in. Nice to see him return to his Ultimate Thor mini a bit. The end of the issue 'reveal' isn't much of one if you read Ultimate Fallout... but who the fuck did that besides me? Esad Ribic and Dean White are working some magic here, too. This has quickly become one of the superhero books I'm looking forward to most each month. [****]

Uncanny X-Men #2: Hey, look, fill-in artists! On issue two! It's mean, but I don't care why that's happening. Funny how every time something like this happens and it becomes a 'story' something comes out after about health problems or a death or something... why doesn't Marvel or DC (or whoever) realise that people will say shit and just head it off ahead of time? (The argument that the personal lives of creators doesn't hold much weight when those details are usually revealed anyway.) Anyway, an enjoyable issue. Sinister is a fairly interesting villain and Gillen is raising the stakes suitably... the art was one big wash of mediocrity. [***1/4]

Later

CBR Review: Ultimate Hawkeye #4

2011-11-27T23:36:00.002-05:00

I recently reviewed Ultimate Hawkeye #4 for CBR and, in the process, wrote the following sentences: "The Celestials and Eternals comprise two camps of superhumans created by the SEAR, each led by one of two twin brothers, Xorn and Zorn. The Celestials are dedicated to peace and enlightenment, while the Eternals are more aggressive zealots. Much of this issue is dedicated to setting up their existence and role in the Ultimate Universe as a place that could lead to the transformation of humanity (the ‘Deviants,’ as Zorn calls humans) into something greater, opening their doors to anyone who wishes to come to the cities. They even offer the Source (the serum that gave them powers) freely, setting up something akin to what the Inhumans were without the xenophobia and closed borders. Coupled with the Children and their expanding City in The Ultimates, the Ultimate Universe could look very different in a year."

You can read the rest HERE!

CBR Review: The Unwritten #31.5

2011-11-27T23:34:00.002-05:00

I recently reviewed The Unwritten #31.5 for CBR and, in the process, wrote the following sentences: "The Unwritten #31 began 'The War of Words' and, during that story, the title shifts to a twice-monthly shipping schedule. The main title will continue that story while the ‘point 5’ issues will shed light on the background of the conflict, beginning here with three short tales about the cabal that Tom Taylor is fighting against. Taken from the journals of Wilson Taylor, these three stories present a brief history of the cabal’s methods of control, first by suppressing ideas and, then, by using literature and media to manipulate ideas. With three incredibly talented artists joining Mike Carey and Peter Gross, The Unwritten #31.5 is a sign that these ‘point 5’ issues will not just be essential history lessons but entertaining and clever comics."

You can read the rest HERE!

CBR Review: Secret Avengers #19

2011-11-27T07:34:00.002-05:00

I recently reviewed Secret Avengers #19 for CBR and, in the process, wrote the following sentences: "In one of those ‘only in the Marvel Universe’ Eastern European countries that border Latveria, Steve Rogers and three of his Secret Avengers take down a local mobster with what appears to be a super-soldier serum for sale. They need to do it before the Shadow Council buys it and, to make things easier for them, all of the mobster’s men have used the serum. The premise is very simple and Ellis twists it as much as he can, right down to how the criminals get their superpowers and emphasizing that these are not the regular ‘superhero comic villains.’ If you’ve wanted to see Moon Knight purchase the services of a prostitute to maintain his cover, well, Ellis is more than happy to oblige you."

You can read the rest HERE!

CBR Review: The Mighty Thor #8

2011-11-27T07:32:00.002-05:00

I recently reviewed The Mighty Thor #8 for CBR and, in the process, wrote the following sentences: "After Fear Itself #7.2 introduced the new status quo for Asgard going forward, The Mighty Thor #8 expands upon that status quo and begins to form an actual story out of the disparate pieces. This first post-Fear Itself issue doesn’t just build upon the event, it has strong roots in Matt Fraction’s tenure on the title so far. With his original Thor collaborator Pasqual Ferry back providing art after returning last issue for the story of Odin and the Serpent, this issue is a good start to what looks like a promising story."

You can read the rest HERE!

Sketch Reviews (November 24 2011)

2011-11-24T16:43:00.001-05:00

Man, this past week, I pissed off Batfans with my CBR reviews. Funny thing: it didn't even occur to me that I was reviewing three Batbooks until my review for Red Hood and the Outlaws #3 garnered a "Nevett strikes again!" reaction on the CBR forums. My favourite part is the hate mail and the chance to respond with absolute literalism. That's always fun. But, I did want a break from comics a little, so I took Tuesday off from Random Thoughts. I went shopping in Detroit instead. I've long blasted the States for its lack of potato chip flavours, but, this time, it countered with many different M&M flavours not found here. I'm loving these dark chocolate M&Ms -- because, clearly, dark chocolate is the superior chocolate. Anyway, let's get to some new comics...

Annihilators #3: Damn, this comic is reading like the big event book Marvel should have pushed to the forefront instead of Fear Itself. It's pretty easy to see how this could have been made 'bigger,' especially the Magus taking over a third of the US population -- throw in an issue where it's the Avengers vs. a bunch of heroes and villains that are part Magus and you could kill plenty of time. Instead, it's a nice little mini-series mostly ignored. Ah well. [***1/2]

Captain America & Bucky #624: As always, gorgeous, fantastic art from Samnee and Breitweiser. The story is less a story than some fragments shoved together, especially the end of the issue with Bucky's sister. [***1/4]

Justice League Dark #3: What's so crazy about recruiting Mindwipe? I'm not familiar with the character... I'm enjoying this book, but think I would have been better off tradewaiting it. It's moving at such a slow pace across so many characters that it's hard to get too enthused over each new issue. [***]

RASL #12: DANGER DANGER HIGH VOLTAGE! Lots more Tesla talk and I'm completely okay with that. An interesting issue -- and an educational one! [***1/2]

Scalped #54: We keep walking towards our death... [****]

Vengeance #5: No Russian supersoldiers during World War 2... because the Red Skull killed them all in a camp during the war. Everything is connected and we move towards Latveria... we all know who Z is, of course. The way that Casey blends together all of his work in this series is fantastic -- same with the arrogance and self-doubt of youth he captures so well. Miss America calls She-Hulk a 'puta' rather than accept a ride home from the sixth dimension... goddamn, this is just some good comics, son. [****1/4]

Wolverine and the X-Men #2: I don't know why, but I'm a little bothered that this is the first time Iceman tried that trick and it works perfectly. Still, nice to see Jason Aaron actually pushing things a bit. Just some crazy fun this comic... Bachalo captures the manic chaos better than almost anyone else. [***3/4]

Later

CBR Review: Red Hood and the Outlaws #3

2011-11-21T21:52:00.004-05:00

I recently reviewed Red Hood and the Outlaws #3 for CBR and, in the process, wrote the following sentences: "Red Hood and the Outlaws #3 is a more interesting comic conceptually than it is in execution. When I think about the issue, I find myself liking it; when I flip back through it, that enjoyment disappears. Conceptually, it’s a straight up action book with a flashback for each of the main characters that helps shed some light on their personalities and adds depth to each of them; in execution, it’s a fluffy comic with unlikable characters that spout off flip remarks that carry little weight and go through the motions in a quest that’s presented as trivial. The flashbacks don’t add nearly as much depth as they’re supposed to, either. That disconnect between the idea and the reality ultimately makes this an interesting comic in a unique way, but not terribly good."

You can read the rest HERE!

CBR Review: Catwoman #3

2011-11-20T23:05:00.002-05:00

I recently reviewed Catwoman #3 for CBR and, in the process, wrote the following sentences: "The issue begins with Selina tied to a chair, captured by a midlevel gangster named Bone who has beaten Lola MacIntire to death to obtain information both on Selina and the items she stole from him. From there, the issue follows a rather predictable trajectory: Selina escapes, beats up some henchmen, goes after Bone, wants to kill him but is stopped, and there’s probably some moral lesson about revenge, killing, or something like that in there that you’ve heard a thousand times before. The only surprising thing about this comic, honestly, is that Lola is left tied to the chair she was beaten to death in rather than placed in a refrigerator."

You can read the rest HERE!

CBR Review: Fear Itself #7.3

2011-11-18T22:12:00.002-05:00

I recently reviewed Fear Itself #7.3 for CBR and, in the process, wrote the following sentences: "Of course, the undoing of these events (even if they were always meant to be undone) comes off as a slap in the face to some degree. Nothing is permanent in superhero comics, but to undo some of the big moments in an event in its coda? That’s somewhat unheard of. And Matt Fraction seems aware of that in this issue. Tony Stark visits the imprisoned Grey Gargoyle, who decimated Paris while one of the Worthy, and debates what his responsibility is in a situation like this. Should the villain face trial, spend the rest of his life imprisoned, or should he be killed? Does the role of the Serpent’s hammer act as a mitigating factor? And, by the end of the issue, does Odin’s undoing of what was done change anything?"

You can read the rest HERE!

Sketch Reviews (November 16 2011)

2011-11-16T21:18:00.001-05:00

Keeping things extra sketchy this week...

Avengers #19: Interesting new line-up. Even though he created her, Daisy Johnson doesn't 'feel' like a Bendis character anymore, does she? I chuckled at the Vision taken aback by Red Hulk. Or, Spider-Man and Wolverine realising that they're not on this team anymore. Daniel Acuna does some fine work. I kind of wish this issue and issue 18 switched covers, though. That final panel is a killer -- totally unfair. [***3/4]

The Boys: Butcher, Baker, Candlestickmaker #5: A strong follow-up to last issue. Ennis wasn't lying when he said this would be a great series. And Darick Robertson handles the emotion fantastically. [****]

Captain America #4: As always, when a weird different reality is introduced, I immediately lose all interest in the REAL world. I could read many comics about Captain America's different 'dream worlds' that reflect his best hopes and his worst nightmares. Digging Steve McNiven's art... [***1/2]

Deadpool MAX II #2: When this series ends, we can have Cable MAX, yes? Fun game: when the preview for Avengers: X-Sanction starts, pretend it's part of this comic! [****1/2]

Severed #4: Gorgeous art and wonderful interplay of characters. The scene in the diner was just horrible -- in that good way, you know? [****]

Wonder Woman #3: I really enjoyed this issue. I don't have much to say beyond that. [****]

Later

CBR Review: Batman #3

2011-11-16T19:36:00.003-05:00

I recently reviewed Batman #3 and, in the process, wrote the following sentences: "Writer Scott Snyder, to his credit, is following the Batman formula to a degree, with this issue simply representing the most formulaic part of the story: a mysterious threat has revealed itself by trying to kill Bruce Wayne, and Batman follows up using a healthy mix of beatings, detective work and coincidental happenings. What can be done to spice things up and make Batman beating down a gang of thugs before intimidating a man for information yet again? Adding some metal face masks is Snyder's solution, along with some backstory on the gang, adding a little color to Greg Capullo's drawings of Batman making these supposedly hard, scary, professional thugs look like rank amateurs."

You can read the rest HERE! (Or, compare the two reviews CBR has for this issue!)

CBR Review: Fear Itself #7.2

2011-11-10T23:49:00.002-05:00

I recently reviewed Fear Itself #7.2 for CBR and, in the process, wrote the following sentences: "'Stories end. Stories begin.' That phrase is used more than once in Fear Itself #7.2 and sums up the entirety of the issue. Ostensibly one of three epilogue issues for Fear Itself, this one focusing on the aftermath of Thor’s death during his fight with the Serpent, it doesn’t so much end that story as it begins another. If anything, this comic is more a prologue to the stories that begin in The Mighty Thor #8 and Journey into Mystery #631 than an epilogue to Fear Itself, since everything new in it helps establish the new status quo, not provide closure on Thor’s death. The question: should any of us have expected anything different?"

You can read the rest HERE!

CBR Review: New Avengers #18

2011-11-10T23:47:00.003-05:00

I recently reviewed New Avengers #18 for CBR and, in the process, wrote the following sentences: "There’s a storytelling tendency in comics that’s come into vogue sometime during the last decade that’s driving me absolutely nuts: the need to explain every little detail. It’s not enough to tell a story anymore; everything that leads into a story must be examined and explained even if there’s no point beyond the explanation existing. Brian Michael Bendis does this from time to time, the most notable example being those retched Secret Invasion issues of New Avengers and Mighty Avengers that detailed how every Skrull infiltrated Earth. The stories were unnecessary and rarely interesting, because we could all fill in the gaps after the point in time someone was replaced was revealed. Something similar happens in New Avengers #18, where Norman Osborn recruits his new Dark Avengers."

You can read the rest HERE!

(Also, I know I wrote about this in my Sketch Reviews. After doing that post, I realised no one had signed up to review this and, since I had some strong views, called it and wrote a review.)

CBR Review: Magneto: Not a Hero #1

2011-11-10T23:44:00.002-05:00

I recently reviewed Magneto: Not a Hero #1 for CBR and, in the process, wrote the following sentences: "Magneto: Not a Hero #1 isn’t a bad comic. It is a mediocre, somewhat obvious comic. In telling a Magneto solo story highlighting his role as a member of the X-Men while reinforcing his not-so-heroic (hence the title) nature, Skottie Young delivers a story that’s fairly simple and not surprising in the least. Magneto has apparently slaughtered the attendees of an anti-mutant gathering, except he was somewhere else at the time. It plays upon his villainous past, while allowing the character to push forward and show that he’s changed. There’s nothing wrong with that approach; it’s merely the most obvious one."

You can read the rest HERE!

Sketch Reviews (November 10 2011)

2011-11-10T17:12:00.001-05:00

"Autumn's Here" by Hawksley Workman is the song of the moment. Just like it is every year around now. I miss baseball.

Batwoman #3: Gorgeous. The writing is getting better, too. A little more suggestive than before. But, damn, that art... [****1/4]

Frankenstein, Agent of SHADE #3: The action bits were good, but this felt like stalling for time somehow -- maybe too much exposition. 'Part three' syndrome strikes again! [***1/4]

Journey into Mystery #631: Rather good writing. I like the way Loki fits into this new Asgard. And, probably the best art Whilce Portacio has done for this comic in his short time aboard it. Still not good in a lot of spots, but much more consistent throughout and didn't entirely ruin the issue. [***]

New Avengers #18: Just fucking get on with it. Norman Osborn gathers his new Dark Avengers and I couldn't give a fuck. Why? BECAUSE IT MEANS NOTHING. We don't need to see any of this. It's something about Bendis's writing that I've grown to hate: his inability to just get on with the story without showing every minute detail that went into the story happening. Just have the new Dark Avengers show up and assume they're on the team because Osborn recruited them -- how else would they get there? This wasn't interesting or insightful or anything. It was a complete waste of 18 pages before those final two pages, which were the only needed pages. Everything that came before was filler. Also: Barney Barton? What the fuck? (Wow, having looked the character up, he's real... and sounds pretty awful. At least Max Cash was interesting...) [*]

Point One #1: Oh, Marvel... Marvel, Marvel, Marvel... I've been fairly on board with what you've been pushing since Civil War. That event may have been godfuckingawful, but it was interesting and got me into a lot of your stuff and I've been a keen reader for years. That seems to be changing. 2011 was not kind. Fear Itself was just as godfuckingawful as Civil War except it lacked the interesting ideas and hook. (No, really, what was it about?) And, now, we have Point One (a horrible title named after a horrible initiative that you keep claiming is a success even though no one else can figure out the criteria for what makes it a success in any way, shape, or form), a preview comic, basically, that sets the stage for 2012. If this is any indication, 2012 will be even worse than 2011. Granted, most of what we see here either doesn't apply to the next big event or is something we've known is coming for a while. The Ultron stuff at the end was unnecessary since we've known that there's a big Ultron story coming since the first Avengers arc... and, then, since that 'point one' issue of Avengers... and this 'tease' added absolutely nothing. No context, little content -- what was the point? Showing off how effects can deliver two entire pages of 'shaky cam' art that looks like shit as a result? Great idea! Get Bryan Hitch to draw seven pages for you and, then, make two of them look like they were printed incorrectly. So, that's seven pages wasted. I don't really care about the Scarlet Spider, so those pages were just lost on me. That they were overwritten with horrendous narration didn't help. The Nova/Terrax/Phoenix bit felt like it was meant to have a purpose and didn't accomplish anything that the 'It's Coming' teaser didn't already... except show that there's a new Nova and he responds to the death of an entire planet with the phrase 'epic fail.' Better get used to hearing that phrase, Marvel. Fuck, better make it the catchphrase of 2012 if this comic is any indication. Okay, there were some things I liked. The mutant stuff looked great, but I couldn't care less about the story. The Doctor Strange thing has lessened my burgeoning enthusiasm for The Defenders following Fraction's Comics Alliance interview. It wasn't bad, it just wasn't good either. Is there something about working in the Marvel Style that makes writers suddenly cover pages with narration? It's like a fucking Stan Lee disease or something... I kind of dug the fire and ice twins story until they broke out. It went from intriguing and a little mysterious to pretty fucking goofy with the turn of a page... and I paid six bucks for this. Fuck me. [*]

Punishermax #19: You know, Frank Castle has a pretty awesome head of hair for a man his age and the amount of stress he lives with. Decent issue that only really got going near the end. The stuff with the Kingpin being isolated and perceived as weak was smart. [***1/2]

The Unwritten #31: The active nature of the story really worked up until the end when Lizzie is all "But Tom's only been doing magic for, like, a day! What if something goes wrong?" and then something goes wrong. Still, this is promising. [***1/2]

Later

CBR Review: O.M.A.C. #3

2011-11-07T17:18:00.002-05:00

I recently reviewed O.M.A.C. #3 for CBR and, in the process, wrote the following sentences: "Once you get the tone of O.M.A.C., it’s easy to appreciate its directness and simplicity. Part homage to Jack Kirby, part big dumb action comic, and part weird superhero sci-fi comic, O.M.A.C. is mostly a Get In, Have People Hit One Another, Get Out sort of comic. Within that framework, Keith Giffen and Dan DiDio put the focus on entertainment and delivering an experience that can be enjoyed in 20-page chunks. The world of the comic is growing one giant slugfest at a time."

You can read the rest HERE!

CBR Review: Stormwatch #3

2011-11-07T17:17:00.002-05:00

I recently reviewed Stormwatch #3 for CBR and, in the process, wrote the following sentences: "The moon continues to attack the Earth via projectiles fired from itself and a creature it's unleashed on Earth, itself. The source of the moon’s attack is apparently here to test and improve Earth’s defenses against some future threat. That creates a three-part attack for the team to handle, while keeping the story simple by having it all trace back to a single source. That sort of economy makes this a packed issue to read without overcomplicating things. The only problem is that threats presented are rather basic and not intrinsically compelling as challenges for a team that’s supposed to be as powerful and skilled as Stormwatch."

You can read the rest HERE!

Sketch Reviews (November 3 2011)

2011-11-03T19:23:00.001-04:00

Part three of the first Direct Message is below. Finally have two days off in a row, so these may be extra brief. I just began the final season of Married... With Children and have the urge to just plow through it. Then there's 1Q84 by Haruki Murakami and the time spent listening to Lulu by Lou Reed & Metallica (review at 411mania should be up tonight or tomorrow)... busy days. But in that good way.

Action Comics #3: What a cynical comic. The media turns everyone against Superman and the cops in Metropolis are openly corrupt. Is Morrison still in Batman mode or something? Also: goddamn, Rags Morales's art is awful. Sloppy, shitty work. (That's not terribly 'professional,' but it's about 300% more accurate than any 'professionally' worded critique.) The first issue that didn't quite work for both tonal and artistic reasons. [**3/4]

Animal Man #3: You know what DC loves more than Crises? Putting their heroes into longstanding legacies and groups. Every hero falls somewhere in a line. No one is new. No one is original. Everyone is in a family or a corps or a league that stretches back to the beginning of time. Hey, fuck you, Alan Moore. You ruined it. You fucked up. (Actually, I dug this issue. Foreman's art continues to get more fucked up and crazy, which suits the horror writing of Lemire. Lemire avoiding long bits of exposition is also impressive.) [****]

Avengers 1959 #3: Man, even before Doom, Latveria was fucked up. Two soldiers see an attractive girl and immediately begin arguing over the order in which they plan to rape her. What I love is that their argument sounds more like they're arguing over who will get the next round of drinks. Just a casual, friendly argument, because raping women together is not something out of the ordinary for these guys. That's fucked up. (In Chaykin-related news, I also got a full run of Cyberella, the comic he did with Don Cameron for the short-lived DC sci-fi imprint Helix. The complete run was marked at $10, but Retailer Tim gave it to me for five bucks. Good man that Retailer Tim.) [***1/2]

The Boys #60: The opening two pages are harsh. Wolverine killed the president. Mother's Milk life continues to be fucked. The revenge of the '90s. Decent issue. [***1/2]

Fear Itself #7.1: James is alive and I don't mind one bit. I love the people annoyed because it was a fake-out... when were they supposed to tell you? It only happened, like, four months ago. That's how fake-outs work. If they tell you right away then it's not a fake-out. The art here is fantastic. The writing was serviceable, though. So plot-driven that there wasn't much room for anything else. Good comic that was a nice little surprise with a great character still on the table. I assume Winter Soldier will replace Captain America & Bucky, because no one is stupid enough to think three ongoings featuring those characters could last. Two is pushing it. [***1/2]

Men of War #3: Just enjoy the ride, son... [***1/4]

Moon Knight #7: Oh, that guy an issue or two ago was meant to be Count Nefaria. I totally didn't get that, because, while talented, Alex Maleev doesn't draw characters so that they look like previous depctions. Ever. Entertaining comic. [***1/2]

Swamp Thing #3: The exposition train keeps a'rollin'... The art fill-ins were decent, but the writing was a bit plodding in spots. Snyder needs to find a way to either cut down on the exposition dumps or make them fit more organically into the book. Then again, this issue has that fantastic single page. You know which one it is. [***1/4]

Later

Direct Message 01: A&C: DC Part Three

2011-11-03T14:53:00.003-04:00

[Continuing the first in a planned series of discussions between myself and Alec Berry. Parts one and two...]

Alec Berry:Along with Animal Man, Wonder Woman was the highlight of the entire relaunch. At least for me.

That said... I have little to say about the comic because all that really hits me is … damn, that was good.

Wonder Woman just does what a comic book should, I think. When you break it down, the actual plot is fairly simple - gods are planning something big and some mortal woman, through destiny or fate or whatever, has been thrown into the mix - but the execution and illustration brings everything home.

For one, Cliff Chiang captures motion so well and turns what could have been a routine fight into a few pages of fast, hard hitting fisticuffs. He manages to characterize Wonder Woman through her battlefield tactics, and the way he depicts the character completely brings home the whole aspect of “Amazon Warrior.” I mean, there’s a panel where she head-butts a fucking centaur! Talk about a great moment. I think I clapped.

And, I mean, the script in terms of events doesn’t contain much, but I do respect Brian Azzarello here because he takes what’s really like three scenes and makes the comic feel heavy with content. He makes your mind work, along with Chiang, even though its an issue of centaur pillaging, and a lot of that has to do with being thrown into the world without being baby fed information. Read over the comic once more. Azzarello never explains who Wonder Woman is, why mythic figures run amok in what seems to be a world similar to ours, or what our supposed villain wants or gains from his oracles. Yet the entire comic book makes sense, and I never felt lost reading it.

The story conveys excitement, a world existing beyond ours, and a real sense of threat. Plus, Chiang and Azzarello work in some nice moments of horror. Horse decapitation!

And, hey, the book looks fantastic and does it’s job by way of those looks. Like a comic should.

Chad Nevett: Azzarello never explains Wonder Woman. He shows, he doesn’t tell. That’s what sets him apart from pretty much every other writer of these new books. He just presents Wonder Woman and expects us to understand her by what she says and does. Direct and simple. So direct and simple that I honestly don’t have much to say about Wonder Woman #1. Then again, it’s hard to talk about single issues by Azzarello. If you’ve read at least one of his books, you know that a single issue is just a small piece of what’s there.

‘Funny’ story: when Wonder Woman #1 came out, the guy at my shop, Retailer Tim, mentioned that I was the first person he’d come across in the store who liked Cliff Chiang’s art. And this was Thursday. He likes Chiang’s art, too, and we were both amazed that many customers actively hate his art. Comics fans, people! We’re doomed!

I did find all the talk about this book being ‘appropriate’ for little girls fun. Is fun the right word? It’s like, what, little girls can’t enjoy horse mutilation like little boys? Tim Callahan’s son loved this comic. Then again, I have no idea what little girls like -- I have no idea if DC was right or wrong for not trying to target an audience that doesn’t seem to care at all about their product in the vague hopes that someone somewhere will begin forcing it upon that audience because DC is making comics they’d love. I dunno. I guess I’m left wondering how many little girls comics lost because of a horse getting chopped up in this comic... listen to the internet and their numbers are legion, but I imagine it’s a bit less.

Though, who was the audience for this relaunch? Was it you and I? The lapsed comic readers? Little boys and girls? All of the above?

AB: The internet zeitgeist is really just that. The internet. The dominate tweeters, bloggers and podcasters may shout from the mountain tops of how great Chiang is, but in reality the internet opinion holds the minority. Why that is … I don’t know. Maybe we’re just paying more attention? Or maybe everyone does like Chiang, and you just live in a sucky area of Canada.

Questions, questions...

As for target audience? Whoo, boy. That’s the big question, isn’t it? I’d say a mix between lapsed readers and fresh faces. The TV advertisements said a lot. I mean, they included terrible music, but the way they flowed said to me, “hey, there are still comic books, and DC possesses the characters you’ll care about.”

I’m sure someone has written an immense article on such question. I’ll save everyone the pain.

CN: I never actually saw the commercial, mostly because I don’t care. That’s where I seem to be out of line with most people. I don’t really care about the business side of things. Like when the sales figures began to leak right away. Good for DC... I don’t have a horse in this race.

The question of who the target audience is interests me to a degree, because I’ve gotten into the mode of not caring if comics target anyone but me. I think it was around Final Crisis that I realised that here was a big event completely meant for me and that’s fantastic. I love comics that are meant for me. I don’t know what other people actually want, so I can’t even speak about if a comic effectively targets another type of reader -- and why bother? And I have to agree with you that this feels like it was meant for people who aren’t me. I’ve liked a bunch of books, but haven’t really LOVED any. There hasn’t been that one book that just completely wows me, that becomes one of those books that I can’t wait to read every month. I think that’s what disappoints me.

AB: I’m moderately intrigued by the sales. Usually I try to ignore the numbers, but in a case of this magnitude (and, come on, the purpose of this was a sales boost) I’m paying attention because, well, did DC accomplish what it set out to do? Did this relaunch really attract anyone new or boost sales? I feel its partially necessary to account the sales because in a holistic sense they are a vital piece of the relaunch.

But, hey, we’re here to discuss the quality of the actual content, and I think I can agree with you in your “nothing really wowed me” assessment. Although, I would give such ranking to Wonder Woman. I can’t wait to read the next issue. Besides it though, yeah, DC’s 52 is really just a collection of character spotlights with some moderate aesthetic pleasure. Then again, I never expected anything different. DC is all about property awareness with this push. They want people to know of their brands, and they would like those people to read and follow those brands. I believe there’s plenty of room for creators to still be creative in such an environment, but not much of what I read shouted creative shock to me. There were, however, plenty of solid super hero comics published in the 52. I mean, of what we’ve covered thus far, I’ve been fairly positive about most of it.
But back to my point of “aesthetic pleasure” … Honestly, I feel DC has enough skilled artists to make me buy some of their books. We’ve mentioned Travel Foreman and Greg Capullo. I would also say Jim Lee, Doug Mahnke, Francis Manapul, J.H. Williams, Alberto Ponticelli, Ivan Reis, and Freddie Williams fit the bill. While all the scripts these artists draw from may not light the world on fire, DC is still publishing some sharp looking comics, and that’s kind of enough for me at this point. You make a super hero comic look cool, and as long as the script is decent, I’ll purchase more than one issue.

Great examples are Flash and Batwoman #1. If you took away the artwork from these comics, they would read like any ordinary thing because the substance belongs to the visuals. Williams and Manapul both show their skills as visual storytellers via these first issues. Certain scenes in Batwoman - like the soap opera max father/daughter confrontation - come off as overplayed and forced, but Williams depicts them as Williams does and they feel exciting and new. Manapul takes his expected Flash chase scene and bumps it up to pure eye candy.

Both comics are complete examples of how great artwork can improve mediocre writing. It’s oddly refreshing because it leans the entire success of the comic book on, well, the panels. How odd is that for this writer driven age we inhabit? Kind of why I agree with Grant Morrison when he says the writer age is over.

CN: Is it weird that I still don’t really think of Batwoman as a NEW comic in the same way as the rest of the relaunch? It’s been so long coming that I almost see it as a carryover from before. I mean, it was on my pull list before the relaunch was announced -- it’s like considering Green Lantern by the exact same creative team a new entity in any way at all.

And the writer age isn’t over. What, because there are a few artist-driven books? I should damn well hope that, out of 52 books, many would have good art and a few would have great art. I expect the same of the writing. I think Action Comics is a fairly strong writer-driven book. Take away Morrison and you’re left with Rags Morales. The other side of that is something like Detective Comics, which is totally artist-driven... and lacking in both quality writing and art. I still don’t know why that final page is supposed to be cool or awesome or... even interesting. It baffles me completely.

But, you’re right, take away the art from a book like Batwoman and you’re left with a fairly middle-of-the-road comic. It makes me wonder how well the comic will function when Williams isn’t doing the art. I know a lot of people love Amy Reeder’s art... but she’s not in the same league as Williams. The zero issue was almost painful in its demonstration of that. And that’s a concern that spreads across much of the line. With word of short lead times, how long before some of these stacked creative line-ups are replaced with less-than-stellar replacements? I guess this relates to the question of sales as well: it’s all well and good to look at the first month, but is that a good indication about the relaunch and its impact? Or, should we return to the question in nine months and see where things are at?

AB: Nine months will say a lot about this entire move. About sales. About impact. About longevity. And, yes, about the creative teams.

I believe we’re already seeing a few of the cracks in the art consistency. Action Comics looks to be in a visual tailspin for the next few issues - until Andy Kubert steps in. Marco Rudy was supposed to pencil Suicide Squad, but that didn’t happen. Leading the book away from a solid visual look. David Finch seems to do whatever he can on each issue of his Batman title. Completely squashing the original intent of the comic.

The books to really make an impact will be the comics that maintain their creative teams - especially on the art side. It seems the smart books of the industry switch artists between arcs. Daredevil is the perfect, current example. If DC could work to the DD model, hiring a pair of similarly styled artists to go back and forth, the comics could come out monthly and still carry a consistency while looking nice.

But, hey, even though plenty of great illustrators remain unemployed, DC will stick to their usual stable of talent. Gotta maintain that house style!

Strict deadlines could be good, though. Artists may experiment with different styles in order to produce faster. Kirby did that. Kirby’s good.

I mean, if artists want to keep the job, they’ll actually need to sit down and hammer out the work. Job on the line … artists may adapt in interesting ways.

The interesting story is Jim Lee. Man of the company. Can he keep up? What happens if he doesn’t? Looks bad when boss man misses deadlines.

So, shall I drop thoughts on Justice League?

CN: I just want the end of All-Star Batman and Robin, the Boy Wonder. Who chooses Geoff Johns over Frank Miller? What the fuck? And, yeah, talk about Justice League while I lay back and think of O.M.A.C. until it’s all over...

[The conclusion is up on Alec's blog...]

CBR Review: Uncanny X-Men #1

2011-11-01T23:00:00.001-04:00

I recently reviewed Uncanny X-Men #1 for CBR and, in the process, wrote the following sentences: "The schism has occurred and the new era of Uncanny X-Men begins two weeks after Marvel's long-running title saw the previous volume's final issue ship. Not so much a stunt to gain new readers (though that no doubt plays a part), the relaunch of Uncanny X-Men places it on equal footing with the newly launched Wolverine and the X-Men, showing that each group is acting parallel to one another, neither one 'better,' just different. Despite the harshness of the Schism title, the aftermath is one of mutual respect and coexistence, something this first issue makes quite clear as it lays out the new status quo and direction of the series. It's an entertaining first issue that draws upon past Uncanny X-Men stories while maintaining a new reader-friendly tone."

You can read the rest HERE!

Direct Message 01: A&C: DC Part One

2011-11-01T12:38:00.002-04:00

[This is the first edition of Direct Message, the new series of conversations that I will be having with Alec Berry. Our first conversation is on the DC relaunch and will run four parts, alternating between our two blogs, over the next few days. Enjoy.]

Chad Nevett: Because the DC relaunch #1s haven’t been discussed to death, welcome to the first ever Direct Message. I’m Chad Nevett and you probably already know me from GraphiContent, my near-800 reviews for the two-time Eisner winning website Comic Book Resources, my Random Thoughts, the Splash Page, my writing on 411mania, and whatever other dumb thing I do somewhere online. Joining me is Alec Berry who co-hosts the Chemical Box podcast, posts on his blog alec reads comics, writes for his student paper, DJs for U92-FM, and... well, this. How do you like the pompous jerk persona I’ve put on for our discussions, Alec? Isn’t it lovely? Of course it is. We’re here to discuss the new DC first issues we’ve read. We overlap for the most part and differ in a few places, so it should be a mostly cohesive discussion with a few moments of “Uh, if you say so... I haven’t read that, so I don’t really know.” What’s our first book, Alec?

Alec Berry: You say pompous jerk. I say, “damn, Chad just owned that introduction.” Why have credits if you can’t talk about them?

While I know what book we’ll first chat about, I wanted to ask you about your reaction to the news. Granted, reactions to this publishing move are a dime a dozen, but I feel this piece would lack a little something without our initial thoughts and hopes and “dreams” for the relaunch. Plus, for readers aware of their Splash Page Podcast history, the word of complete relaunch came just shortly after the show’s end, and we never heard your thoughts (Tim’s we later did via his When Worlds Collide column as well as his Tor.com stuff).

So as a Splash Page listener, Chad, I would like to know your initial expectations and thoughts because I didn’t get them way back when. If you did blog them up before, I apologize for missing them. Just act like it’s July or whatever, and you’ve just received word of DC’s plan but you also know all of the associated creative teams. What hopes do you hold for this relaunch, and do you feel it’s good move?

We can come back to the overall, current viewpoint later. For the sake of response time and organization, I’ll just type my original thoughts now.

Months ago ...

This news, contrary to the few creators involved whom I actually enjoy, excites me about DC Comics. I’ve been losing interest in them as a publisher. I buy Morrison and Snyder’s Batman stuff along with Nick Spencer and CAFU’s T.H.U.N.D.E.R.Agents, but roughly three comics out of the numerous DC publishes is not enough to solidify the publisher’s place in my list of favorites. Which sucks, because I kind of always cheer for DC even though I don’t know why. I guess I see them as the underdog in the “Big 2 Equation.” Plus, I like the potential in the DC Universe and what its inhabitants stand for in terms of being icons or modern gods. But the way the line has been handled in the past year … it hasn’t capitalized on the potential I see. And the Vertigo line … pretty weak when compared to previous years.

But, even though it’s another relaunch headed up by a handful of the same creators who’ve been working at DC, I’m excited about DC Comics right now. I think it’s because it’s not just another relaunch. Not really. Look at the scale of this move. It’s unprecedented and feels bold. New titles across the line. Jim Lee’s art, even though very 1993, painting the Justice League in a light. Day-and-date digital. Talk of major advertising efforts. I don’t care who you are. This is at least mildly compelling.

As of now, I’m counting 15 books on my “to try out” list. Possibly 20. That’s more than the three I was buying, right? Could this mean success?

Time will tell. The move could be huge in terms of sales or completely end in disaster. Quality wise … I’m a little uncertain. J.T. Krul still appears to write for DC, and only a small handful of these comics seem to have any sense of solid creative direction. Quality will ensure any long term good will. Still, even though I’m doubtful of the quality, I’m buying at least 15 DC comics come September. They have my money for that month.

Now...

My original thoughts. I’m sure they were wonderful to read, Chad. Just wonderful. So, what book do I want to kick off with? Oh, how about Animal Man? I felt it really stole the show.

Animal Man #1

I don’t know about you, but Jeff Lemire has been a wild card in my book. I’ve enjoyed some of his previous work like Essex County and the first 12 issues of Sweet Tooth, but other things, like his Superboy or the other issues of Sweet Tooth, have really left me bored and begging the question, “why?”. Why are so many people hooked on this dude? I get it. He can make you feel something. Whether it’s the pain of some situation in Sweet Tooth or the colorful bounce on a page of Superboy, Lemire makes you feel something, but past that, when the emotional trick wears off, what does this guy offer? His artwork is quite enjoyable. I like the torment and gray he carries in his line, and he can produce an eye-keeping page design. But even then, with the tormented line, it feels like more of that emotional trick.

I just sometimes want to chalk this guy’s favor up to his ability to make people cry. I mean, people dig emotional, “deep” stuff right? Works with such qualities win awards. After a while, I just find it, I don’t know, cheap. You know, make people cry, and they will remember you. The idea of leaning your entire work on emotions just made me want to write Lemire off.

Reading Animal Man - as well as Frankenstein which we’ll get to - has shown me a little more of what Lemire is capable of. While I feel a majority of the comic’s success falls on the efforts of Travel Foreman, Lemire fills some other shoes on this first issue and does a fine job. The tone and situation resemble a typical Lemire project, but there’s an interesting psychologicial horror element to this comic. I find it intriguing and exciting because it takes Buddy Baker a little bit away from what I understand him to be. Now, I have yet to read the Morrison stuff (I know, shame - how can I write about comics?), but Buddy Baker, from my point of view, is the family man. The dude changes diapers, eats at the dinner table every night, and talks to elephants. He lives a safe lifestyle for the most part. Those elements are certainly still in Lemire’s take, but he’s made Animal Man edgier. He’s placing the character in freaky, vein-filled head trips and setting his daughter in questionable territory. The lifestyle no longer seems so safe. As a first issue, it’s very well done. Lemire sells the character’s core, his world and builds conflict for future installments. This would bring back first time readers. I know I’m coming back for #2.

But, yeah, Travel Foreman. Without his art, even with Lemire’s strong writing, I do not believe I would have enjoyed this comic as much as I did. Foreman, along with Lovern Kindzierski’s colors, sell the eerie, unsteady vibe of this comic book. Just something about it - and I suck when it comes to writing about art - elevates the entire work.

I’ll just shut up, and let you go, Chad. Maybe you can explain Foreman in a more attractive manner.

CN: Christ... and I thought Callahan was a long-winded bastard...

My first reactions to the DC news was a surprising non-reaction. I’d heard mumblings about a big relaunch or reboot for a while, so there wasn’t really any surprise. I was intrigued about what books would be launched and scoffed at doing 52 ‘new’ books right away. I still scoff at that, honestly. (Short reason why: they made it work for the first month, quite possibly the second and third months... but how long before the train goes off the tracks? Will it still be working in a year?) Like you, I wasn’t buying a lot of DC books and, now, I’m buying more. So, victory, yes? Again, my negative personality and instinct to trash things immediately pointed out that, out of 52 titles, I’d added only ten or so to my pull list. More than before? Sure -- but not an overwhelming victory. (And, if you want to get into that bullshit Marvel vs. DC thing, still less comics than I buy from Marvel monthly.) But, I also didn’t care about continuity problems or the idea that everything up until now ‘didn’t count’ like a lot of fans. This was just another move by a comics publishers, albeit on a larger scale. A scale that’s impressive no doubt... just not enough to really sway my cold cynical heart. Give me 52 comics I want to buy every month and maybe my heart will pound a little faster.

I’m surprised you wanted to start with Animal Man. I expected to start with Justice League #1 and the two of us having a nice big argument as our introduction as a criticism duo. Instead, we both get to say nice things about a good comic. Animal Man was actually a ‘gut pick’ book (a book that I decided to buy purely on the gut feeling that it would be good), which is strange, because I’m not a Jeff Lemire fan. I’ve tried out Sweet Tooth a few times and it left me cold. I haven’t read Essex County despite actually living in Essex County right now, though. I didn’t read any of his previous DC superhero work. Yet, I was looking forward to Animal Man #1. Go figure.

The horror element is what really sold me. And I’m not a horror fan. Go figure again. I was enjoying the comic up until the dream sequence (and I don’t like dream sequences!) and, then, I just fell in love with it. It was creepy without being overbearing or descending into unintentional comedy -- and immediately followed up by a big ol’ punctuation mark with Buddy’s daughter. The book started with the family and comes back to the family. I like that. I like that the comic is rooted in Buddy being a husband and father in an era where most comics are running away from the family life with such passion that I can’t help but wonder about the marriages of comics professionals.

The opening page of Animal Man #1 was a surprise. Both in DC letting it happen and in how no one who read it seemed to mind. People love that little text interview! Just don’t call it a recap page, of course...

The reaction to Foreman’s art has been very mixed, which suits his art, I think. I won’t lie and say there aren’t some rough spots. I do think those rough spots work with the tone of the book. Buddy lives in a shifting world of sensory experience and the art reflects that to a degree. Nothing is entirely stable or consistent. It’s a subtle way of reminding us that Buddy’s senses must be confusing as hell at times as he shifts from eyesight as dominant to hearing to smell depending on the animal he’s tapped into.

I’m not sure about Buddy himself. That stems mostly from my anti-hippie, meat-loving life. I’m not an animal lover, which makes a protagonist who’s an animal lover and environmental activist not as near and dear for me as others.

One thing that struck me from Animal Man #1 was how effective it was at horror and ending in a very creepy, disturbing place where Swamp Thing #1, ostensibly more of a horror book by its nature, didn’t land in the same way. Discuss.

AB: Don’t worry. I will bring up Justice League #1 at some point and defend its existence. Just wait.

You bring up a good point on comic book marriages. Not many of them seem to fly, and neither do any regular old, girlfriend/boyfriend relationships. Not that I necessarily care as, like any asshole would say, none of these “people” are real. I’ve never been one to get caught up in that very soap opera aspect of cape comics. I think most of it relates to my earlier years reading comics. As a 13 year old kid, I cared less about the relationship between Green Arrow and Black Canary. I read for the fights, bright colors, and iconic moments - not the make-out sessions or break-up tears.

I think part of the “single hero” trend relates to that idea. Super hero comics are constantly labled boyhood fantasies, and if we’re to take that label as the actual approach, it makes sense most super heroes would run around unchained. Girls are “yucky,” right? Men get shit done and kick ass? That’s always been the belief, correct?

You could also look at singleness as another form of escapism, which is another label hero comics are usually slapped with. I mean, I’m far from being married, but I could imagine it being nice to attach yourself to a super hero character, live vicariously throw him or her, and use the 20 page comic book as a means to break free of the nagging wife or husband. Both reader and author could receive something from that.

Of course, if these comics were true escapism, you’d think more heroes would date. Authors and readers would receive the chance to hook-up with hot, fictional women or men they’ll never meet. Oh, wait ... Red Hood and the Outlaws #1 …

Or, hey, maybe the lack of marriages and relationships is all a part of some giant conspiracy to keep women out of comics. Seems relevant, right? Internet, you decide!

But, yeah, I agree. I enjoy Buddy Baker as a family man. The quality gives his character a little something unique and removes his book from the equation of some conventions. As Morrison has said, that’s the only mainstream mark he’s made that he would like to see not changed, and it appears Lemire may bend it but keep it fixed.

I had forgotten about the text page! Lemire handled it well. Buddy Baker’s past in this DC Universe is explained, and any new reader can obtain an idea of who this guy is. I also enjoy it for its ability to give the character a personality before we even see him. Buddy comes off as a real guy. And, hey, The Believer Magazine conducts the interview …

Swamp Thing #1

And now I get to be a little negative. This comic was just one big “eh.” Though, Paquette gets my respect. He made this armor Superman suit look kind of nifty, and he brought his game on layouts toward the back of the comic.

I’ll simply say Swamp Thing #1 didn’t pack the punch I expected of it. Alec Holland spends multiple pages talking to me about planks of wood and the violence of nature. Snyder relies way too heavily on captions to communicate. The tone seemed to fluctuate without any real anchor point. And, that entire conversation between Holland and Superman is basically a cheap way to tell me who Alec Holland is. The scene fell flat.

You are also completely right. Animal Man and Swamp Thing switched roles. The supposed horror comic went all super hero, and the super hero comic went all horror. Snyder does attempt a horrific tone towards the end of this first issue, but when the first 3/4ths of your comic reads like standard super hero fair, such a sudden change in tonal direction just feels off and sloppy. The flies whom snap necks were somewhat disturbing, and I enjoyed the use of red by Nathan Fairburn in said sequence but none of it was enough to save this issue for me.

Nothing terrible. I just felt it came off as a mess of a first issue, and Snyder’s writing did little to interest me in this story or character.

CN: I thought it was good, but on the low side of good... if that makes sense. I tend to run a little colder on Snyder’s writing than everyone else online who, apparently, isn’t you. When David Brothers pointed out his narration trick, I sort of smacked my head for not noticing it myself.

Something I said that I didn’t see anyone else ever echo was that Paquette, while skilled, dropped the ball big time in that final sequence. It was a horror sequence and Paquette’s art doesn’t communicate horror well. His art is a little too clean and posed even when it’s trying to be messy and dark. I was like “This is pretty... not scary or disturbing in the least.” And that wasn’t the fucking point. The point was scary and disturbing and fucked up, not pretty. If Paquette can’t pull scenes like that off, then he’s on the wrong book. It happens. Sometimes, great artists just aren’t a fit for certain subject matter...

Superman’s appearance was kind of funny (his actual appearance was funny visually to a degree, too, in that stupid costume and giant chin) in the reaction it produced online. He mentions having died once before and I loved seeing people freak out, because Clark and Lois have never even dated let alone got married, so how could “The Death of Superman” have happened? Sometimes (often), comics readers are idiots, Alec. (The answer is: the same way it happened previously, but without the Lois stuff. Duh.)

I don’t know... I find myself not having much to say about Swamp Thing #1. It was a comic that I read and mildly enjoyed...?

Where Swamp Thing holds my interest mostly is in its approach to the character. It’s one of the titles that seems to pick up right from where the DCU was. You can easily imagine that, without the relaunch, Swamp Thing #1 would have come out this month as a new ongoing series. The way that each first issue approaches its characters and their pasts has interested me. This one is a ‘continued from where we last left off’ one, while ones like Justice League are practically full-blown reboots. I’m curious how DC can have these various approaches coexist if they want a coherent, whole universe (and they do). All that “It’s a relaunch, not a reboot” talk was a lie, because it’s kind of a reboot... except when it’s not.

Now, Animal Man kind of straddles the line. It doesn’t feel like a direct continuation of where we last saw the character, but it’s also not a full-fledged reboot. Maybe that’s why it’s so successful (beyond all of the other reasons). It genuinely satisfies both desires of this relaunch by serving two masters.

[Part two is on Alec's blog, so go read it!]

CBR Review: Captain Swing and the Electrical Pirates of Cindery Island #4

2011-11-01T01:44:00.002-04:00

I recently reviewed Captain Swing and the Electrical Pirates of Cindery Island #4 for CBR and, in the process, wrote the following sentences: "Finally, Captain Swing and the Electrical Pirates of Cindery Island #4 has come out. The mini-series began in February 2010 with the most recent issue coming out in March of this year. That’s a fairly scattered release schedule, one that lessens the impact of this fourth issue. Unless you’re going to go back and reread the first three issues, this issue has a few moments of catching up in the story as it all comes back to you. Once you get past the gap since issue three came out, though, this fourth issue is a strong conclusion to an odd little story."

You can read the rest HERE!

CBR Review: Journey into Mystery #630

2011-11-01T01:43:00.001-04:00

I recently reviewed Journey into Mystery #630 for CBR and, in the process, wrote the following sentences: "Fear itself is over and titles like Journey into Mystery get to pick up the pieces. In its first post-Fear Itself issue, the title begins to deal with the ramifications of what happened in the event, namely the death of Thor and the roles that Loki and Volstagg had in that death. As we saw last issue, Loki manipulated events so that Thor would sacrifice his life to kill the Serpent as a necessity; in this issue, his heretofore unknown co-conspirator, Volstagg, struggles to go on after helping to kill one of his dearest friends, even if it was called for."

You can read the rest HERE!

CBR Review: Annihilators: Earthfall #2

2011-11-01T01:41:00.001-04:00

I recently reviewed Annihilators: Earthfall #2 for CBR and, in the process, wrote the following sentences: "The cover to this issue promises exactly what’s delivered as the Avengers and Annihilators come to blows. It’s another ‘heroes meet and fight over confusion as to what’s actually going on’ plot and it works well in this issue. That Abnett and Lanning can take a cliché of the superhero genre, make it refreshing, and build an entire issue around it is impressive. Since the Annihilators are comprised mostly of characters that have attacked Earth at one time or another, the Avengers seeing them as an invading alien force makes sense. This is not a group that, on the surface, engenders positive reactions on Earth."

You can read the rest HERE!

CBR Review: The Ultimates #3

2011-10-31T15:00:00.001-04:00

I recently reviewed The Ultimates #3 for CBR and, in the process, wrote the following sentences: "Situations that seem hopeless are staples of superhero comics. If the bad guys don’t appear stronger than the good guys, the conflict isn’t engaging and falls flat. The Ultimates has had its share of ‘hopeless situations’ in the past and, somehow, it looks like Jonathan Hickman has found one that tops them all in the Children of Tomorrow and their ever-expanding City. Presented as only one of these crises for S.H.I.E.L.D. to handle in the first issue, the Children of Tomorrow have taken over as the primary antagonists, 'destroying Asgard, killing the gods -- and cutting Thor off from the very source of his power' last issue. In this issue, Hickman manages to one-up that shocking finish by having S.H.I.E.L.D. and the Ultimates completely useless in the face of the Children of Tomorrow."

You can read the rest HERE!

CBR Review: Spaceman #1

2011-10-31T10:03:00.002-04:00

I recently reviewed Spaceman #1 for CBR and, in the process, wrote the following sentences: "Spaceman is a story of the future. If you’re familiar with Azzarello’s writing and Risso’s art, you’ll know immediately that this is not a bright and shiny utopia future. It’s dirty and nasty, pretty much the worst of the present. Orson is a man genetically engineered to function in space, except there isn’t a space program anymore and he’s not exactly fit for life on Earth. Superficially dim-witted and looking like the missing link, he salvages and buys drugs off kids. Much of this issue is an introduction -- a feeling out process -- for this future and exactly what it’s like, with the plot taking a backseat to a degree."

You can read the rest HERE!

Sketch Reviews (October 27 2011)

2011-10-27T15:28:00.001-04:00

I bought comics yesterday and read most of them while waiting in the car while Michelle taught a class at the gym and, then, the rest in a mall food court while she was at some meeting related to teaching glasses at the gym. When we got home, we watched TV and went to bed. So, that's why this post is going up today instead of yesterday. Plus, there were a lot of comics to read. Giant week.

'Breed III #6: The progression throughout the issue of Stoner looking down on everyone to eventually realising that he's a punk bitch next to the likes of Dreadstar and Darklon was pretty funny. That the cover to this issue is a reference to Dreadstar #1's cover is awesome. Jim Starlin knows what people want. [***1/2]

Butcher Baker, the Righteous Maker #7: Speaking of homage covers... that's a lot of shaded cock at the end of this comic. [****]

Captain America & Bucky #623: Decent issue. Samnee's art is gorgeous. Honestly, more looking forward to next issue and leaving behind World War II... though, ending with a concentration camp... what do you say about that? [***1/4]

Daredevil #5: The line "Send six." made me laugh. The art is wonderful and the villains are evil, but their secret plan that the blind translator came across is right up there with the evilness of the bad guys in The Phantom Menace. When criminals become too much like businessmen, they stop being entertaining. You may as well read the business section. But Marcos Martin is amazing and Waid's peppy/smart writing grabs. [****]

Incredible Hulk #1: My gut said that this wouldn't be for me, but I just had to give it a shot. My gut was right. My gut is always right. I knew I'd hate the art, so that wasn't it. Jason Aaron's writing was not to my taste. Dull with an end that made me roll my eyes. Not for me. [*]

Justice League Dark #2: So... ghosts are constantly horny? That makes sense. After all, they can see naked people any time they want, but can't do anything about it. Peter Milligan gets this. That Dawn lady should have just dumped her ghostly boyfriend and let him be the serial rapist he obviously wants to be. Now, that's a Deadman comic I'd read. [***1/4]

The Mighty Thor #7: Hahahahahahahaha... that's it? That's the secret history of the Serpent? He became king after Bor died, became corrupt, and Odin killed tons of people to take him down? Wasn't all of that implied already? And, by 'implied,' I mean so heavily implied that I kept waiting for the twist. I guess it was meant to be that Odin killed so many people to get to his brother, but that sort of fell flat and was very underplayed. I did like the execution of the scene where Odin cut his eye out. [**]

The Red Wing #4: Hey, fuck you, dad. [Christ, that felt good...]

Scalped #53: Slow build to something horrible with some excellent scenes like the one with Nitz and the sherrif. [****]

Secret Avengers #18: Goddamn, David Aja! Ellis knows how to write a nice, short little story that allows artists to go mindfuck crazy. This was one of the best weeks for art that I can remember in a long time and this issue is right near the top. [****1/4]

Wolverine and the X-Men #1: Fun first issue. Some scenes worked, others kind of fell flat a bit. Lots of potential here. I think this goes on the pull list. [***3/4]

Later

CBR Review: Deadpool MAX II #1

2011-10-24T23:35:00.004-04:00

I recently reviewed Deadpool MAX II #1 for CBR and, in the process, wrote the following sentences: "It’s been too long a time since Deadpool MAX #12 shipped, ending the book’s first volume. After an arduous wait, finally, lovers of violence and monkeys can rejoice, kick back, grab a beer, and read the first issue of Deadpool MAX II! Okay, it’s only been three weeks since Deadpool MAX #12 came out, but, for fans of this comic, that’s two weeks and six days too long. Deadpool and Bob are back to take down Hydra and clear Bob’s name after he was framed for an act of terrorism that killed most of Cincinnati. Their first stop? A chapel with a monkey. Welcome back, boys."

You can read the rest HERE!

CBR Review: The Boys: Butcher, Baker, Candlestickmaker #4

2011-10-24T23:33:00.002-04:00

I recently reviewed The Boys: Butcher, Baker, Candlestickmaker #4 for CBR and, in the process, wrote the following sentences: "We all knew it was coming. Way back when The Boys began, Butcher told Hughie about how his wife died. It’s never been a secret or something hidden from the readers. When Butcher, Baker, Candlestickmaker began to tell the story of Butcher’s life before The Boys, the death of his wife was never in doubt. When she first entered the series, her fate was sealed. And, yet, damned if what happens doesn’t hit like a punch to the gut. Garth Ennis has always been a master of making an event obvious while making you dread it coming, and he does it again here with Becky Butcher."

You can read the rest HERE!

CBR Review: Ultimate Hawkeye #3

2011-10-24T23:32:00.002-04:00

I recently reviewed Ultimate Hawkeye #3 for CBR and, in the process, wrote the following sentences: "At first, Ultimate Hawkeye seemed solely a means to tell part of the story in The Ultimates and leave that title free to explore other crises happening worldwide with occasional check-ins. It began as a solid story about superhumans created in the Southeast Asian Republic, and Hawkeye tasked at the Ultimates to lead S.H.I.E.L.D. forces in recovering the formula used to create the superhumans. Over the course of the next two issues, though, it’s morphed in a story that reflects what’s happening in “The Ultimates” more, paralleling it in a way, and showing that Jonathan Hickman looks to be making some big changes in the status quo of the Ultimate Universe."

You can read the rest HERE!

CBR Review: Batman: Odyssey Vol. 2 #1

2011-10-20T22:37:00.001-04:00

I recently reviewed Batman: Odyssey Vol. 2 #1 for CBR and, in the process, wrote the following sentences: "Don’t be fooled by the big number one on the cover; this is Batman: Odyssey #7. On the title page, the comic is called ‘Part 7’ and it picks up where the sixth issue left off many months ago. This wasn’t a case of issue six completing a story arc; the seventh issue simply did not come out, leaving fans of the series to wonder if, perhaps, DC had scrapped the whole thing without an announcement, hoping everyone would forget about it and move on. Instead, it’s been ‘relaunched’ as volume two without anything to distinguish it from a seventh issue except for the number on the cover. What I’m trying to say is: this is not a jumping-on point, it’s not a change in direction, it’s not a new story, and, if you didn’t like Batman: Odyssey already, then you best leave this comic at the shop. For those who did like Batman: Odyssey and the weird story Neal Adams was telling, get ready, because things get even weirder in this issue."

You can read the rest HERE!

Sketch Reviews (October 20 2011)

2011-10-20T17:17:00.001-04:00

It's a week with new comics from Neal Adams, Howard Chaykin, David Lapham/Kyle Baker, and Joe Casey/Nick Dragotta. Give me a hell yeah.

Avengers #18: "Who will be the new Avengers?" I don't know, because that's not in the fucking comic. Man, fuck you and your bullshit covers. Either get Bendis to actually confine himself to a single issue or read the comic before you write the cover copy. I liked the issue fine, but am sick of shit like this. It happens all of the time with Bendis's Avengers stuff and I don't understand how. The guy is seven years ahead on scripts! He's probably the only writer who turns in complete scripts before the covers are drawn. Why do you lie to me like that, Marvel? Huh? I'm already buying the comic. It's on my pull list. And, if it weren't, I wouldn't come back next time. I'm tempted not to as it is. I didn't expect a new lineup until your cover told me there would be one -- and then the comic didn't have one. It just had Cap asking that question as the final scene with the Avengers. That's fucked up. You're goddamn professionals and you do amateurish shit like this all of the time. Fuck. [I liked the comic, but refuse to give it a good rating officially after that...]

Avengers 1959: #2: There are no scene transitions. I'm not sure there's any cause and effect. I still hate the colouring. [***1/2]

Batman #2: Damn you, David Brothers. You know what you did. A fine comic, except for the stuff with fancy "soon to be mayor" man and his life story that parallels Bruce's down to the detail. Sure, the details are changed, but they're the same details. That's not clever aside from how it was meant to make us think he's evil and then SWERVE he's stabbed! Also, the Bruce/Dick relationship is beyond fucked up. [***1/4]

Fear Itself #7: I almost did my Random Thoughts this week on Holy Terror instead of Fear Itself. I changed my mind for a few reasons, including wanting an excuse to reread Fear Itself before the final issue came out. What I found more surprising than how snarky the post turned out to be is that I've yet to receive a single comment defending the series. Not one. In fact, I've had a few that basically said "I was thinking about buying this in trades and, now, I won't." Not my intention, but somewhat troubling for Marvel's big event, don't you think? And that brings us to the final issue. Tony didn't make Steve a weapon because his shield is totally awesome... except it was destroyed. Thor gets killed by... falling from a great height after being dropped from great heights so many times in this series that he made a joke about it (and that's not foreshadowing, that's making your payoff lame). Steve grabs Thor's hammer and isn't transformed at all even though everyone who grabs it (aside from Odin) is transformed. And Odin is sad, so he's told his people to fuck off so he can mope in his room with his dead brother. And the evil hammers got sucked up into the great Deux Ex Machina in the sky before one of the 'epilogues' (previews) shows that the force inside one of them has escaped conveniently. Well, at least it shipped on time... (I did like Immonen's art. But, that's a given.) [**]

Journey into Mystery #629: A recipe for disaster: Kieron Gillen writing purple prose over top of Whilce Portacio's art. [**]

Uncanny X-Men #544: Okay, that Mr. Sinister stuff was funny. He writes the book until he's destroyed and an identical body takes over -- NOTHING EVER CHANGES! Except, of course, when Cyclops basically says at the end that going back to the school is creative devolution. Kieron Gillen using the final issue of Uncanny X-Men to trash the X-offices? Now, I'm sure he (and many) would say that's a misreading -- if it is, what's the proper one? I'm glad I bought this issue. The art is horrible, but it may have convinced me to check out the relaunch of this book in addition to Wolverine & the X-Men. [****]

Vengeance #4: Four classic villain covers; one villain that still looks like the cover. I'm surprised how much this issue stuck with the Young Masters of Evil. LADRONN! Loki thinks girls are yucky. Of course I loved this comic. Did you expect otherwise? [****1/2]

Wonder Woman #2: Is Wonder Woman ever drawn with a belly button? That question occurred to me. Then again, do we ever see her bare midriff? Maybe, if she were born from clay, her mother would have put a belly button on so she felt normal, though. I don't know. Cliff Chiang rocks it on this issue. Excellent fight sequence. Azzarello's writing isn't as obtuse as the first issue's. This may quickly become that ONE book I've wanted from the DC relaunch. It's close. [****1/4]

Later

CBR Review: Who is Jake Ellis? #5

2011-10-17T23:40:00.002-04:00

I recently reviewed Who is Jake Ellis? #5 for CBR and, in the process, wrote the following sentences: "Finally, the finale of Who is Jake Ellis? has arrived. The fourth issue of the supernatural thriller came out back in April, making the ensuing six months a long wait for the series-ending fifth issue where the truth behind the relationship between Jon and his ghostly guide Jake is revealed. The series has been high octane and briskly paced to this point and the final issue deviates somewhat. The tension isn’t decreased, but the pacing slows down considerably."

You can read the rest HERE!

CBR Review: The Unexpected #1

2011-10-17T23:38:00.002-04:00

I recently reviewed The Unexpected #1 for CBR and, in the process, wrote the following sentences: "Anthology books are a crapshoot, especially in comics. Short stories are so rarely published and creators so rarely geared towards even writing single-issue stories that an anthology featuring seven eight-page stories and one six-pager doesn’t inspire confidence. Nor is it surprising when the results are lackluster like they are in The Unexpected #1. Where it succeeds is as an art sampler for the likes of Dave Gibbons, Jill Thompson, Denys Cowan, Farel Dalrymple, and more talented artists. The Rafael Grampá cover sets the tone: good art is to be found in this comic."

You can read the rest HERE!

CBR Review: The Unwritten #30

2011-10-17T23:37:00.002-04:00

I recently reviewed The Unwritten #30 for CBR and, in the process, wrote the following sentences: "Sometimes, reading The Unwritten is like reading really good fan fiction. Since the series plays within the realm of fiction and bringing it to life, while also balancing against copyright and other corporate interests, it can produce some surprising match-ups. In the latest issue, we, briefly, get to see Harry Potter fight Superman even if neither character is strictly identified as such. And, if your fangasm meter hasn’t reached critical, the fight only stops when Frankenstein busts in and breaks it up. The Unwritten is a weird comic."

You can read the rest HERE!

CBR Review: Superboy #2

2011-10-17T23:34:00.002-04:00

I recently reviewed Superboy #2 for CBR and, in the process, wrote the following sentences: "After hearing the praise for the first issue of the relaunched Superboy, the second issue seemed like an interesting book to pick up and review. Featuring a different take on the lead character that still harkens back to his origin as a clone sounded promising. Superboy #2 deals with the fallout of Superboy’s escape from the lab that created him and his killing all of the scientists save one in the process. It’s certainly an unexpected direction for a Superboy reboot and the ensuing direction holds some promise, but the execution is rather flat and lifeless with dialogue that’s about twelve steps away from witty."

You can read the rest HERE!

Sketch Reviews (October 13 2011)

2011-10-13T15:37:00.001-04:00

A new "28" post is below this one.

Batwoman #2: The writing is fine. I'm here for the art. The way that different styles run up against one another here is astonishing. [****]

Frankenstein, Agent of S.H.A.D.E. #2: I'm really glad I picked up the first issue last month, because this was another good issue. The extended origin of the fishwoman went on a bit long, but, otherwise, it's a fairly entertaining comic. [***3/4]

New Avengers #17: Hey, Daredevil is on the New Avengers... until the next issue of the series proper where he doesn't appear at all. Also, is it just me or couldn't someone as smart as Tony Stark maybe let it be known in his distress call that hitting the giant robot isn't a good tactic? For a genius, he's pretty stupid when the story conveniently calls for it. A fine issue, honestly. Deodato runs hot and cold. The stuff with Osborn doesn't have me won over yet. [***1/4]

Punishermax #18: I loved the opening and everything with Frank. The rest was... less engrossing. Especially the reveal with Elektra and Vanessa. The final page was pretty great and shows just how far down Frank has fallen. He's completely at sea... I hope that Aaron doesn't leave the book after he takes down the Kingpin, because what comes AFTER that should prove interesting. [***1/2]

S.H.I.E.L.D. #3: And here's where, once again, I run up against all of those who adore Dustin Waver's art, because it's not strong enough to carry this issue. It's detailed, sure; it's also superficial and hollow. None of that detail made what I was seeing any more impressive. If anything, it made it more static and distant. I like that Hickman and Weaver went for something different here... it just absolutely did not work for me. [*1/2]

X-Men: Regenesis #1: Well, if you want people picking a side, this is the comic for you! Because that's all that happens. And it's as tedious as you can imagine, especially when a fairly laughable tribal theme is thrown in and keeps recurring throughout the issue. What I do find funny is that I got to the end and the comic asks me whose side I'm on. I agree with Cyclops, yet Wolverine and the X-Men is the comic that appeals to me more. This comic wasn't even a story -- it was pages of continuity throw onto the page so everyone can see clearly where their favourite characters stand. The only scene that really worked was the Hope one... [waste of fucking money]

I also got the new issue of glamourpuss and will get around to reading my stack of that comic at some point, and the CBLDF's Liberty Annual 2011 but haven't read it yet.

Later

28: The Critics aren't Impressed (Blah Blah Blah Blah Blah Blah Blah Blah Blah Well Fuck You)

2011-10-13T01:30:00.001-04:00

[Another in my series of posts that are far behind schedule. And like the ones before it, this one is disjointed, barely thought through, and probably doesn't actually say anything...]

One of my favourite pieces of critical writing is found in an issue of Spin from, probably, 2004. I have the issue in a box somewhere around here. It's one of the few issues I kept when I moved out of my parents' house and threw the rest away along with most of my Rolling Stones and Wizards. It's a column by Dave Eggers for that brief period where he wrote a column for the magazine and details a contract between musicians and their fans inspired by the realisation that he (like many of us) are prone to giving up on beloved musicians as they age and become 'less good' (less cool). Basically, the contract is an agreement to just give the new stuff a chance and not instantly write it off because it's different and new and maybe not the best work of their career but could contain some cool ideas and one or two songs that will number amongst your favourites someday. Even in my early twenties, I could see the wisdom of Eggers's contract (though it may have been meant ironically... I can never tell). In my late twenties, it seems essential.

Yesterday, Ryan Adams released a new album, Ashes & Fire. It's his first new studio album since 2008's Cardinology (he released some 'lost' albums in between the two like 2010's fantastic III/IV, which stemmed from the same sessions that produced 2007's Easy Tiger). I've listened to the album a bunch of times via a stream supplied by Adams since I pre-ordered the album off his site and, then, the downloaded copy that will tide me over until my CD arrives in the mail. Right off the bat, I was unimpressed. Later, I was grooving on it. Now, I'm at sea with it... of many minds. And I love that. I absolutely love that I don't just think one thing about his music. It winds up being a comparison to everything he's done before and trying to fit it into its creative context. Like Bob Dylan, Neil Young, or Lou Reed, Adams does what he wants and, if it coincides with what other people like, well, hey, look at that! I love that. For me, those are the people worth following and sticking with -- worth signing a lifetime contract with.

It's no secret that Joe Casey is my comic Ryan Adams. It's part critical repution bullshit, but it's mostly that his work is almost always interesting in some way. There's some little nugget of greatness sitting in his done-for-money work, or he produces something like Automatic Kafka, Wildcats, Mr. Majestic, Gødland, etc. You never know. Literally. YOU NEVER KNOW. Who thought his final year on Adventures of Superman would be what it is? Or that he could do the wonders he did on Cable before jumping to fucking Deathlok? Look at Wildcats! He's fucking earned my signature on that contract that says I'll stick with him and do the work and try my best to stay with him wherever the fuck he goes.

That's not to say that you have to go where an artist goes, just that you should make the effort. I don't agree with David Brothers on Holy Terror, but I admire that he put in the effort. He tried. He read and reread and he thought about what he was reading and looking at before he made up his mind. Basically, he held up his end of the contract he'd developed with Miller over the years. It's not that Miller earned his undying loyalty; he simply earned an honest shot and that's what David gave him.

It's been fun to see people just turn on Miller for that book. It's not new, it's more a completion of the turn that began with The Dark Knight Strikes Again and continued with All-Star Batman and Robin, the Boy Wonder. He's kind of like '80s Neil Young right now, isn't he? Strangely political and doing stuff that even longtime fans are scoffing at... But, I wonder how many people actually gave it serious thought before dismissing it. Hell, how many dismissed it without reading it? (Obviously, not everyone can read everything, especially when it costs $30 or so, but that's a boring pragmatic point...)

And this is the guy who people love. Same with Alan Moore. And look at how quickly everyone turned on them. Not just their work, but them. Part of me can understand it, because I'm not an idiot. But, fuck, part of me just doesn't get it. How are people not even trying? I'm definitely guilty of that myself and I can't explain it besides a lazy excuse like, well, laziness. Is it our desire to tear down everyone that's 'great?' We can't stand someone who stands too far above the pack and eventually turn on them because we love them? Nah, probably not that either.

Yet, people keep buying X-Men comics because they feel loyal to the characters no matter the quality of the comics. So I'm stumped.

CBR Review: Green Arrow #2

2011-10-11T10:02:00.002-04:00

I recently reviewed Green Arrow #2 for CBR and, in the process, wrote the following sentences: "What is Green Arrow about? I’ve read the second issue of the newly relaunched/rebooted series a few times and I’m not sure I know. Oliver Queen dresses up and fights crime with a bow and arrow under the name ‘Green Arrow,’ while avoiding his responsibilities at the family business, Q-Core (though no doubt using the company’s resources to fund his superhero hobby). These things happen in various scenes in this comic and, yet, I don’t know why Oliver Queen does anything he does. He doesn’t seem to want anything except to not be a businessman and to obsess over the idea of fighting crime with arrows. The bad guys don’t seem to have any reasons for what they do either. Green Arrow is, I guess, about superhumans who are good because they are good or bad because they are bad, all of whom are drawn by Dan Jurgens and George Perez."

You can read the rest HERE!

CBR Review: Avengers 1959 #1

2011-10-11T10:01:00.004-04:00

I recently reviewed Avengers 1959 #1 for CBR and, in the process, wrote the following sentences: "Picking up almost immediately after the New Avengers story that introduced Nick Fury’s heretofore unknown 'Avengers,' Avengers 1959 #1 features Howard Chaykin writing and drawing the comic and -- do I even need to continue the review? Chaykin writing and drawing this book is the reason why most are either interested in it or avoiding it. The legendary artist’s recent mainstream revival has produced work that has split readers on its merits. What’s hard to deny is that Avengers 1959 is a project that suits Chaykin perfectly. With the original concept stemming from him, it only makes sense for him to handle the follow-up mini-series."

You can read the rest HERE!

CBR Review: Casanova: Avaritia #2

2011-10-05T23:08:00.002-04:00

I recently reviewed Casanova: Avaritia #2 for CBR and, in the process, wrote the following sentences: "The first issue of Casanova: Avaritia was a little hard to process. After such a long wait since the end of the book’s original run at Image, it was hard to know what would happen with a new volume of Casanova. The new stories in the recolored/relettered reprints from Icon gave a clue; expectations were tentatively high and those are hard circumstances to succeed under no matter how good a comic you produce. The good news about that is, with the first issue out of the way and the tone and story of “Avaritia” established, the second issue is more its own beast and not burdened by expectations and hem-hawing over whether or not the long wait was ‘worth it.’ It gets to simply be a really good comic."

You can read the rest HERE!

CBR Review: Action Comics #2

2011-10-05T23:07:00.002-04:00

I recently reviewed Action Comics #2 for CBR and, in the process, wrote the following sentences: "It’s funny how taking Superman back to his late ‘30s roots feel so modern and refreshing, isn’t it? An anti-establishment Man of Steel hunted by the United States military with Lex Luthor at the helm helped kick off the relaunched Action Comics, and the second issue raises the stakes with Superman strapped into an electric chair and tortured as Luthor and his team try to figure out how to actually do lasting damage to the hero. What’s most surprising is how entertaining that is. How easy it is to laugh it off -- for both us and Superman himself. It may be a cliché, but this isn’t your dad’s Superman; it’s your (great) granddad’s and it’s rather good."

You can read the rest HERE!

CBR Review: Detective Comics #2

2011-10-05T23:05:00.002-04:00

I recently reviewed Detective Comics #2 for CBR and, in the process, wrote the following sentences: "What a strange comic. It begins with business deals done over rock climbing, the most intricate and unsexy roleplaying before sex I’ve seen in quite some time, some outtakes from the latest episode of Criminal Minds, and ends with a villain entirely lacking in subtlety, wit, or entertainment. Detective Comics #2 has a singular vision behind it and it shows in every scene that seems like it was a tweak or seven away from becoming something interesting, something that won’t be forgotten in a year, or, worse, remembered as that run by Tony Daniel where Batman fought the villain that likes to sew skin onto people."

You can read the rest HERE!

Sketch Reviews (October 5 2011)

2011-10-05T17:17:00.001-04:00

My work schedule is normally Saturdays and Sundays 8am-8pm along with Wednesdays and Fridays 10am-6pm. This week, they needed me on Monday and Tuesday, so I'm off until Saturday for a nice change of pace... and three straight days of no work. It also meant getting comics on Wednesday. I've done that occasionally after work when my hours were moved up to 8am-4pm, but I haven't gotten then when the store opened in quite some time. Rather nice. So, let's get some sketch reviews out of the way as I have CBR reviews to write...

Animal Man #2: Travel Foreman's art seemed more consistent this time out and I rather like the way Jeff Lemire writes Maxine. She's a creepy little kid. Hell, this comic is creepy as hell. Really digging it. [****]

The Boys #59: Christ... those final pages... Hughie's angry tirade was pretty awesome, too. Nice to see him standing up for himself. But those final pages... not just the writing either. Russ Braun absolutely destroys those pages with the dead, calm look. Wow. [****]

Men of War #2: Not as engaging at the first issue. I really liked the opening of the issue, but the rest never quite got 'there.' I didn't bother with the back-up story this time. [**3/4]

Moon Knight #6: Last issue left me a little uneasy over Echo wailing on Moon Knight how she did and this issue helped that a bit. The Avengers showing up allowed for some pretty good visual gags surrounding Cap, Spider-Man, and Wolverine. I didn't recognise the 'Kingpin.' Should I have? [***3/4]

OMAC #2: I liked this more than the first issue. Maybe my expectations had shifted enough. I went expecting some big dumb action and, when I got it, ate it up. I wasn't sure about adding this to my pull list, but I think I will. Especially considering I got the last rack copy today... shortly after twelve when my store opens at twelve. [***1/2]

Severed #3: The tension was built masterfully with the bear trap scene. Wow. It's not too often I get a little nervous while reading a comic -- but I did here. Wonderful. [****]

Stormwatch #2: This issue was a step up from the first one. Mostly, it was helped by just getting on with everything and not worrying about explanations as much. Or, trying to write faux-Ellis dialogue. I really hate that new Midnighter costume, though. Harry is turning out to be an interesting character. I like the level of backstabbing and bastardness in the team... without it seeming like they hate one another. They just have their own agendas. Glad I came back for this issue after being disappointed with the debut. [***1/2]

Swamp Thing #2: Good villain... waaaaaaaaaaaaaaay too much fucking exposition. I like the idea of trying to keep everything, even the contradictions, from Swamp Thing's past... but it does make this issue a bit of a chore to read in parts. Second issue and where other books are getting on with it, this one is giving a long history lesson. Paquette handled the horror aspect a bit better this time, I thought -- if only for that panel of the baby/little kid. [***]

I also picked up the trade of the first volume of American Vampire. Only read the first issue and liked it.

Later

CBR Review: X-Men: Schism #5

2011-10-05T15:34:00.001-04:00

I recently reviewed X-Men: Schism #5 for CBR and, in the process, wrote the following sentences: "X-Men: Schism was both about the end point and not. The entire premise of the story was the end point of Cyclops and Wolverine each leading two separate groups of X-Men. That was the selling point, so it’s no surprise how this issue ends and that it leads into two dueling X-books: the relaunched Uncanny X-Men and the new Wolverine and the X-Men. Since the conclusion of Schism was known before the first issue shipped, what was the point? What was left for this finale except to pull the trigger on the eponymous schism everyone knew was coming? Like so many things, it’s not the ‘what’ that matters, it’s the ‘how.’ That’s where X-Men: Schism #5 stumbles."

You can read the rest HERE!

CBR Review: Deadpool MAX #12

2011-10-03T17:56:00.001-04:00

I recently reviewed Deadpool MAX #12 for CBR and, in the process, wrote the following sentences: "The first ‘season’ of Deadpool MAX draws to a close by killing a large chunk of Cincinnati and cementing the bond between Hydra Bob and Deadpool that’s been building over the course of the title’s first year. Between all of the violence, the horrible childhoods, the gratuitous sex, the damaged psyches, and more mockery of regular Marvel heroes than you’d expect, Deadpool MAX has been telling a simple story of the growing friendship between Bob and Deadpool. Putting behind them the lies, the betrayals, the manipulations, and the almost-killings, the two finally become the best buddy duo they were always meant to be. It’s a shame all it takes is a giant plot to melt people and pin it on Bob for that to happen."

You can read the rest HERE!

CBR Review: The Mighty Thor #6

2011-10-03T17:55:00.002-04:00

I recently reviewed The Mighty Thor #6 for CBR and, in the process, wrote the following sentences: "The finale of 'The Galactus Seed,' the opening story arc of The Mighty Thor, is an issue of extremes. The actual resolution of the conflict between Galactus and Odin over the Worldheart (aka the MacGuffin) is a bit silly and ill-conceived, while there are some fantastic character moments where both Matt Fraction and Olivier Coipel are at the top of their game. The final experience is a bit of a let down after the story really got going over the past few issues. It would have been nice to see Fraction and Coipel stick the landing; instead, they delivered a few nice scenes and a bunch of disappointing ones."

You can read the rest HERE!

CBR Review: New Avengers #16.1

2011-10-03T17:54:00.002-04:00

I recently reviewed New Avengers #16.1 for CBR and, in the process, wrote the following sentences: "Norman Osborn is back and drawn by Neal Adams; rejoice. In Marvel’s latest ‘point one’ issue, the unexpected pairing of Brian Michael Bendis and Neal Adams happens, bridging the gap between the new era of the Avengers franchise and the old. It’s an odd mixture with both men having such different styles and approaches that, before reading the comic, it was hard to even imagine how Bendis’ decompressed, quirky dialogue-heavy writing style would mesh with Adams’ dynamic, melodramatic art. As it turns out, they mesh quite nicely."

You can read the rest HERE!

CBR Review: Voodoo #1

2011-09-30T08:56:00.001-04:00

I recently reviewed Voodoo #1 for CBR and, in the process, wrote the following sentences: "The third and final of the new DC Wildstorm books has landed and, like Grifter (and, to a degree, Stormwatch), Voodoo doesn’t bear much relation to her previous Wildstorm version beyond some superficialities. It seems that, in trying to make the Wildstorm characters fit into the DCU, their personalities and characters need to be jettisoned with only the names, looks, and a couple of other superficial similarities retained. This is not the Priscilla Kitaen from WildC.A.T.S. This is a new character that shares her name, appearance, and, strangely, her stripping job."

You can read the rest HERE!

Sketch Reviews (September 29 2011)

2011-09-29T15:33:00.001-04:00

And so ends the wild ride that was September Comics. If I'd gotten my comics yesterday, that would have also ended on the same day as the end of the wild ride that was September Baseball... and it was a pretty fucking wild ride last night, wasn't it? Both Wild Card spots determined, two collapses completed, a few insane comebacks (with Tampa Bay's being the most insane), and just a ton of excitement for those of us who care. Plus, earlier in the day, while I was at work, the Jays won their final game of the season. So: good day. Same with today and the final batch of September comics. As always, these are brief thoughts and anything I'm reviewing for CBR isn't mentioned.

Annihilators: Earthfall #1: Already more enjoyable than the first Annihilators mini, which I found to be a bit of a letdown. I loved the part where everyone was ganging up on Quasar for wanting them to take it easy because they're on Earth when he has no problem letting loose on 'alien' planets. To the rest, Earth is an alien planet, so suck it, kid! The promise of the return of the Magus also has me engaged. More than that, Tan Eng Huat's art has a rougher edge this time out, more reminiscent of his work pre-Annihilators and I dig that look more. The back-up story is a back-up story. [***1/2]

'Breed III #5: And, just like that, 'Breed III becomes Starlin's version of what Vengeance is for me. That final page seemed fairly obvious once Wyrd mentioned having gathered some allies, but that doesn't stop it from being a total geek out moment for this Starlin fan. Besides that, a really good sustained bit of action in this issue and done in a visually inventive manner a lot of the time. Maybe finally reading the first two 'Breed series has gotten me more into this book, but I'm really excited to read the final two issues now. [***1/2]

Captain America & Bucky #622: Entertaining. Gorgeous. Yup. [***1/4]

Journey into Mystery #628: Talk about art just killing a comic... I like the writing, but the art made this a chore to get through. It's the sort of art that causes my eyes to slide off the page and hope for it all to be over soon. Gillen brings it... Portacio takes it and dumps it in the toilet. [**1/4]

Justice League Dark #1: Some interesting bits. Some great art. Like a lot of #1s I've seen this month, nothing about this felt complete or like anything more than the barest of introductions. Which I guess is where we are now in comics. This was the first act of an hour-long TV pilot... and those tend to have five acts. But, what I liked I liked enough to bring me back next month. [**1/2]

Secret Avengers #17: Not as distinctive as last issue with the dialogue, but pretty damn entertaining. I've liked Kev Walker's work for a long time now and glad to see him as one of the artists for Ellis's run. Lots of fun little moments in this issue like the eyeball mood speedometer or the final page or Steve's "Oh hell" panel. Already looking forward to the next one. [***3/4]

The Ultimates #2: Wow. This was a wonderfully constructed little comic that pretty much told a complete story within the larger story and pulled off something big... in issue two. I liked the first issue, but felt a little underwhelmed at the same time. For all of the "You can do anything in the Ultimate universe" talk I heard, I wasn't seeing that. Well, here it is. Shit. And Esad Ribic continues to draw the hell out of this comic. Skipping this new Ultimate relaunch looks like a mistake right now, anyone who did that. [****1/2]

Holy Terror: I'll keep this brief: I wasn't offended. I didn't find much in here particularly offensive. I'm also pretty hard to offend. I found it cartoonish and ridiculous in a laughable way. I'm not offended mostly because there isn't anything here worth taking seriously enough to be offended. The story is rubbish and the dialogue is Miller at his worse. The art is stunning and gorgeous and worth studying. I haven't encountered a disconnect between amateurish writing and masterful art this large in quite some time -- maybe ever. So: writing [-**]; art [*****]

Later

CBR Review: Brilliant #1

2011-09-29T00:01:00.002-04:00

I recently reviewed Brilliant #1 for CBR and, in the process, wrote the following sentences: "Brilliant #1 isn’t really all that different from a lot of Brian Michael Bendis’ comics. There are lots of panels of talking, a quick pace, and a general sense that not as much happened as probably could have. However, what separates Brilliant from a lot of Bendis comics is that there aren’t decades of history behind the characters to act as shorthand. Here, he and artist Mark Bagley need to both introduce the characters and the plot, and tell the story in an engaging manner. They don’t succeed. The result is a comic that ends with a feeling of 'That’s it? Where’s the other half?'"

You can read the rest HERE!

CBR Review: Vengeance #3

2011-09-26T22:28:00.001-04:00

I recently reviewed Vengeance #3 for CBR and, in the process, wrote the following sentences: "Have you ever read a comic that felt like it was written exclusively for you? That the writer sat down, deeply considered your tastes and desires before putting pen to paper (or finger to keyboard)? Now, obviously, that isn’t what actually happens, but that’s how Vengeance feels for me. With each issue, it feels more and more like Joe Casey is writing this comic book because it’s what I want to read. I’ve been a follower/fan of Casey’s writing since Cable #51 when he took for the much-heralded James Robinson only a few issues into Robinson’s run on the book, and have read almost everything Casey’s written. So, you can understand why a series that pulls together elements from all of his previous Marvel work (and I do mean all of it) would seem like it was written for an obsessive fan like me."

You can read the rest HERE!

CBR Review: Captain America #3

2011-09-26T20:39:00.002-04:00

I recently reviewed Captain America #3 for CBR and, in the process, wrote the following sentences: "Call me crazy, but there's just something entertaining about Captain America fighting an android that's identical to him in every way except that it's 18-feet tall. In fact, Captain America #3 may be the most straight-up entertaining issue of Captain America in quite some time. Ever since Ed Brubaker took over the title years ago, it's been a great comic with thought-provoking characterization and intricate plots. Rarely, though, was it entertaining in that blockbuster movie sort of way. That's what this issue is: a giant fight that's fun to watch. It's a refreshing change of pace and something a little different for a title that's been locked in one type of story for a long time."

You can read the rest HERE!

CBR Review: Prison Pit Book 3

2011-09-23T22:59:00.003-04:00

I recently reviewed Prison Pit Book 3 and, in the process, wrote the following sentences: "It’s the end of summer, the return to school, the beginning of fall, and that means one thing in comics: Cannibal Fuckface is back for a bit more of the old ultraviolence in a new Prison Pit book! It may be a tradition that only continues for a few more years according to Johnny Ryan in an interview with Tim Callahan, but it’s become one of my favorites of September. It’s another hundred pages or so of mayhem and violence and crude humor and excellent storytelling and gross drawings. Prison Pit is everything sick and twisted that I love, but am often afraid to admit I love in the form of a comic."

You can read the rest HERE!