EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of April 4, 2012

Since I'm no longer 'sketching' for the actual things, in the long-standing GraphiContent tradition, I've once again retitled my brief thoughts on comics I've gotten. I think this is the most accurate title yet. And sure to be a hit getter... I expected to have this up earlier today, but the Toronto Blue Jays' opening game against the Cleveland Indians went 16 innings and almost five-and-a-half hours. Which was awesome. Fantastic way to start the season. Especially since they won. Well, let's get to this because there are too many fucking comics here...

Action Comics #8: There are two things I rather liked about this comic: 1. Lex Luthor being Clark Kent's secret source. 2. Superman won ultimately by being smarter, not stronger. I guess I also liked how it poked fun at the fact that he went from public enemy #1 to everyone's favourite son in no time flat. I'm still struggling with my personal conception of Superman and Grant Morrison's conception of Superman not meshing entirely. That and the art that manages to only look attractive maybe one of twenty-three panels. [***1/4]

Age of Apocalypse #2: There's a big problem in this comic: I don't remember who any of the humans are. Nor do I care. Moving past this, this is has some nice sick moments of dark cynicism, some surprisingly strong moments of bright optimism, some good art, and, of course, alternate versions of characters we know. [***1/2]

Animal Man #8: "It's my fault that the red is in my sperm!" Just so you know, old lady, when you wish your daughter never married that guy, you're also wishing that your grandchildren had never been born, and you're pretty much ensuring that they'll kind of hate you as they get older. Sorry... that's... uh... a little too personal a reading of this comic, right? Steve Pugh's art doesn't wow me as much as Travel Foreman's spectacular work on this comic, but it's pretty good. [***1/2]

The Boys #65: This issue had the first genuine "Marshal Law moment" of the series for me. People compare the two a lot, but the tone is actually pretty different. But, when the Black Noir stood on the White House lawn, half dead, naked, his guts spilling out, and chunks of him missing... well, that made me think "This is like something I'd see in a Marshal Law comic." I like what Garth Ennis was going for here -- a bit too exposition heavy. From the end of issue 64, I figured we'd learn that the Black Noir was behind it all somehow. I didn't expect this, though. That was pretty fucked up. As was Butcher's revenge. One more big story left and where do you go from here? [***3/4]

Casanova: Avaritia #3: Christ, now I'm going to have to put up with people going "Let's. Get. Fucked." on Twitter or in blog posts for a while now, aren't I? "It's not the band I hate, it's their fans..." Always the case. Always. That said, I'm not sure this holds together completely. It may have crossed that chaos line that this comic always gets right on top of... Maybe. We'll see in June, won't we? [***3/4]

Daredevil #10.1: It's weird to watch an artist try very hard to fit in with the visual tone of a comic like this and it become apparent almost immediately that he doesn't. The art never comes together how it should, always looking unfinished... The story almost felt the same way. It's funny that Daredevil would show up and mock the bad guys, but why not take them out one by one? Why insist that they all come at him as one? There's a certain logic there... but it seems mostly fucked to me. I'm probably not getting it. That happens sometimes. [***]

Fatale #4: Gorgeous art and writing that's so relaxed, so geared towards chapters of a novel pacing that I'm tempted to set each new issue aside until the whole series is out and THEN read it. [***1/2]

Green Arrow #8: I found the seventh issue charming in the way it bounded ahead, carried by a way of banter and energy... This issue didn't have that so much. Instead of being carried away, I had to fight my way through a bit. I guess we'll use issue nine as the tie-breaker then. [*3/4]

Hell Yeah #2: This issue was an improvement over the first issue in both writing and art, but both areas can still be improved upon. I think my biggest issue with the writing is that this comic seems to (and those two words are key) want to be wild and energetic and crazy... almost like Casanova. But it's paced like something Brian Michael Bendis wrote. And I like Bendis's writing quite a bit. But, chaotic and energetic in a way that mimics what it's like to be young and full of mad, crazy ideas... that's not what he does. And this comic seems to try to do that, but doesn't give us enough and feels slight for it. It's almost like what happened in this issue and the first needed to be the first issue to really get the tone and feeling right. If what they're aiming for is what I think they are. As always, I'm probably wrong. I do like this, just not as much as I'd like to. Or they'd like me to. [***1/4]

OMAC #8: A mirror of sort of the first issue... appropriate and leaves the door open to the future. About as good as we were going to get... I'll miss this book. [***1/2]

Wolverine and the X-Men #8: I'm not entirely sure the time jumping worked, but another fun issue with some heart. And I do like some Chris Bachalo art... [***3/4]

Wolverine and the X-Men: Alpha & Omega #4: I don't like Quentin Quire as much when he grows as a character. There. I said it. [***1/4]

Later

Sketch Reviews (February 2 2012)

Fun weeks for comics, no? I expand upon my Before Watchmen thoughts a bit in an upcoming podcast with Kevin Hellions that I recorded this morning, so I won't talk much about it. I will say that I'm going to buy the books -- and I will be doing a weekly discussion thing on the comics with Brian Cronin over at Comics Should be Good. So, depending on how much you like Brian and I, this isn't all bad, right? As for my announcement on Sunday, I don't have much to add. I don't think it's too difficult to figure out my reasons.

Action Comics #6: An odd detour. This feels like a recycled idea Morrison had for All-Star Superman if he'd done more of that after the first 12 issues. Not necessarily a bad thing and I can appreciate the idea of not advancing the 'main' story without the regular artist. Yet, this story doesn't feel like it was worth telling either. Some nice moments, sure. The point, though? [**1/2]

Animal Man #6: When comics do issues like this, people usually lose their mind with praise. Sometimes I get it, sometimes I don't. This issue, besides giving me some John Paul Leon art, seems rather pointless. "Hey, look, Buddy Baker starred in a really bad movie once!" That's about it. I can see the thematic relationship to what's going on in the main story, I just don't think that it adds anything. Like Action Comics, this seemed like the book was put on hold simply because the regular artist couldn't do the issue (or the entire issue). [**]

Avengers: X-Sanction #3: I really liked this issue. It's dumb fun. Cable killing the Avengers for no reason other than a future that may never happen. When the X-Men show up to stop him, I damn near went into a laughing fit over how ridiculous they all are. Cable as an old crazy man muttering to himself and trying to convince people of his twisted logic... I could read that every month. [***3/4]

The Boys #63: Jesus, Hughie... [****]

Fatale #2: I think I need to reread the first issue... [NR]

OMAC #6: It's not fair, but I read Kirby's OMAC series this week after getting the hardcover for my birthday and this series seems a lot less interesting by comparison. Especially with Scott Kolins providing art this issue. I did like Leilani dropping her act almost immediately. [***]

Uncanny X-Men #6: I get it, they're kind of like Xavier and Magneto! Actually, some solid, entertaining stuff. [***1/2]

I also got the Xombi trade. I've only read the first two issues, though. I'm liking it.

Later

Sketch Reviews (January 4 2012)

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

Sketch Reviews (December 8 2011)

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: O.M.A.C. #3

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!

Sketch Reviews (October 5 2011)

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

Sketch Reviews (September 8 2011)

Big week. One of the biggest in recent memory with all of the various #1s coming out. It helps that, for the first proper week of DC's relaunch, half of the comics I'm buying from said relaunch came out. Gives it that bigger feel than it might have had if things skewed towards the third or fourth week of the month. Random chance, I suppose. Let's get to it...

Action Comics #1: An entertaining comic. Pretty basic, actually (and, by that, I mean simple/straight forward). Still not the biggest Rags Morales fan, but some pages were really nice (others not so much). Definitely an interpretation of Superman that suits me just fine. I'm glad this is one of the first week books and second Brian Hibbs in thinking this would have been the right book to kick off the relaunch. [****]

Animal Man #1: The art is a bit hit or miss at times; the writing is spot-on. Normally, I don't really like dream sequences. Something about them seems cheap and lazy. I liked this one; it added to the horror of the book. That Lemire shifts so effortlessly between domestic bickering, slightly comedic superhero bullshit, gravely serious, loving, and horror is pretty amazing. This issue cycles through a lot of different tones without any ever feeling 'wrong' or inconsistent. This was a comic I decided to pick up more as a hunch, a guess that it would suit my tastes, and, so far, it does. [****]

Casanova: Avaritia #1: It has returned. Is it everything I hoped for? No. Is it a disappointment? No. It falls somewhere between all of that. It's been a long time since the end of the second volume (the exact time is in the issue) and it's hard to see this book completely clearly. It feels like Casanova and looks like Casanova... but, it's not the Casanova I remember. Then again, I'm not the guy who read it originally. Hard to account for how both of us changed since then. I liked a lot of it. But: the montage of alternate realities is a better idea than it plays out; that bit at the end with 'Ott' was a little too corny; and... actually, that's it. Yeah. Yeah, I liked it. [***1/2]

New Avengers annual #1: Okay, that ending is bullshit. The follow-up hasn't even been solicited, so why release this now? So it can sit in people's boxes until the second half of the story eventually comes out whenever? This was nothing pressing about this comic that it couldn't have waited for the Avengers annual to be ready. Beyond that, it left me a little cold. I just didn't believe it. Wonder Man gets together a group of losers and rejects and they take down Luke Cage's band of Avengers? Maybe if they seemed helped more by the surprise element... It was a fair fight and, somehow, those idiots won? I don't buy it. Hell, I don't even buy Wonder Man's rationale completely. Seeing Dell'otto's art coloured by someone else is interesting, though. [**1/2]

O.M.A.C. #1: Tim talking this up made me give it a look. I like Giffen's art, just not enough to get past this script that was so fucking obvious and didn't really have any meat on it. [**]

Swamp Thing #1: Was a little on the fence over this one, too. It's an interesting set up that didn't quite grab me completely. Part of the problem is the obvious horror feel this book is going for and that doesn't really play to Paquette's strengths as an artist. His line work is too clean and smooth to really convey the horror that's happening. There's a disconnect there, at least for me. Otherwise, the art is gorgeous (just not horrific) If anything, this issue felt only partially done. It ends on a good cliffhanger, but left me wanting more. Not in the 'I want to see what happens next month' way, in the 'Is that all?' way. [***]

Wolverine: Debt of Death #1: Goddamn, David Aja puts on a show here with Bettie Breitweiser (who is quickly becoming one of my favourite colourists). David Lapham's writing services the art more than anything and that's pretty much what you want from an Aja-drawn one shot, right? Lots of action, lots of mood, lots of crazy page layouts... it's a great-looking comic. [***3/4]

Later

CBR Review: The Outsiders #39

I recently reviewed The Outisders #39 for CBR and, in the process, wrote the following sentences: "The Outsiders #39 feels like a comic not of its time. I’m not entirely sure if that’s a compliment or not, because some parts of the comic work and others do not. As a basic concept, the idea of two groups of Outsiders fighting one another is a strong, classic concept. It reminds me of old annuals where superhero teams were split in two and forced to fight lest a cosmic foe destroy the Earth. Those were always fun comics and a chance to see how your favorite heroes measure up against one another in a fight. Bringing that idea to this issue of The Outsiders should have made for an entertaining comic, but it’s dismissed so quickly that the prospect of superheroes fighting one another is nothing more than a tease."

You can read the rest HERE!

Quickie Reviews: January 20, 2010

Because I don't feel like saying much sometimes... (And apologies if anything I say here winds up being said on the Splash Page podcast that will go online later this week probably. We had various recording issues, so I don't know what parts of mine and Tim's discussion actually got recorded and saved. But, whatever, if there's some crossover, just play that part while reading this blog and it's like you've got a transcript or some shit. Also, you'll see that, yes, I do write how I talk. Or, at least, I try to... what that says about my writing or how I speak is something I don't know...)

Anna Mercury 2 #3: High-concept action series keeps on a'truckin' boy oh boy. The whole space vikings thing is funny, but I'm more interested in seeing what Anna Mercury's fellow agents are like. The introduction of Max Jupiter -- wait, sorry, "THAT'S MAX FUCKING JUPITER, DEAR" -- at the end of the issue prompted a laugh, partly because of Facundo Percio's art. He's got a slick-yet-rough style. The wild, bug-eyed, freaked out look Mercury has a lot of the time really sells just how fucking insane her job is. Not a reveolutionary work, but I always enjoy it when an issue comes out. [***]

The Authority: The Lost Year #5: Ever wondered what would happen if you found an artist that was influenced by manga-influenced artists and Sam Kieth? Well, wonder no more thanks to Jonathan Wayshak. I'm very close to dropping this book as Keith Giffen's writing is... not good... I have no idea if this was Morrison's original plot or if Giffen is deviating, but it's lacking. Maybe Morrison would have made it work, but Giffen's dialogue lacks nuance and... reads like someone who understands only the most superficial characteristics of the Authority. At least I don't have to see Darick Robertson's art butchered by hack inking... [*1/2]

Captain America #602: Didn't make it through the Nomad story. Don't care. The main story is back into the regular sort of Captain America comic we all know and love. But with Dean White doing the colours. It looks better and why not take the break that Reborn provided as a chance to change the visual tone of the comic? [***1/2]

glamourpuss #11: The car story was a funny gag that didn't work in execution. The rest of the comic with Sim focusing on Stan Drake's facial expressions was great. Really wonderful stuff. [***]

Gravel #16: Both a 'done-in-one' issue and tying into the larger idea of Gravel as the new king of magicians in England. A pretty basic ghost story that's worthwhile as it brings up the friction between Gravel and those that really control England... which follows up on last issue's bit about that. The weakness of the main story hurts this issue a bit, but I do like seeing Gravel in a story that takes up just a single issue. Everything he's been involved in so far has been part of a larger story when, like John Constantine, the character lends itself to short horror stories. I'm kind of surprised that Ellis hasn't tapped that part of the character more yet. [**1/2]

Joe the Barbarian #1: Honestly, if I didn't know what the concept of this series was, I would have liked this issue less. The art is gorgeous in its sketchy, angular detail. But, the writing is weak and relies heavily on the idea that this will work much better when read as part of the whole. I would completely understand someone who had no idea where the story is heading reading this issue and not wanting to buy number two. It would be their loss, but I do understand. (One thing that our recording issues for the podcast does mean is that you won't hear Tim and I discuss this issue. Or how Vertigo's preview pages tend to be the final pages of the comic... good insights there... ah well...) [***]

Power Girl #8: A funny issue that had me more than last issue. I checked out this series partly to review #7 for CBR and partly because I really dug Palmiotti and Conner's "Supergirl" strip in Wednesday Comics. Last issue was fine, but didn't wow me -- or make me laugh much. This issue really brought the funny and did so in an interesting way plot-wise. Power Girl getting drunk and goofy was rather amusing as was the stuff with the bad guys -- and so much of the humour is executed in the visuals. That's a place where a lot of comics fall flat since doing funny comics requires an artist that can sell jokes visually and not a lot of people can do that (mostly because that's not a skill they develop when working on most superhero comics). I think this book may be getting a spot on my pull list. [***1/2]

Spider-Woman #5: I don't really have many thoughts on this book. I enjoy it, but not that much. I don't dislike it. It's like one of those TV shows that you watch because it's on, because you sometimes get one line or scene that makes you want to watch more. Alex Maleev's photoreferenced art is hit-or-miss as most photoreferenced art is. The drop-in at the end by the Thunderbolts comes out of nowhere -- in that bad way. Curious to see where this book is after next issue. I'm on the fence about it really. [**1/2]

And that was this week's non-CBR-reviewed books that I bought.

CBR Review: The Authority: The Lost Year #4

I recently reviewed The Authority: The Lost Year #4 for CBR and, in the process, wrote the following sentences: "The basic idea of this issue isn’t bad, but the execution is dull and haphazard as Giffen and Robertson cycle through a variety of scenes showing what’s happening in the world and how the Authority is reacting, but lacking any emotional impact. It’s all just going through the motions toward that end point where the setting can change and new adventures are to be had. Even the moral implications of the Authority’s actions are dealt with in a manner where the minimum amount of discussion is given before moving on. But, as I said, the end of this issue is done so well that it’s hard to blame them for wanting to just get there."

You can read the rest HERE!

CBR Review: Magog #4

I recently reviewed Magog #4 for CBR and, in the process, wrote the following sentences: "There’s almost certainly a point of some kind to this comic book, but damned if I could find it. The plot seems unimportant as very little happens. The same happens with character development. There is a focus on scenes as nice little pieces of entertainment unto themselves. And the art is ugly and unable or unwilling to move from one image to the next with any sense of flow or logic. Magog #4 looks to be a perfect example of a comic published, because that’s what DC does: it publishes comics."

You can read the rest HERE!

CBR Review: The Authority: The Lost Year #3

I recently reviewed The Authority: The Lost Year #3 for CBR and, in the process, wrote the following sentences: "It’s not that this comic is bad, it’s that it’s not great, not even good. It’s an average, mediocre superhero comic that would barely warrant publication on its own merits let alone as the continuation of a story that began over three years ago and built up a mystique around it. The Lost Year doesn’t just have to compete with every other comic on the shelf, it has to compete with the imagined quality of Morrison and Ha’s run had it not died after two issues, a task that would be difficult for most comics, let alone a tepid issue like this one. Is that fair? Perhaps not, but it’s the truth."

You can read the rest HERE!

Joe Casey Comics: The Last Defenders #2

[Continuing my look at Joe Casey's The Last Defenders. New posts randomly over the next week.]

One mission/story in and the New Jersey Defenders has been discontinued/cancelled by Tony Stark. Now, as you'll recall, this team and line-up was his idea, but does he blame himself? No, no, no, he blames Nighthawk and the rest of the team. The blame placed on Nighthawk is especially bad, because the Defenders are his baby, he's the fan, and he tried his best to make it work under the guidelines provided--and even protested the idea--but it didn't... how is that his fault?

The team fought the Sons of the Serpent in Atlantic City, which caused a lot of damage when Quetzalcoatl is summoned. Now, the damage caused isn't actually that out of the ordinary, particularly for the Avengers (look at the first story in Mighty Avengers, for example), but, here, there's something not just wrong with it, there's something almost obscene about it. Now, I read the damage done here as the reaction of the readers to the new team: they hate it. They hate that it's Nighthawk and three people who don't "belong" in the Defenders. And, since this is a C-level team that relies on the hardcore fans, it cannot survive such a backlash the way the Avengers can. The Avengers can piss off fans and still sell huge, but the Defenders needs its fans.

Which is why Stark shutting it down is so hypocritical since the fault lies with him, not Nighthawk who wanted to give the fans what they wanted. He blames Nighthawk's lack of leadership, like a company blaming a writer for not making an editorially mandated book work despite the writer arguing that it's a mistake beforehand. Stark's dialogue here is revealing as he says, "IF WE CAN STAY AHEAD OF THE PRESS ON THIS FIASCO, WE MAY BE ABLE TO REVISIT THIS IDEA... / ...IN A YEAR OR SO. [/] NEEDLESS TO SAY, I THANK EACH OF YOU FOR YOUR SERVICE. SORRY IT DIDN'T WORK OUT." Not only is his tone very casual, but the idea that they may just come back to the idea in a year or so speaks to the cyclical revamping of failed concepts that seem to happen every couple of years.

As well, in this opening scene is further commentary by the Blazing Skull that Nighthawk may just not be cut out to be a hero--almost suggesting that the fan shouldn't write, but but should edit. This is an idea I'll come back to towards the end of the series.

The second half of the issue has a fantastic scene between Hellstrom and Yandroth that accomplishes nothing except add a token flashback scene to give Hellstrom's eventual involvement in the team more weight. Here, Casey is obviously doing nothing more than taking the piss. Nothing of any significance is expressed, Yandroth just goes back in time and meets with Hellstrom, promising that, in a few decades, the meeting will have significance. This is a jab at the trend of constantly adding little flashback scenes in a character's past that tie into the current story, but do nothing else. Yandroth, as I said last time, is the professional writer and his job is to give these events more weight and signifance--what better way than to add an event to the character's past?

The issue ends with Nighthawk and She-Hulk forming the second iteration of the Defenders in this book, which I may as well call the Dynamic Duo Defenders. They infiltrate a Sons of the Serpent facility to rescue missing SHIELD agents, including Joaquin Pennyworth, who has some connection to Kyle Richmond--and little tolerance for superheroes. He is a professional and thinks people in costumes are idiots. Let's say that he also represents a certain segment of the writing community, but will find himself soon waist-deep in superheroes.

She-Hulk's role is less clear... perhaps the artist who believes in the fan writer's vision? Or maybe she has no real subtextual role. Her interplay with Nighthawk is a lot of banter, a lot of bickering. The Dynamic Duo Defenders is very much a team-up book ala Hawk & Dove or Green Arrow & Black Canary or something similar. A minimalist approach to the team full of sexual tension and two opposite personalities brought together for a common goal. Will it work out? No. Nice try, though.

Oh, and, as Matt pointed out in the comments and I was going to mention at some point, I want you to take note of the covers as each shifts from popular artist to popular artist until finally settling on a Jim Muniz cover when the Last Defenders come into being. There's a point to that, don't you think?

Next issue: the Dynamic Duo Defenders die and we get another version of the team. Three in three issues... hoo-ha.

Joe Casey Comics: The Last Defenders #1

[Beginning my six-part issue-by-issue look at Joe Casey's The Last Defenders. New posts will pop up over the next week, but I can't really indicate an exact schedule.]

On my most recent pass at my list of my favourite comics of 2008, The Last Defenders places at #20. It was a good series, but I think I liked it better than most because of my knowledge regarding Joe Casey and his interests. I don't know how fans of the Defenders enjoyed the book, because it really played around with the concept and barely featured anyone from previous incarnations of the group--and for good reason: those teams were failures. This series is not just about the Defenders, but about superhero teams as a whole and exploring what works and what doesn't. Really, the final answer isn't a satisfactory one, because the team put together by the end of the series hasn't been seen since... but, the journey is good enough.

As well, for the first two issues, Keith Giffen co-plots with Casey and also does art breakdowns for artist Jim Muniz--whose work I really enjoy on this book. He has a cartoony look that reminds me of Mike Wieringo, Ed McGuinness and Cully Hamner, which works well here. If I was better at discussing art, I'd do more compare/contrast stuff regarding the Giffen issues and the subsequent ones, seeing how layouts change. But, I'm pretty awful at discussing art usually, so... Also, my interest here is Casey's writing.

This issue introduces us to three characters who represent more than just themselves: Kyle "Nighthawk" Richmond, Tony "Iron Man" Stark, and Yandroth. Now, the ideas/people they represent beyond themselves aren't set in stone, but are more general than specific roles. But, hey, let's see how it works.

Nighthawk is the fan writer. He has his favourite version of the Defenders, wants to get a new team/book off the ground with the old favourites. That these characters failed numerous times before is no concern, because the love is there. In essence, he's a moron, but a good-hearted and well-meaning one.

Tony Stark is the heavy-handed editor/publisher. Despite not wanting to actually have any direct control over the new Defenders team/book, he has his own ideas of what it will be and they will be followed. He knows better and he is the boss. When the team/book later fails, it's not his fault because he wasn't actually the one following through on things.

Yandroth is the professional writer. He doesn't care about what the fans want, he has a plan and it is grand, overarching and involves both moving beyond the past and paying homage to the past. His team/book is designed to last while maintaing artistic integrity. He is convinced that his plan is the right one and uses larger themes and concepts instead of characters to determine the make-up of the team/book.

As I said, not everything each character does lines up with these interpretations, but these are, roughly, the roles they fill. What's interesting (and revealing) is that, by the end, Yandroth "wins" out over the others. Since it conforms to Joe Casey's plan, in many ways, Yandroth is Casey's stand-in--but so is Nighthawk since Casey is also a fan. This series has Casey fighting with himself over the best way to write a book like this and the writer wins out over the fan. Because, you know, he's a writer first and a fan second.

In these first two issues, the editor/publisher is given his chance to make things work as Tony Stark dictates the roster of the New Jersey Defenders to Nighthawk after Nighthawk submits a proposal for a new team(/book). That the team is located in New Jersey is a joke on a couple of levels. First, it indicates the team's lesser status to the Avengers who are New York's team, so the team continues to play second fiddle to the A-squard. Second, the inclusion of the word "new" in the team name plays off the title of the book, which is a response to books like New X-Men and New Avengers. Casey titles this book The Last Defenders, because, while it is the newest incarnation of the team, it is also meant to be the best, one that makes any further groups unnecessary. The "New Jersey Defenders" name is provided by Stark and also represents a critique of his "New Avengers," which was critiqued by fans for ignoring the traditional Avengers make-up in favour of Spider-Man, Wolverine, Sentry, Spider-Woman and Luke Cage... powerful members and pet favourites of the writer instead of "traditional" members. The make-up of the New Jersey Defenders is similar with the token "founder" member in Nighthawk (Captain America/Iron Man), and then She-Hulk (Luke Cage), Colossus (Wolverine) and the Blazing Skull (Sentry/Spider-Woman). It isn't anything like what you'd expect the Defenders to be, but Stark assures Richmond that it will work:

"KYLE, YOU'VE GOT TO ADMIT THAT PAST LINEUPS HAVE NEVER WORKED OUT FOR THE DEFENDERS; AT LEAST FOR ANY LENGTH OF TIME... / THERE'S A FORMULA FOR ANY SUCCESSFUL SUPER-TEAM. AND WHEN IT COMES TO CHOOSING TEAM ROSTERS, I'M AN EXPERT. / TRUST ME, THIS DECISION INVOLVED HOURS OF CAREFUL CONSIDERATION."

The team is actually designed to be a powerhouse team because of the proximity to New York, but Stark doesn't take personality into consideration, just the most superficial ideas of who these characters are.

There are other little gags or comments throughout the issue. When Nighthawk meets with Stark, Stark is in his armour, while Nighthawk is in a business suit. Various comments are made about how he's not dressed like a superhero and that the suit really wasn't necessary. Right there, we get that Richmond is far too involved with the idea to see it objectively, but also that Stark doesn't actually care that much beyond his own ideas.

When the team goes on its first mission, the Blazing Skull (a Golden Age hero formerly with the Invaders) yells, "DEFENDERS DEFENESTRATE!," an obvious jab at "Avengers assemble!"

In this issue, Casey also lays the groundwork for the eventual "Last Defenders" line-up by having Daimon Hellstrom rejected as a student of the Ancient One in favour of Stephen Strange, and Krang undergoing a procedure so he can breath air similar to Namor.

The issue ends with Yandroth making his first appearance, discussing how time is meaningless because he can see the entire picture (much like Casey) and that he will make sure the Last Defenders, the perfect version of the team, comes into being.

Next issue: the New Jersey Defenders suck.

The Sunday Open: Second Week of April 2008

Welcome to another edition of me writing very short, unhelpful reviews! This week, I took a major step and created a pull list here in Windsor. This was the result of the shop sometimes being sold out of books I wanted (maybe one a week at most, often not) and me being sick of having to wait until I got back to London for some books. I still have the pull list in London, too. But, it wasn't a huge week (and next week looks even more slight), so let's get to it...

ClanDestine #3

I love that Alan Davis is revisiting his Excalibur run, even though I haven't read it. Great concept. As was Newton's sexual roleplaying. The rest of the issue is kind of iffy, but the suspense keeps growing as we're left wondering "What the fuck is going on?" Also, I'm a little annoyed that we only get two more issues as this is a very, very good comic.

Fantastic Four #556

While this is not. I'm sticking with this title through next issue, because I want to see how Millar and Hitch handle a complete story arc... and so far, it's horrible. What is the plot? No, seriously, what is goddamn plot? Okay, this issue kind of has one with the giant robot Captain killing people, because "Smart people create robot that then goes crazy and begins killing people" is ever so original. But, beyond that, what's the plot? What does any of this matter? Gee, "Mrs. Fantastic" was smart enough to make sure the robot wouldn't kill her, but not smart enough to actually have control over the fucking thing? I am loving how Millar is trying to present these people as being smart enough to build an exact replica of the planet Earth, but too stupid to build a robot that won't go crazy and kill people without at least one hundred different means of shutting it down instantly. And, I'm sorry, but this is the worst artwork by Bryan Hitch I've seen since before he came on board Stormwatch. I don't know if it's the colouring or the inking or just Hitch, but it looks half-finished and muddied and not at all up to his normal standards. Unless the next issue is quite literally THE BEST COMIC EVER WRITTEN, I won't read another issue short of someone handing me them all for free with the promise of a memory wipe at the end if I so choose. (Oh, and do you think my assessment is a little overboard, a little hyperbolic? Well, that's the only way to discuss a Mark Millar comic as he himself will tell you.)

Iron Man: Enter the Mandarin #6

A decent ending to a decent story. Iron Man and the Mandarin fight. Iron Man wins. The Mandarin will be back. Who didn't see that coming? But, Casey does a solid job and Eric Canete's art is fantastic. I really like this sketchier, more fluid style he used on this book.

The Last Defenders #2

Ah, Douchebag Iron Man is back as he disbands the Defenders after they cause a lot of property damage in Jersey fighting a giant fucking lizard. Of course, this is obviously meant to show Stark as a hypocrite and tool, considering the amount of property damage he alone has been responsible for is staggering. It's also an interesting attempt by Casey and Giffen to show that things have changed. Now that superheroes are all registered, the old shit isn't acceptable: if they're going to be professionals, then they're going to act like professionals. Nighthawk isn't that good a superhero, though, as demontrated here. He is a decent one, I suppose, but not in the same league as the big boys and probably shouldn't be running a team. The running commentary on the fight is solid, as is the rest of the issue. This is turning out to be a really good series that combines old and new styles to comment on the state of the current Marvel universe a little bit.

Wolverine #64

Didn't I see Logan's trick from this issue in Preacher? Heh. Doesn't change the fact that this is a pretty decent but brainless story. Logan does what it takes to try and kill Mystique, while she does what it takes to escape. Pretty simple and Jason Aaron is doing a great job. I'm even digging on Ron Garney's art here, which is odd since I'm usually not a big fan. Next issue is my last for this book (it's actually a fluk that I've been buying it almost for a year, really) since Millar and McNiven take over for that story about old man Logan or somesuchshit.

Young Liars #2

Oooooooooooooh-kay. This isn't a bad issue, but is hurt by our not knowing these characters better. We get one issue in the present and then a flashback issue right away? It seems a litle... off, unless it's going to be a back-and-forth story structure. Maybe this will look better in the context of a few more issues. As it is, it falls a little flat. But, I did enjoy parts of it--just not as much as I feel I should have. I am liking how the cover is the first panel of the issue--a technique that I'm surprised more people don't use. This series looks like it will either be very good or very bad. I'm looking forward to seeing which.

Army@Love: The Hot Zone Club

I picked up the first issue of this when it first came out and wasn't that impressed. I wish I could say that the trade changed my mind. Rick Veitch has some interesting ideas, but that's about it: they're interesting ideas... so what? I find the execution lacking here. There's not much substance despite the fact that these are dense comics. Maybe I'm not the target audience as it is very much a soap opera with the intricate plots of who is sleeping with whom (and did I actually get the who/whom thing correct there? You'd think as a writer and English grad student, I would know such things, but I don't...) and I really don't care. All of the characters are vapid, superficial and not really worth my time. The only sequence that really impressed me was when the mom of a mentally challenged soldier shows up during a firefight to ensure that he's being treated equally. It was a cheap book, though, only ten bucks. I do dig the art as Veitch and Gary Erskine make a great team. Anyone else paying attention to this book? Thoughts?

Batman: The Long Halloween

Finally picked this up as I've heard many good things... and it was okay. It was competent and did the job, but didn't really go above and beyond. I'm sure that this was one book that read better monthly in singles where the whole "Who is Holiday?" mystery could keep up the interest. In trade-form, though, it all goes by so fast that it isn't nearly as engrossing as it should be. As well, the story is so sprawling as far as a cast goes, you never really get a chance to latch onto anyone. We're supposed to feel for the Dents and I did--but just not as much as I feel I was supposed to. I've always thought that mystery stories work best when the narrative perspective is focused on one character--and Batman narrates the story, but we also get scenes that he didn't witness. Imagine if, during one of Raymond Chandler's novels, we suddenly got some scenes thrown in that Marlowe wasn't present for. It would fuck up the story. Now, Loeb does do it consistently enough that it doesn't become too much of a problem, but it took me out of the story at times. Tim Sale's art is great and I loved the pages where Harvey Dent is knocked out and Sale's layout on those pages.

Getting this also gave me a chance to read Steve's essay on the identity of Holiday, and he makes a really strong case--one I'd have to agree with--but, as I've said before, I'm not the type to care about the solution to a mystery, which could be another reason why this book didn't wow me. Where other mystery writers can engross you without making the solution of the mystery the only reason to keep reading, I'm not sure Loeb did that. He tried, but didn't succeed for me.

That said, I may pick up Dark Victory this week, because it was an enjoyable enough read. It just doesn't live up to the hype, for me.

And that does it for this week.

The Sunday Open: Superheroes are Fun

Since I'm now doing a weekly column about a new comic, I'm going to have to actually buy comics each week. That means that Sunday is definitely a day for thoughts on the books. Lucky you.

Amazing Spider-Man #549

When discussing this week's column, Tim listed a few books he would be interested in discussing and this was one of them, so I got it. I actually planned to pick up last month's three issues, too, just to provide some background, but the shop didn't have the first one. Ah well, if I can't pick up this issue and follow along fine then Marc Guggenheim obviously isn't doing his job.

Well, the good news is, I can follow along fine. The bad news is, this comic is utterly mediocre. It's not bad, but it's not good either. For every good bit, there's a corresponding bad bit. Like when Peter shows up late for an important meeting and instead of getting chewed out, he's held up as an example of a hard-working employee, always too busy to be on time. It defies expectations and is pretty funny. This is paired with the boss not rembering Peter's last name. Oh-ho-ho, that would have been so funny when I was eight, but I'm not--and neither is the vast majority of the readers. Jackpot's assumptions about the superhero lifestyle (especially calling the Grey Goblin as her arch-enemy) are fun. But...

The Jackpot and Grey Goblin plots frustrate me because they are obviously hinting at Mary Jane and Harry being these people (Harry less so). The Jackpot/MJ connection is so overdone that the writers are left with two options: reveal Jackpot as Mary Jane and have every reader go "Well, no shit!" or reveal Jackpot as someone else, at which point, all of the over-the-top MJ hints make no sense and the audience feels cheated. Maybe they've got something cool planned, but, as of now, it lacks the subtlety necessary to be a compelling mystery. All I'm waiting for is the obvious reveal or the nonsensical reveal. Fun.

I'm going to pick up the next two issues, so I can judge a complete arc. If the quality is the same as demonstrated here, I probably won't buy any further issues. It's just not worth my time or money to read mediocrity three times a month.

Batman #673 (and Batman: Gothic briefly)

Tim Callahan has a nice write-up comparing this issue to a classic issue that served as inspiration for Morrison, so go read that as I won't be touching on any of those details.

Actually, I don't have much to say about this issue since it's just a piece in a larger puzzle. I enjoyed the Joe Chill bit as it shows how far Batman will go, but then stop. He won't kill Chill to get revenge--but driving him to and encouraging suicide? Sure, why not.

I'm struck by how Bat-Mite's words to Bruce seem a guide to readers of Morrison's run: "That bats ain't so bad when you get to know them. / heheheheh / They can even be funny!" and then, he immediately follows it up with a comment that suggests that Morrison may move the book into a direction readers are familar with: "To tell the truth... / the dark ain't so bad when you learn how to make friends with it." The first quote seems a message to the readers that they need to lighten up about how they perceive Batman, that he isn't just a grim, hard-boiled asshole--and the second seems to suggest that Morrison has fought against that purposefully, but is learning that it isn't all that bad either. Weird contradictions there.

The title of the issue, "Joe Chill in Hell" makes me think of Batman: Gothic where Batman talks about Gotham being hell. I picked up that trade this week and reread it yesterday and something occurred to me: would the story in Gothic qualify as an entry in the Black Casebook? It involves the supernatural and occult, the sort of things that seem like they'd be contained in the Black Casebook. It would be appropriate.

The Boys #15

I love Hughie. I defy anyone to read this comic and not love Hughie. What you need to know about him is summed up on the final page when Annie (secretly a superheroine and newest member of the Seven) runs into him, hughs him and begs him to be nice to her (as her life has been pretty fucking shitty lately) and he just responds, "AW, ANNIE-- / WHY ON EARTH WOULDN'T I BE?" I've always hated how people tend to focus on Ennis' extreme elements and just gloss over stuff like that.

This issue is all about degradation. Annie has degraded herself to be a superhero and member of the Seven. Hughie feels he's morally degraded himself through some of his activities as a member of the Boys. The director (whose actual name I totally forget) degrades herself (in her eyes) by having sex with Butcher. Butcher has degraded himself by making himself a superpowered person. Curious to see if this arc continues with the theme.

More interested to see if things go well for Hughie, though. I love that boy.

The Immortal Iron Fist #12

There are, like, 54 things going on at once in this book. But, the big news is that, for the first time ever, an artist besides David Aja has drawn scenes that take place in the present! However, the choice of Javier Pulido is a smart one as his style is similar to Aja's enough that there is an easy to spot difference, it isn't a jarring one.

This issue advances every plot as the tournament continues, as does the revolution and Hydra's attempts to fuck shit up. Did enjoy Fat Cobra's background stuff like him demanding his "wenches in waiting" when Steel Phoenix takes his place in a fight--or the hair pin stuck through his hand when, several panels earlier, he puts his arm around Tiger.

Great book.

Midnighter #16

I haven't read #15 yet. But, I wanted to see what Assassin8 was like and this is it? Maybe things will pick up next issue, but this issue was kind of bland.

The Mighty Avengers #8

Yeeeeeeeeeeeeeah, I read this several months ago in New Avengers. Except then it didn't have the overwrought thought-balloon monologue from Iron Man.

Narcopolis #1

So far, the plot of this series seems really basic (although it fits in with Delano's 2020 Visions--which I picked up this week and I'm halfway through), but the real fun is Delano's language. He really plays with the concept of how people would speak in this future society, much like Anthony Burgess in A Clockwork Orange. Nothing really deep here, just fun to read and get the hang of. The end of the issue suggests the plot will get better in future issues.

The Death of the New Gods #5

So, it's the Source that's killing the New Gods. And Mister Miracle becomes more an agent of the Anti-Life Equation--which is the other half of the Source that makes up a larger being. I wonder if we'll see a similar agent for the Source. Currently, the main suspect for the killer is Orion and I would love it if it turns out he has access to the Source the way Mister Miracle does the Anti-Life Equation, alluding back to where each grew up and being opposites.

I also loved the line that called the events from Crisis on Infinite Earths the "Infinity Crisis." Ah, good ol' Starlin. Looking forward to his reunion with Ron Lim on that Holy War book, too.

Omega the Unknown #5

We reach the halfway point of this book and it's still really fucking weird. I love the hand that grows feet, though. Funny as hell. Not sure what to say about this book. It's interesting, but hard to discuss as much of it will rely on the larger context.

That's it for this week. Until next week.

Best of 2007: Beyond the Top Ten Part 2

And so we continue the build-up to Sunday's top ten list with a few more books that I really enjoyed, but just didn't make the cut for whatever reason. Sure, this is just a way to recognise more than ten books, but whatever, all in good fun, eh?

Midnighter

Twelve months, twelve issues. Out of the various books I buy on a regular basis, this may be the only one that went twelve for twelve in 2007 and, let's be honest, that goes a long way in this age of "maybe ten issues a year." What keeps it from the top ten is really just the fact that the quality isn't top ten. This is a solid superhero book that I always enjoy, but it's just good, not great. As well, 2007 suffered (in my opinion) from the period between Garth Ennis and Keith Giffen's runs where there were three self-contained issues by Brian K. Vaughan, Christos Gage and the writing team of Jimmy Palmiotti and Justin Gray. While those issues were good (especially the BKV one--a very interesting story told completely in reverse to play on Midnighter's ability to see a fight in his head from beginning to completion before the first punch is thrown), they didn't contribute much to the book and its direction.

2007 gave us four issues by Garth Ennis, three completely the story where Midnighter is sent to the past to kill Hitler. This story was good, very "Ennis," but not much else. It had the advantage of being a defining Midnighter story in that its goal was to hammer home the point that Midnighter is a killer, not a hero or a radical or a revolutionary--he kills people. Thankfully, the writers after Ennis used this trait and often played against it. Gage's story had Hawksmoor challenge Midnighter to do something that worked against his killing ways--but the story quickly became an excuse for Midnighter to fuck shit up. There must be a temptation to turn Midnighter into a Batman-type of hero where he's unique.

As well, Keith Giffen's debut arc has been interesting in its attempt to explore Midnighter's life before he became this unstoppable killing machine. The story has been a bit choppy, though, sometimes going off on weird tangents that slow things down a lot. The next arc, involving an arch-enemy tailored for Midnighter proves promising, so maybe this book will make the cut next year.

The lack of one artist hurt this book a little, but, at least, the self-contained issues featured guys like Darick Robertson, Jean Paul Leon and Brian Stelfreeze. If only the larger arcs could keep a single artist to maintain cohesion. So far, Keith Giffen's run has had five issues with four artists and that's no way to do a book like this.

Midnighter is a good read and definitely the "almost made the top ten of 2007" book most likely to make the top ten of 2008.

I Shall Destroy All the Civilized Planets

What keeps this fantastic collection of Golden Age comics by Fletcher Hanks out of the top ten is the enjoyment factor. This is an important and worthwhile collection of comics, but the antiquated sensibilities and stories don't do it for me the way modern stuff does. I know, I know, but that's how I feel.

Nextwave: Agents of H.A.T.E.

Only two issues of this series came out this year. Now, those two final issues of the series were glorious in their madness and fucked-up-ness, but two issues don't cut it.

The Order

Okay, this book is Midnighter's biggest competition for a move from "the almost top ten of 2007" to the top ten of 2008, I think. A slow start is what keeps this book off out of the top ten. However, this is a very well-written, well-drawn book that demonstrates that Matt Fraction is most definitely Marvel's future superstar writer. Up until this point, he's done very off-beat, very wacky comics that are great, but haven't demonstrated his ability to be a leading writer that could handle a franchise book. The Order does that as he juggles a large cast of very heroic, very ultruistic characters that are in very Marvel-esque situations like fighting Communist supervillains and getting evicted from their headquarters. Also, Fraction is very well-represented in the top ten and he really doesn't need another book there.

On Saturday, I will post my bottom five of 2007.

The Sunday Open: Pre-Christmas Books

Well, home for the holidays means lots of new comics. Before I get to that, I just want to mention that I won't be posting my usual Jim Starlin and Joe Casey stuff tomorrow and on Tuesday (possibly Wednesday either). Now, let's get to it...

The Immortal Iron Fist #11

"Hydra guy, Hydra guy, old lady, Hydra guy." I love Brubaker and Fraction's little bits of humour on this book. They manage to balance that stuff with things like the fight between Tiger's Beautiful Daughter and the Steel Phoenix, Davos' past, Jeryn's mom's ear, and the intrigue of the Thunderer and the August Personage in Jade. Plus, Heroes for Hire shit, too. Not to mention David Aja's fantastic art. I am really amazed that Marvel hasn't pulled him from this book and stuck him somewhere else, because this guy is fantastic and looks like he can draw anything better than 99% of the artists working right now. Well, maybe not 99%, but a pretty large number.

Mighty Avengers #6

Um, alright, that's it? That's the end of this story? Ares flies into Ultron and turns her back into Iron Man? Um, 'kay. There is the nice moment where Tony is told that he was turned into a girl, pauses and then checks to make sure everything (meaning his penis) is where it should be. I'm back on board with the thought balloons, too. Bendis seems to have gotten a better handle on what to do with them and they're working better.

Punisher War Journal #14

I like how Kraven calls Frank "Tiny Monkey." The ideas here are good, but something about the execution just isn't doing it for me.

Detective Comics #839

The finale of "The Resurrection of Ra's al Ghul" is... this? Wow, some lame fights, some explosions, and then a retarded final scene where it's all "Forget about what just happened, because it's Christmas! YAY!" What the fuck? I am really glad neither one of the stores I stopped by had copies of the latest issues of Robin and Nightwing, because, fuck it, I don't want to know what happened in parts 5 and 6 of this piece of shit crossover. I am amazed--AMAZED--that these writers churned out such horrible, bland, mediocre crap. Eight issues where NOTHING. REALLY. HAPPENS. Holy fuck, I spent,like, twenty bucks on these comics. My god. My god. I hate myself right now. I really do.

The Death of the New Gods #3

You know what I loved about this issue? When Mr. Miracle bitch-slaps Darkseid with the Anti-Life Equation. The rest of it is kind of meh. I just can't get into the mystery here, because I'm betting the person responsible for killing the New Gods will be some character I've never heard of. But, I do love me some Starlin, so...

Green Lantern #25

I read somewhere that if I didn't love this comic then I probably shouldn't be reading superhero books. I guess I shouldn't be reading superhero books then, because I couldn't get through this comic. I'm sure that has a lot to do with not having read the previous ten parts of this story, but, seriously, I just couldn't get into this comic. I tried, but my mind kept wandering and I found myself skimming the dialogue and I just don't care. Fuck Green Lantern. I've never dug the character or the Corps or any of these idiots. And while I think Geoff Johns is a really nice guy, I can't get into his writing. Wow, there are now seven Corps and I should care why? I'm more disturbed by the odd rhyme in "The Sinestro Corps War." It weirds me out.

Also, having a horizontal double-page spread followed immediately by a vertical double-page spread is stupid. Just saying.

Black Summer #4

Probably the weakest issue of the series yet as little happens. The only thing of consequence is the introduction of a tactical group that can oppose the Seven Guns, but I suppose we won't see them until next issue.

What If...? Civil War #1

This issue contains two stories, plus a framing device by Ed Brubaker. The first story, "What if Captain America Led All the Heroes Against Registration?" had potential, but soon devolved into meaningless fights like the real Civil War. Also, I'm sorry, but the art is horrible. Horrible. My god, they published this art? It did give them an excuse to use that red, white & blue Iron Man armour, though. The second story, "What if Iron Man Lost the Civil War?" could be retitled "What if All of the Heroes Who were Good Buddies Before All this Shit Went Down Actually Talked it out like Civilised People, Not the Blood-Thirsty Morons that Mark Millar Seems to Think they are, Because Why Let Characterisation get in the Way of Fanboy Orgasm Moments?" In that story, things get talked out, the Registration Act stays, but is run by the Avengers, specifically Captain America and everyone is happy.

I'm actually mystified why Marvel would publish a comic like this, because the second story is so much better than what really happened. I mean, Captain America and Iron Man actually talking shit out--what a novel idea for two guys that are supposed to be great friends. Like I said above, the second story seems more aimed at showing why the original series made no fucking sense than anything else. Very, very odd.

Midnighter #14

Um, I thought Krigstein ended up working with the Authority. And the guy in the Iron Man suit went off to have his own life. Or, were those things retconned when the Wildstorm universe was rebooted (but only when it was convenient to the story at hand)? Or, how about taking control of his weird invisible bases in the middle of cities? Weird little stuff like this bothers me in comics, because, let's be honest, not many people reading Midnighter haven't read The Authority. So, come on, make sure it matches up.

As for the actual issue, there's a whole lot going on between Mindy and Jenny Quantum about Midnighter's past that doesn't make a whole lot of sense yet, because we haven't had the big reveal yet. Midnighter is offered a chance to join Anthem, but slaughters people instead. I did like the little bit with the British woman with the Union Jack on her face going "Bloody pathetic." Aside from the little continuity shit, I am enjoying this book. Giffen seems to know what he's doing and where he's going. Too bad the art is shit.

Deathblow #8

Yes, this book is still around, but not for long as issue nine is the last of the series. Can't say that I'm that disappointed. This series has been more fucking around than mindfuck and part of the problem is that Azzarello wasn't given an artist up to the task. Carlos D'Anda is one of those Wildstorm house artist types and, holy shit, I hate their stuff. I hate that style so fucking much.

But, I do love the dinosaur cyborg. This is a darker version of that playful Azzarello we all loved in Doctor 13. Here, the dinosaur gives us some weird rant about a dream where you grow breasts that your best friend wants to touch and you secretly want him to touch, too. The rest, though, is kind of meh. We'll see how it finishes and reads as a whole, though.

The Order #5-6

I had my reservations about this series after the first couple of issues, but it's turning out to be pretty damn good, you know? Complex characters, people trying their best to be heroes, giant radioactive lizards... awesome. My favourite scene in these two issues has to be in issue six when Henry, Pepper and Katie are questioning Mulholland about the Black Dahlias--if only because that has Fraction showing how well he does characters--and it leads right into Tony Stark being Tony fucking Stark. Fraction's Stark isn't quite like the Stark seen elsewhere, but it works. I don't know why, it could be the nature of the book, which is about this flashy, surface, celebrity type of world where Stark isn't Iron Man or director of SHIELD, he's a playboy billionaire. If there's a book that shows that Fraction will one day be writing the franchise books, it's this one.

Casanova #11

Why must I continually come up with new ways to say this book rocks my world? It does. Fuck it, that's all.

The Programme #6

Another book that I wasn't sure about at first, but I'm really digging on. Milligan seems to know what he's doing. That, and this issue is titled "The President of the United States is a Dangerous Psychopath," which is my favourite issue title of the year. Mark it down, rock and roll. There's also a fantastic moment where Max is looking for a clean t-shirt to confront the Russian superpeople in (after they'd been nuked by the US--that didn't work so much) and all that's left is a Steely Dan tee and his pure frustration/mortification that he'll have to save the United States from Russian revolutionaries in a Steely Dan t-shirt. If you haven't been getting this book, you should--or wait for the trade. Whatever, your call.

Iron Man: Enter the Mandarin #1-4

I really do love "Joe Casey fills in Stan Lee's plot holes" comics. This is the book for anyone who misses the Iron Man they knew and loved once upon a time. He's heroic and tough and noble and takes on evil. Plus, there's Pepper Potts and Happy Hogan being all original versions of those characters. These are some fun, well-written, well-drawn, just solidly awesome superhero comics. Eric Cante draws less like math here, more cartoony, but it's still great.

I want to take this chance to mention that I am looking forward to The Last Defenders. About damn time Casey's gotten another book set in the contemporary Marvel universe, even if it's only a six-issue mini. It should be good, so demand your retailer order you a copy of each issue right now.

The Pulse: Thin Air, The Pulse: Secret War, and The Pulse: Fear

Got these three trades for seven or eight bucks each and, well, they didn't do much for me. I think the problem is that the concept of Jessica Jones and Ben Urich teaming up for a weekly feature of superheroes for The Daily Bugle is great. Except. Except it never actually happens. I kept waiting for it to happen and it didn't, so fuck it. It seemed like a book designed at integrating Jessica Jones into the Marvel universe proper and not much else.

I did enjoy the Green Goblin stuff in the first arc, but not much else. Oh, there was the odd moment, but not much else. I did notice something that often bothers me about Bendis comics: layouts that extend over both pages, but are done in grids where you can't actually tell if it continues onto the next page or is just on a single page. This is especially problematic with Bendis' dialogue that jumps around so much that you can actually read these pages both ways and have them make around the same amount of sense. What the fuck?

I'm really disappointed with these books, because I'd been digging most of what Bendis has done so far, but these just did little for me. Ah well.

***

That about does it for me. Have a merry Christmas, happy holidays, whatever. I'll be back on Wednesday or Thursday.

I've got 52 problems... (Volume 4)

On Friday, I picked up 52 volume 4, so I've now read the entire series and, yeah, um, hey look at that, I've read the entire series.

This final volume is a strange beast as the writers seem to devote entire issues to wrapping up or pushing storylines in a more obvious way. Here's a breakdown:

#40--All Steel except for 2 pages of Black Adam
#41--Space heroes, Ralph, Montoya (okay, this issue balanced things a little, shut up)
#42--Ralph with 2 pages of Montoya
#43--Black Adam except for 5 pages of Animal Man/Lady Styx
#44--Black Adam with 4 pages of Montoya that tie into the Black Adam stuff
#45--All Black Adam with an appearance from Montoya and tying into the mad scientests
#46--Black Adam/mad scientists except 4 pages of Steel/Luthor
#47--A little bit of everything
#48--All Montoya with 1 page of Black Adam
#49--Black Adam/mad scientists
#50--World War III
#51--Animal Man/DCU/lead-in to end of the series
#52--Mostly Booster Gold, plus a page or two for the other stories as a wrap-up

Only two issues that really had more than two stories for a significant amount. Granted, stories converged as things went on, but ignoring certain stories doesn't work at times because this is supposed to be a book taking place in real time. Like, why do we see Animal Man in #47 viewing his wife and then not actually joining her until #51 even though it's the exact same scene? Why the six week gap between Steel taking down Luthor and Luthor getting taken into custody? Little stuff like that bothers the fuck out of me--I know, I know, I'm being picky.

Another thing that had me scratching my head: Wonder Woman's scene with Montoya--I didn't know that was Wonder Woman until I read Greg Rucka's commentary for the issue. Maybe I'm just a blind reader who should have figured it out, but why would I even think of Wonder Woman? The only clues are her appearance and the reference to killing someone--except the appearance isn't singular enough nor is the killing of someone. In retrospect, I see how it works, but at the time, it fell flat.

I did enjoy the resolution of Animal Man and Ralph's stories, though. Both were handled well.

Still couldn't muster up interest in Montoya or the crime religion whatever the fuck they are story.

Black Adam's story was decent, but mostly mediocre.

The ending of the series left me just as cold as when I read it the first time--mostly because it was a lot at once and I had totally forgotten about Booster Gold by that point. As well, I stand by my assessment that the whole 52 worlds is an unnecessary gimmick because of Hypertime, which was a much better tool. The new status quo is just a smaller, more limited version of Hypertime that seems to be servicing a story ("Countdown") that most people consider really fucking abysmal. Also, something about a Kingdom Come Earth bothers me.

The art in this volume was solid.

Still disappointed that there's no commentary by Grant Morrison in these trades. Also, I really wish they would have included the Newsarama interviews conducted with the creators after the conclusion of the series. It's not unprecedented and would have been a fantastic complement to the commentary.

52 has been a worthwhile read in that it lays out a pretty good model for what works and what doesn't in a weekly, real time series. I think it would have worked better with a smaller amount of stories (maybe three at most), more awareness of how things would unfold time-wise, and even a few more "real life" moments that I don't think we saw enough of because of the amount of story that had to be told. Part of the charm behind a series like this is seeing some mundane bits--that day where nothing really happens. Or even what happens between plot points--which would have definitely made the gaps between them seem less annoying. They were smart to focus on some of the "lesser" characters, but, really, there were just too many of them. Having the stories cross over helped that, at times, but not enough.

And that's that. Maybe someday, I'll sit down and read the whole thing in one sitting, see how it reads that way.

Even with a list, I'm a forgetful moron (Or, many many many comics)

I'm at home in London and I have a rather large stack of comics to discuss/review/whatever it is I do. I hit two shops yesterday with a list in hand that I update with each week's shipping list. Despite the list, I somehow came home without Criminal #10. It's on the list. My regular shop didn't have it and the one I stop at to pick up what my shop doesn't have may have had it, but in all the excitement of getting other comics and their awesome sale, I skipped it. I am filled with shame and, well, self-anger. What the fuck? It's Criminal, dammit! And I forgot! *lowers head in shame*

Ah well. Let's get on with this anyway...

New Avengers: Illuminati #5

Alright, so Black Bolt is a Skrull and revealed himself why exactly? I read the issue and I can't figure out the logic in that revelation. There's some half-assed shit about wanting to make them not trust one another, but really. Come on. Really? That's lame. Why do that when you could do the big reveal at a better time? Or never reveal and work on the inside to make shit worse, which is what we're to assume the Skrulls have been doing? But, hey, that's me.

As well, I have to admit that the magic eight ball was wrong as it said Black Bolt wasn't a Skrull. Damn you, magic eight ball.

Finally, this issue doesn't seem like what was supposed to happen. For some reason, I remember Bendis saying in an issue of Wizard a year ago that it was more about everyone else in the Marvel universe finding out that the Illuminati exists and being pissed. Maybe I'm wrong, I don't know. Not that that's a problem really as plans change--just something that occurred to me.

The issue itself was passable and pushed the story forward, albeit in a really dumb way.

New Avengers #36

Alright, so we can skip the second Mighty Avengers arc, right?

I'm amused that the two Avengers teams are working together so quickly. The Venom virus situation was a necessity, but that last page--and the little hints to the Skrull stuff--suggests that we're in for a united front. An undoing of "Civil War" so soon? Probably not, but interesting.

All-Star Superman #9

Wow, because this issue wasn't lame at all.

Some great ideas here, but the ending was a cop-out. It was a cheap as fuck cop-out that has deus ex machina written all over it. The two Kryptonians' bodies are poisoning them with Kryptonite? Yes, yes, we all see the mirroring of Superman because he's being poisoned by his body as well, but... come on. This is an issue where the subtext and themes are given more importance than the basic plot--something Morrison is usually pretty good at avoiding.

Meh.

Thunderbolts #117

No offence to Paul Jenkins as I haven't read his work with Penance, but why is Marvel bothering with a mini-series devoted to that character when Ellis is actually making him interesting? Not just interesting, but actually providing actual reasons for his behaviour? He's taken a joke of a character and suddenly gives him motivation and depth and reasons for being a whiny little emo kid.

Ellis continues to use this book to show exactly why the idea is an incredibly stupid one, logically. It almost reads as a satire of various ideas from "Civil War" and why they were half-baked. This book is a demonstration in why aiming for those "fanboy orgasm" moments doesn't work, really.

Batman #670, Robin #168, Nightwing #138, Detective Comics #838

Half of "The Resurrection of Ra's al Ghul" and... wow, there isn't a lot here. Lots of fighting and talking, but it leads to this: Ghul is back, his current body won't last, needs a new one, and is either going to use Damian (his grandson and Batman's son) or Time Drake. Shouldn't more have happened in four issues written by Grant Morrison, Peter Milligan, Fabian Nicieza and Paul Dini?

What If... Annihilation Reached Earth?

This issue was a lot less interesting than I hoped, but it does outline how the heroes will unite to fight the Skrulls. I don't know what I expected, but this issue does pretty much the bare minimum in imagining what would happen: the Annihilation wave is heading for Earth, the heroes unite, they fight together, they finally overcome it with Nova, Iron Man and Captain America sacrificing themselves in the process. It all makes logical sense, but... I don't know, it's just too basic. I wanted more.

The Boys #12

Not quite the direction I thought this story was taking. But, Ennis does some nice bits of dialogue and further develops Hughie's character as he adjusts to his new line of work. I enjoyed this issue, because I really like Ennis' writing. At this point, you know what to expect (in general, not specifically).

Captain America #31-32

The post-Steve Rogers world continues and we begin "Act 2" of the story. Like with the previous stories in this series, individual issues are difficult to discuss as it's about the bigger picture. Things progress, basically. Great book.

Velocity: Pilot Season #1

A nice little done-in-one story by Joe Casey with Kevin Maguire on art. I never really read Cyberforce, so I don't really know much about Velocity. Picked this up because of Casey and it's a decent read. Typical Casey dialogue--a sort of hipster casual (if that makes any sense). A story with a clever solution. A slightly downbeat ending. I haven't read any of the other "pilot season" books, but this could be a fun superhero series if it gets enough votes. Oh, and Maguire's art is excellent.

Infinity, Inc. #3

I really don't know where Milligan is taking this book. This issue moves a very quick pace, jumping forward a lot, just hitting the beats we need, never giving the reader a chance to really catch up or get a handle on what's going on. There's the potential for interesting stories with the former members of Infinity, Inc. getting new powers and, well, being kind of crazy. We'll see.

Thor #4

I love how Straczynski recognises at the end of the issue that his pacing is slow as fuck and needs to be quickened. The first three issues felt like what the first issue should have been. This issue should have been eight pages. I'm giving it to issue six and then I'll assess if it's worth it. So far, it's just been so slow and mechanical, in a way.

Annhilation: Conquest--Starlord #4

A nice ending to this series that always left me a little underwhelmed. I did notice how the Uni-Force acts a lot live the Hivemind that Nova has in his head. Used differently here, but found that interesting. Giffen also does something clever by having the Uni-Force assist the group by joining with a member of the Phalanx for a short period of time. I'm thinking about getting the three volumes of the first Annihilation, so maybe I'll pick up this entire story in trades at a later date.

Midnighter #13

This storyarc is lasting a little longer than it needs to. Midnighter ups the stakes against Anthem and gets his ass handed to him. Plus, looks like his support system is gone. Giffen's done things here that I didn't expect, honestly. I expected the story to stay closer to Midnighter's home town, but taking it into the world at large has been interesting. I just wish the pace would pick up a bit.

Punisher War Journal #13

Okay, I really enjoyed this issue. The opening bit with the Rhino doing it "OLD SCHOOL" is great. The inclusion of Spider-Man is always a plus as Fraction has him nailed. The Punisher is more of a supporting character here, which works. My favourite bit is after Kraven has kidnapped Rhino and Spider-Man is talking to a webbed-up Frank:

S-M: SO TELL ME THE TRUTH. IF I LET YOU GO, YOU'RE NOT GOING TO HUNT KRAVEN DOWN AND KILL HIM, ARE YOU?

P: ...

P: NO?

S-M (adding more webs): PSH. LISTEN TO YOU.

I dig it.

Wolverine #59

Um... what? An entire issue where Wolverine fights himself, except not really himself and not in any physical sense, but he does come back to life despite not really being dead as only his soul was missing and now he knows who to kill except why we don't know so we better read next issue. Ye-ah.

Doktor Sleepless #3

This is the first issue I've really dug. It's got lots of nice moments, it advances several stories and gives a hint of the big picture. It doesn't seem aimless like the previous issues. Or, at least, not in the same way. We all knew I was going to keep buying this book no matter what, but this issue has me in as a fan.

Gødland #20

Do you think Casey killed off Crashman because of Captain America's death? Something about the opening scene of this issue just reminded me of that. America's hero dead, everyone freaking out, etc.

This book is some good fun. Lots of action and thrills and good guys and bad guys and army guys and, yeah, you should read this book. It's good. And the Earth is doomed. Fuck.

The Order #4

It looks like Fraction has a plan for this book. I'm liking it more with every issue. It comes across as the most "mainstream" of his work--and it IS--but it's not as "mainstream" as it seemed when it began. It's subtle in its subversions and deviations. I have a feeling that it could all fall apart at any time now and that's pretty cool (and, wow, that sounds weird).

Omega the Unknown #2

This continues to be weird and mysterious, but compelling. It's offbeat in all the best ways. Plus, the end where Omega works at a church and as a fry cook--that's just funny. I think this will turn out to be a fantastic read. Or, I'm hoping.

The Programme #4-5

And I'm really liking this book, too. CP Smith's art is still a little too unclear at times, but the story is beginning to cohere and advance. The Senator Joe bit was nice and not overdone, which many writers would have fallen prey to. Another book that will be judged as a whole, but after a few issues were I was unsure, I'm in 100%. Now, watch Milligan fuck it up next issue...

Casanova #10

Hells yes. We secretly watch Quinn who secretly watches Benday who secretly watches Toppogrosso who secretly watches many people. Asa Nisi Masa. Lots of sex. When is Casanova Quinn? BLUE! I love this book.

Aaaaaaaaaaaaaaaaaaaand that does it for the singles. I also picked up 52 volume four, which I've got to read still; Thanos: Epiphany, which fits into the Starlin stuff; and the three Human Target trades I need in an awesome sale--I've read one of them, but will discuss them all later, maybe after I buy the uncollected issues. Oh, and I also managed to find Infinity Crusade #6, so when my last eBay order arrives, we're back on track with Mr. Jim Starlin up through to his most recent work--the only thing missing will be his Silver Surfer run.

I'm tired.