Blogathon 31: Uncanny X-Force (Part 2)

Kaitlin makes a pretty decent argument for why Uncanny X-Force is good. I guess my problem is that not connecting to any of the characters, in particular, Psylocke, much of it is lost on me. But, I covered that. Now I will attempt to tell you what I like about Uncanny X-Force and, maybe, talk myself into buying the final two trades...

* I genuinely enjoy the way Rick Remender writes Deadpool. He's not funny, but he's unhinged and tries to be funny. A character like Deadpool shouldn't be funny. He's too weird for that. Remender gets that.

* Evan was raised to be Superman.

* The art. Sometimes. But, I also think that I've passed by the rough patch (aka "The Dark Angel Saga" book one).

* Wolverine talking to Psylocke about killing folks.

* The way it ties in with Secret Avengers.

* The Final Four Horsemen.

* The idea of returning to the Age of Apocalypse and how it led to that comic. I like that comic.

* Seriously, Jerome Opena and Dean White!

* I like Remender's ambition. He doesn't think small. He thinks big. And he tries to make the characters matter. He simply falls into the bad habit of telling us things matter.

* Okay, I liked the art in the "Otherworld" story... it was me!

* That there's an end point.

In 30 minutes, Ryan K. Lindsay and I begin discussing the issue of maintaining monthly quality.

We're up to $960 raised!

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 30: Uncanny X-Force (Kaitlin Tremblay Guest Post)

Right from the get-go, Uncanny X-Force had everything I loved: a team of hired guns, which included Psylocke and Deadpool, taking care of dirty work incognito. And it was this team, and Remender's ability to create an ensemble cast where no character felt tacked on or left out, that ultimately hooked me. Each member brought their own unique strength and provided something to the story nobody else could -- whether it was Pyslocke’s compassion/telekenesis holding the team together, Logan’s battle-weary wisdom leading them on, Deadpool’s sheer insanity saving them from situations a sane man would run from, Angel’s psychosis testing their limits and Fantomex’s bravado threatening to break them apart. They worked as a team and moved as a team, and even when the story got a little too wacky -- which, oh boy, it did -- watching X-Force play together was always worth the read.

Despite all that, ultimately, Uncanny X-Force reads more as Pyslocke’s, or at least the Psylocke we’ve known so far, swan song -- a sort death with the ultimate hope of a rebirth for Betsy Braddock. We start off with a fairly recognizable, traditional, none-too-complicated Betsy: her unapologetic ass-kicking and her loving relationship with Warren. After The Dark Angel Saga, Betsy undergoes a series of events that are ultimately about redefining her: her mind becomes shattered; emotionally, she becomes wiped clean; she severs her relationship with her brothers and family in Otherworld; she sees a future version of herself as a Minority Report-esque fascist leader, killing people before they can commit murder in a world ruined by Apocalypse; she tries to kill herself to prevent this future; and after all of it, her mind becomes potentially irrevocably shattered in the final battle to prevent Evan from turning into the evil Apocalypse Take Two.

Everything contained within Uncanny X-Force is a steady loss of what is important to her, and her frenzied, chaotic and disastrous attempts to reconcile these events with her life. She gives up her ability to feel in order save Fantomex after killing her brother. After the horrid experiences with Angel, this is the next big step in her downward spiral. So much of Uncanny X-Force is Betsy fighting and jumping between extremes of what she feels is right and what she feels she needs to do. At the end of issue 28, when she sees herself in the future, she justifies her suicide attempt by saying "If I am the woman who brings this all about -- I'll kill her before she can." Her disassociation from herself in this scene points to the splitting that has occurred within her mind: there is the Psylocke she sees she will become, and the Psylocke she currently is, and both are wedged into her body in this moment, a moment that has been building for the entirety of the Uncanny X-Force run.

Betsy is steadily losing everyone and everything. She loses Jamie, and because of that, she also loses Otherworld. She loses Warren, she loses Fantomex. She loses her ability to feel, her ability to think properly in her own mind. By the end of issue 36, she even loses the ability to tell what is real and what is fantasy, as Fantomex points out to her on the final page. But the crucial part of this loss and descent is that it is paving the way for a creation of a new Psylocke. Uncanny X-Force ends with Betsy's assertion that, even if this is all in her head a la a Nolan movie, then at least she's going to take control and make it something meaningful for herself.

Ultimately, then, I would say Uncanny X-Force is the stage where Betsy Braddock’s life and identity plays out like a tragedy in order to take Psylocke’s character in a newer direction.  With the MarvelNOW! Uncanny X-Force run beginning including Spiral, the character who forged Betsy’s mind into Kwannon’s body, all signs appear to point to a refiguring of Betsy’s identity and characterization.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

Blogathon 29: Uncanny X-Force (Part 1)

I have read the first five trades of Uncanny X-Force and I really dug the first one. Since then, it's been a progressive slide. I still enjoyed the fifth trade, but there's no hint of the overwhelming love that others seem to have for the book. It's a little hard not to react against that love, to simply look at the book on its own terms.

It's a comic that had some amazing art in the first arc, went through various degrees of lesser art, and, then, briefly had that amazing art return three trades later. I can appreciate the story that Rick Remender was trying to tell. The failing of the group to recognise the danger their teammate posed despite seemingly recognising it. Their inability to see that their job was to protect the world from the likes Apocalypse and, when, one of their own accomplished that goal under horrible circumstances, to see that it was needed. Of course, the conceipt that the core of Apocalypse is simply passed on is a fairly... dumb one. Once you're aware of that, you don't kill anyone. You simply contain and restrain. You would think...

Part of my issue is that there's nothing for me to latch onto in this title. The closest thing I had was when the Age of Apocalypse Nightcrawler joined the team. That created an interesting dynamic as the members of the team struggled with this man who was so much like this lost friend, but clearly wasn't him -- and made that as clear as possible as much as possible.

The biggest letdown was "The Dark Angel Saga." Half of which was utter rubbish. A lame detour that didn't honestly add a lot before jumping into a story that didn't have the necessary oomph. If you weren't invested in the Psylocke/Angel relationship, a lot of what happens doesn't land. I don't think that Remender did a lot to actually make that relationship something worth caring about. He talked about it a lot in the comic, yeah. But showing? There were some early scenes that made it clear that it was a fairly poor relationship between a delusional ninja telepath and a man losing a battle with himself. It was doomed from the getgo in this comic and we're supposed to pretend that it matters? That it's important or tragic? If anything, it was the logical conclusion of the foreshadowing in the first arc.

Something I never quite got is the moral quandries at the centre of this book all too often. It's a wetwork team put together to do dirty jobs... yet, so much of the time was spent working against that idea. It's strange to have a comic where the characters fight so hard against the premise that they set out. Instead of those moments acting as an exploration of what this sort of violence and killing means, it made the characters look weak and uncertain in their situation. That's not compelling, particularly when it's all of them. It's one thing to avoid killing and questioning your chosen life after the fact... but to contantly talk around the idea like they do...

Sorry. I know how much Kaitlin likes this book and wanted to immediately set up the contrast, especially when I stand by everything I said. It's just not everything I think. Yet.

[Don't forget to donate what you can to the Hero Initiative (Details in this post)! After you do, let me know via comment or e-mail (found at the righthand side) so I can keep track of donations -- and who to thank.]

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of January 23, 2013

This is the last time I do one of these posts. The last time that I can see myself writing about the weekly haul ever again. So, obviously, everyone involved should feel especially proud.

Avengers #3: That felt a little anticlimactic. I really like the way that Opena draws the Hulk. I also really liked the last panel. Some moments in there worked, but... this felt a little underwhelming given the build up. Not as clever as you'd like. A bit simple. [***3/4]

Before Watchmen: Minutemen #6: The part where Byron gives Hollis the garage? That was my favourite page of the entire Before Watchmen project. These characters did need any of this, but it was still nice. Also, the stuff with Blake was funny. [***1/2]

FF #3: I also liked John Storm and Wyatt Wingfoot together... apparently, this week, I'm all about men hugging and calling one another brother. It's sweet and important. Fraction's writing is a nice mix of light and DOOM. Apparently, there's another comic he's writing that's related to this, but it's shitty, apparently. How does that work exactly? Sometimes I wonder if Matt Fraction is actually two little people who take turns being the torso (that's why he sometimes has a beard and sometimes doesn't, by the way). [***3/4]

Hell Yeah #6: So this comic is back. I reread issues 1-5 on Tuesday night and it's not really the comic that Joe Keatinge describes. A big part of why it's not is that he says it's about being young and stupid and realising you need to stop being young and stupid... except none of that shit is in there except for a few scenes where Ben is young and stupid. Otherwise, a bunch of shit happens all around him and he has so little agency that you wouldn't know he was the protagonist if he didn't appear on the covers more than anyone else. I like the conceipt that he now works for a guy who resembles Stan Lee and acts, basically, as a continuity editor. That's funny. And he's got some agency in this issue, but it's so caught up in implying things and talking around what's really happening that it's hard not to roll ones eyes. I dig Szymanowicz's art more when he's inked by Redivo than when he's not. This series is flawed and I find it interesting that part of that flaw seems to be that the comic isn't at all what the writer thinks it is -- or, it doesn't come off like he thinks it does. [***]

The Massive #8: I love the little moments. Like Lars refusing to follow orders. Or Cal seeming crazy. Or that final page. Or the difference between Soviet and Russian. I dig this book. [***2/3]

Prophet #33: Another book of little moments. I've been drawn to stuff that has those lately, I think. The poop joke made me laugh, especially at the end. "Ma'am! You forgot your shit, ma'am!" [****]

Punk Rock Jesus #6: Aaaaaaaaaaaaaaaaaaand he didn't stick the landing. He came close, but this sort of collapsed under its own weight. Maybe I'm being too hard. After all, I had to wait extra time to get the final issue. Expectations are a killer, Sean. Sorry. [***3/4]

The Ultimates #20: See, the joke is that, in the Marvel Universe, Nick Fury used a hologram disguise that looked like Ultimate Nick Fury, so, now, Ultimate Nick Fury is using one that looks like regular Marvel Universe Nick Fury. Now you can skip this comic. [*1/2]

Uncanny Avengers #3: This story should end with someone looking at the Red Skull, noticing the X gene in his grafted brain and him being torn apart by a big crowd of people. Oh. Shit. Spoilers, asshole! [***1/4]

Winter Soldier #14: A perfect ending. The hero wins the external fight and loses the internal ones. He can't really complain, but he's worse off than if she was dead. He's a good guy, so he'll pretend that it's okay, but it's not. It's fucking not. His heart has been ripped out. Well done, sir. [****]

Wolverine and the X-Men #24: More like Wolverine and the SEX-Men, am I right? I'm mostly impressed with Wolverine's ability to cut Storm's hair in a mohawk, obtain such a clean shave, and not leave a single cut... with his fucking claws. Apparently what he does is be the best barber in the world. I also approve of the Quentin Quire/Jean Grey subplot. I want more of that. [***3/4]

Wonder Woman #16: Sometimes, I read this comic and think that it's the least Azzarello-like comic I've ever read written by Azzarello. The way he writes Orion is that. I still like that War resembles Azzarello. [****]

Young Avengers #1: The opening scene is that moment when you get to university and meet someone who loves something you dismissed as being old. Who wants to listen to their parents' music? Well, a new adult does. Because it turns out that your parents weren't the cultural morons you thought they were and their music is pretty fucking good. Will our kids feel the same way? Sure, they'll discover things like Radiohead and the White Stripes and it will be like when we discovered Led Zeppelin and the Velvet Underground. But, what if they don't? Is that possible? I hope not. It's a big moment when you leave that teenage wasteland of hating everything that seems 'uncool' or 'old' and begin to find a way back to your parents through music. it was for me. It was. [****]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of November 28, 2012

All-New X-Men #2: One of those second issues that make you miss the double-sized first issue that was once the norm. Stick this with the first issue in a single comic and you'd have a much stronger debut. Hell, skip the first issue save the final scene and start here and it's a better debut. The stuff with the original X-Men really works for me -- interesting juxtapositions and possibilities. Glad to see that things improved. [***3/4]

Batman, Incorporated #5: You know, whenever there's a large focus on saving Gotham City, I tend to always go "Why?" Because it's a shithole and any sane person would have used his massive resources to relocate all that deserved it, sealed it up, and wiped it from the face of the Earth. Then again, the Batman isn't sane, so... [***3/4]

Fatale #10: I reread the entire second storyarc and... yeah, I'm not feeling it. These feelings will be expanded upon in the next Direct Message. But, it's still a comic drawn by Sean Phillips, so... [***1/4]

FF #1: A bit more like the Matt Fraction we all know and love. Crisp dialogue, clear characters, an easy to get concept, and the Allreds. We all knew this was going to be decent going in and it did not disappoint. Scott Lang is rather compelling here as well, which is surprising. [***3/4]

Multiple Warheads: Alphabet to Infinity #2: The meandering, lazy pace of this is nice. It's a hang-out comic. I like hang-out comics. [***1/2]

New Avengers #34: I think I'll discuss this at greater length in Random Thoughts this week. But, I do 'love' how Avengers #1 ships this week. Can't give it even a single week for the end of this eight-year run to sit and settle and sink in? Just shout "NEXT!" and we're off on the next run already with no break whatsoever? Why not ship it this week? That bugs me. It shouldn't, but it does. I'm not saying put off the next run or anything -- hell, I'm really looking forward to Hickman's run on Avengers and New Avengers -- but must it start the week after? Not even a single week off between the two? December is a big month, there's plenty of time for that comic to ship slightly later in the month... It just feels like "Thanks, now get the fuck out." Stupid sentimental bullshit. [****]

Prophet #31: I enjoy this series a lot. I like the characters, the art, the writing... [****]

Secret Avengers #34: As I've been reading Uncanny X-Force trades as they've come out, I've seen more and more threads from that title repeated in this one. I like that. Rick Remember building his own little world off in the corner. Well, I should correct myself: I like the idea of it. I'm not particularly bowled over by some of these ideas he obsesses over. I did enjoy the Captain Britan/Hawkeye banter, though. [***1/4]

Thor: God of Thunder #2: Dean White is gone and the colouring does take a dip. It's not as noticeable or bad as it should be. So, there's that. This god butcher story is intriguing and has a different feeling from other Thor stories. The whole difference between war and murder narration towards the end is especially engaging and good. And what would be a 'cool moment' in many other comics ("Thunder.") is played perfectly as desperate and slightly funny and just kind of sad. Thor barely survives... Now, to expunge that editorial full of bad jokes from my mind... [****]

Ultimate X-Men #19: "200 mutants? That's not near extinction! I'll show you near extinction!" And that's how Brian Wood turned the mutant race into 20 people living in the middle of nowhere on land that can't grow anything. He fucking saw you and raised. Fuck yeah. [****]

Uncanny Avengers #2: I have never seen so many ugly, half-formed panels from John Cassaday in a single comic before. Look at that final panel on page five. Hell, just look at page five. This guy drew Planetary and now... Also, will someone explain to me how altering people and giving them superpowers is okay, but mutants are not? I'm not a racist, so I can't exactly figure out the subtle difference. It mostly looks like bullshit to me. [**1/2]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of October 24, 2012

The great find at my shop this week: a bagged set of Down #1-4 for five bucks. One of those Warren Ellis books that somehow slipped through the cracks. Funny thing: I always thought of it as a Warren Ellis/Tony Harris comic, but Harris only drew the first issue. It's more a Warren Ellis/Cully Hamner comic.

Avengers #32: Oh, so the woman with the reddish hair is the Wasp. That was obvious from the opening scene of this issue. Except, isn't her hair meant to be brown? Actually, doing a quick Google image seach, her hair is usually a dark brown, almost black at times. But, hey, why not fool readers by lying? Bendis is wrapping up the loose ends. 'Kay... [***1/4]

Batman, Incorporated #4: Jesus, issue three came out three months ago... I had forgot all about Matches Malone and all of that. The reveal of Wingman isn't too shocking -- I honestly can't remember if this is who I thought Wingman was way back when the idea of his identity being a secret was introduced. It's also clear that the Heretic is Damian II... simply left in the tank longer. This issue was entertaining in how well the entire organisation works together. Action! And Burnham's art is lovely. [***3/4]

Captain America #19: Ed Brubaker departs, wrapping up a loose end in a manner that seems ironic given how his run began: Bucky revealed alive, brainwashed by the Soviets to kill. Here, the issue ends with Steve telling '50s Cap that his mind will be repaired and he'll be given a new life, one where he doesn't remember any of his true identity. Another member of the 'Captain America family' brainwashed -- for a good reason, it seems. But still... An appropriate ending. [***1/2]

Journey into Mystery #645: That final scene took a reread to fully understand. Loki's declaration of victory and eating out Ikol's throat threw me -- like he was killing Loki instead of allowing Loki to subsume him. An even more fitting end than the comic I just briefly mentioned. A more purposeful 'end,' too. Partly because so much of what Gillen was dealing with here were things that he had introduced and, therefore, needed to put away. The end of this made Young Avengers an even bigger 'must read,' if only to see what happens now that Loki is Loki instead of it simply being Loki. [****]

Multiple Warheads: Alphabet to Infinity #1: This seemed like a low key, lighter take on some of the same material Graham is exploring in Prophet. Some of the same broad ideas occur, but the perspective and purpose is so different that it's still engaging and worthwhile. Putting those two books together side by side should make for some interesting compare/contrast pieces... [***3/4]

Prophet #30: Great pacing/structure that built to a big finish. I like the idea of Old Man Prophet returning to a world he once fought for only to see it ready to succumb to the empire he fought against. On the surface, that seems like a betrayal -- but, what loyalty does this generation have to a previous one? Just because they chose to fight, doesn't mean that it's the Right choice. Or, that that choice always stands no matter the context. Not something explored (nor is there any reason why it would be), but that part had me thinking for a bit. [****]

Secret Avengers #33: And now we print the "Black Widow Was Right," t-shirts, yes? [***]

The Ultimates #17: I'm very tempted to drop this title and forget that it continued on past Hickman/Ribic. It's so conventional and mediocre in its approach to the subject matter and the execution thereof. Very typical, unremarkable superhero fare when, a year ago, it wasn't. Also, the art continues to slide and grow progressively worse. It's so fucking disappointing. [**]

The Unwritten #42: Up until the final pages, this felt like treading water. Even the reintroduction of Lizzie doesn't completely wow me. Like I've said for a while, this book doesn't seem to have a clear purpose/direction and it's still feeling around for one it seems. [***1/4]

Later

Riding the Gravy Train 27 (AVX: Consequences #1-2, Wolverine and the X-Men #18, Uncanny X-Men #20, and Uncanny Avengers #1)

It's hard to get off the topic of Cyclops, isn't it? Somehow, he became the character that just took over Avengers vs. X-Men, particularly the second half. Obviously, he's meant to, because of his central role, in a similar way that Captain America dominated the end of Civil War and the ensuing fallout (Iron Man shared that spotlight, though, in a way that Captain America doesn't here). He is the Loser, the Fallen Hero, the Villain, and, now, he's stuck in a position where he switches between gloating over being right and realising that no one cares. What a depressing mess that is, don't you think? How completely soul-crushing to read about a hero who set out to do something, was called crazy for it, villified for it, and, then, saw his cause coopted by those that villified him as they condemn him...

But, I'm a little sick of Cyclops. He was right. We get it. Now, he's being treated unfairly and we get that. I mean, they even had Captain America go out and get his douchebag brother to lead the new Avengers/X-Men team that's come about as a way to bridge the human/mutant relationship. You don't get much lower than that, because no one likes Havok (aside from his costume). (Okay, some people like Havok...) Has Captain America even met Havok before? He immediately turns on Cyclops, but welcomes his jackass little brother into the Avengers fold with open arms, seemingly as a dig at Scott? Goddamn, Cap is an asshole. He comes off like the sort of guy who would fuck a woman he doesn't like just because it would piss an enemy off.

The issue that I keep coming around to is one of fairness -- which is completely stupid. Why should this be fair? No reason.

But, reading these post-Avengers vs. X-Men comics, it becomes continually apparent that there is no sense of fairness or justice in what the Avengers and X-Men are doing now. Cyclops is imprisoned despite being right, despite being continually provoked with no justification, despite being possessed by a cosmic force... And the rest of the Extinction Team (not just the Phoenix Five) are being hunted, too? (Except for Hope...) Why? "Because..." That's all. Because they were on Cyclops's team. Nevermind all of the other mutants who joined up with him and, then, abandoned him... Why is Magneto any different from Iceman? When it came to fighting the Avengers and, then, fighting Cyclops, those two were completely in line. Same with Rogue and many other X-Men who aren't wanted criminals. Why? "Because..." That's it.

No, the problem isn't a lack of fairness. Within the world of these characters, sure, that's the problem. But, these aren't real people. They're fictional constructs whose sense of fairness and justice are determined by outside forces. The problem here is that the writers and editors behind these comics have specific stories they want to tell, whether or not those stories actually 'work' with the characters. I've said before that a big problem with Avengers vs. X-Men is that the story they wanted to tell and the story they told weren't the same things, and that's a problem that's continuing here. Is Cyclops meant to come off as genuinely more sympathic, likeable, and relatable than every other character? I doubt it, because why would you structure your entire line of books around a bunch of hypocrites and cowards who are too thick to admit that they were wrong, while the one guy who was right is portrayed as the villain? You wouldn't. And, yet, here we are.

Cyclops spends much of AVX: Consequences #2 being lectured by a man who nearly doomed the human race, has a long history of brainwashing and possessions, and a complete willingness to kill, sometimes losing all control of himself in a rage. Obviously, there's meant to be a bit of irony, but the entire thing is so lopsided that Wolverine is pathetic, truly pathetic, in his determination to push the narrative Marvel has decided upon that it's all bad comedy.

The hypocrisy and randomness of the whole thing is embodied in the Scarlet Witch. She did far worse things than Cyclops under far less provocation and, yet, she's back with a few token arguments about her wrongdoings. She basically committed genocide only for there to be justification and rationalisations later that allows everyone to feel okay about her being back in the fold... and the man who undoes her actions is thrown in prison? Sure, there may be adjustments made down the line, but it all rings a bit false, don't you think?

They wound up writing a story where the 'bad guy' was right and the 'good guys' were assholes about it and are stuck having to move ahead with their plans. The alternative is that the way I'm reacting to the comics they're putting out is what they intended and, then, I have to wonder why. After all, I don't see Cyclops advertised for many titles after October, but Captain America and Wolverine are all over the place...

Next week: AVX: Consequences #3 (plus A-Babies vs. X-Babies #1... maybe... it keeps popping up on different shipping lists, so I have no idea when/if this is coming out... did it ship already... my shop didn't get any copies... they were shorted on New Avengers this week, though, so maybe they were shorted on that, too... I don't know...)

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Weeks of October 10 & 17, 2012

So: I'm married now. We left town last Wednesday night and I didn't feel like bringing my comics with me. I'd read them all while Michelle was teaching a gym class as usual, but didn't have time to write about any of them (hell, I didn't even get to open Building Stories until yesterday!). That means you get a double-sized dose of my EXCLUSIVE! mini-reviews and star ratings this week. Aren't you lucky? Yes, you are. And a new Riding the Gravy Train will go up later today or tomorrow or this weekend, taking into account two weeks' worth of Avengers vs. X-Men fallout goodness.

Avengers #31: Is that Hope? Or someone else entirely? I DON'T KNOW! Comics are fun! A slight breather issue, which suits me fine. I'm glad that Bendis is trying to do something with the Wonder Man stuff. [***1/2]

Avengers Assemble #8: "Thanos loses because the US military can't make shit that works right." I didn't particularly enjoy Thanos being shunted back into basic bad guy mode, but, whatever, it was a clone. Thus ends the weakest part of the Bendis/Avengers era. I can say that with confidence. As much as I found the Secret Invasion tie-ins tedious, they were better crafted on almost every level. Avengers Assemble #1-8 were the worst Avengers comics released with Bendis's name attached to them. [Fucking horrible shit]

Captain America #18: Thus ends the worst Captain America story released with Ed Brubaker's name attached... I guess it really is time for people to move on, eh? [**]

Daredevil #19: Who doesn't love a cover that shows the end of the comic? ME! ME! ME! Another solid, good issue. [***1/2]

Frankenstein, Agent of SHADE #13: And this title joins the "Rotworld" fray in time to end in a few months. This comic made very little of an impression upon me. The ending was good. I like the idea that Frankenstein is sort of outside the three 'realms' (or whatever you'd call them). [**3/4]

Godzilla: The Half-Century War #3: From a writing perspective, this issue didn't do a lot for me. Lots of exposition, just throwing details at us -- details that mostly don't matter. But, hey, James Stokoe drawing a bunch of monsters...! Can't go wrong there, can we? [***1/2]

Hawkeye #3: An amusing issue centred around the trick arrows and the word 'bro.' I dug it. [***3/4, bro]

Marvel NOW! Point One: The second one of these big Point One anthologies that Marvel has done and the central story tying things together is a bit better than the previous (with weaker art) and the teases are a bit better. Then again, they teased a lot of comics I'm already interested in like FF and Young Avengers. On the fence a bit about Guardians of the Galaxy and Cable and X-Force. I solidly don't give a fuck about Nova or Secret Avengers. A mixed bag where I enjoyed some bits quite a lot and skimmed through others. [If I waited a month, I probably could have gotten this for free from my shop... but I like them, so I'll give them my money]

The Massive #5: A really good self-contained issue that jumped away from the Kapital for the most part. An early bit of muscle flexing by Wood? I hope so. [****]

The Mighty Thor #21: A weaker finish than I was hoping for. I guess there just comes a point where the constant swerves and tricks and doublecrosses just become noise. This story was filled with them, so they lose a step by this point. Also, it felt like a lot of build-up for a lot of nothing in many ways. Surtur was a bit of a strawman villain here, wasn't he? Alan Davis kills it on art -- and, from an intellectual standpoint, I liked a lot of the ideas here, they just didn't carry the emotional weight you want from a big finale like this. [***1/2]

Punk Rock Jesus #4: There's still more than enough of a religion-hating young angry man inside of me to absolutely adore the end of this comic. I really enjoy this comic now, but my 17-year old self would have loved it. This would have been his favourite comic series of the year -- maybe ever. [****]

Secret Avengers #32: Decent end to this whole Abyss Crown story and I liked Black Widow calling Ant-Man out for being a LMD and no one believing her. [***1/2]

Ultimate Iron Man #1: I didn't even know what the point of this comic was until the end and, by then, the mediocre dialogue and ugly art made me not give a fuck. [Not buying issue 2]

Ultimate X-Men #17: You can see a bit of DMZ in Nick Fury's speech to Kitty at the end. This is humming right along, executed well, and one of the more interesting comics I'm reading right now.

Untold Tales of the Punisher MAX #5: At what point in the future does the father/son stuff take place if the father, as a teen, had a dad that had a giant DVD collection? Apollo 13 seems to have first come out on DVD in 1999 -- and, since the dad took it everywhere, you have to assume that his death happened at least a year or two after it was released, meaning that the flashback story took place in the 2000-2002 range. Meaning, that the framing story, if in the presents, would be 10-12 years later. Given that the son in the framing story looks to be in the 10-12 age range (maybe younger, but the art provides no solid clues), it clearly can't be the present, because the father didn't look like he was getting any girls pregnant while stalking the Punisher. Just the things you think about when reading a tired, cliched, mundane, tedious comic book... [*3/4]

Wonder Woman #13: A transition issue, sort of. Suits me fine. I'm enjoying the ride. [***1/2]

X-Men #37: The end of Brian Wood's tenure on the title and it's a good conclusion. His whole run told a nice story with a clever concept that mostly lent itself to exploring the differing views of mutantkind by members of the team -- and, in the process, bringing about conflict. The Storm/Colossus fight was so charged, because of the slow build to it. The way it was teased and the stakes slowly raised. [***3/4]

The Zaucer of Zilk #1: Yessssssssssssssssssssssssssssssssssszzzzzzzzzzzzzzzzzzzzzzzzz... [****1/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of September 26, 2012

Can I fit all of this in during a break at work? Let's see...

Batman, Incorporated #0: That makes two very good zero issues, one decent zero issue, and one pretty bad zero issue for me this month. Pity poor Tim who read them all. No wonder he wants little to do with weekly comics. He gets sent those, I got sent the new Prison Pit. Somehow, I'm happy one and he's the miserable bastard. Though, now that I've said that, he'll tell me he also got sent Prison Pit and I'm not so special. [****1/4]

Fury MAX #6: Having read American Tabloid in August, I enjoyed this recent arc and now can't help but wonder: Fury vs. Pete, who wins? Discuss. [The essay portion is worth 25% of the test]

Happy! #1: From Fury to Happy... I love that. I rather enjoyed this comic. Not all what I expected -- but what were we to expect from this comic? No one really knew. So, thanks, Grant Morrison, for keeping your mouth shut during interviews. [****]

Journey into Mystery #644: The lesson of this story: everyone betrays everyone and then the world burns. FUCK. [****]

Prophet #29: Excellent use of colour (or lack of colour most of the time). Interesting visual choice and I loved the punchline at the end. I swear that this series could go on forever and tell any sort of story. [****1/4]

Secret Avengers #31: Decent, but there's only so much dread and fear that mind control stories can raise in me. I did like the Venom stuff... fuck, maybe I should go back and check that book out? No? Okay. [***]

The Ultimates #16: There's a certain thrill in seeing Captain America fly around and fix the country with hitting, while telling corrupt politicians to fuck off before threatening them into doing the 'right thing.' It's what we all want to see happen in government at some point. And it's fine given the state of Ultimate USA: fractured, corrupt, at war with itself in a dozen places... At this rate, though, he'll have the whole thing back to normal in two weeks and then what? And then what? Also, the final 'twist' wasn't really one. Apparently Thor sired David Bowie. [***1/4]

Winter Soldier #11: Weird visuals and a hell of a final page. Now that is an interesting endgame for that other Winter Soldier to be working towards. [***3/4]

Wolverine and the X-Men #17: Judging from the 'next issue' tease, the scheduled Avengers vs. X-Men tie-in issue has been pushed back to issue 18. Instead, we get a rather funny issue spotlighting Doop and his role at the Jean Grey School. Jason Aaron brings the odd and the funny, while the Allreds supply the perfect visuals. A really great issue -- one that I thoroughly enjoyed. [****1/4]

X-Men #36: As a piece, Brian Wood's brief time on X-Men has been interesting. The same idea tackled in a few different ways along with some unexpected inner team dynamics -- and the Storm/Cyclops stuff has been fantastic. I think it ends next issue, right? I'll miss it. Not every issue lands, but every issue contribute to the whole and that's where this run shined. [***1/2]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of August 22, 2012

I am tired after sitting in the sun all day at the Tigers/Jays game. Well, not so much tired from that as the getting to and from the game via tunnel bus (none of the delays were Transit Windsor's fault). Just a hot and tiring day. But, it was also a lot of fun and a really great day nonetheless.

glamourpuss #26: I stopped reading this somewhere in the area of issue 12, I think. I still bought it every two months, but found that the release schedule made the Alex Raymond portion of this comic a little hard to follow properly. 11 (or so) pages every two months didn't exactly drill details into my head. So, I decided to simply save up the issues for a big reread and, now, the book has ended. I guess I get my chance. I did read Dave Sim's closing text piece and damn if that wasn't the most depressing thing I've read for some time. And it isn't him saying "Oh woe is me!" or expecting sympathy or pity -- it's just a man laying out how fucked he is and how fucked up the industry he works in can be. And he isn't blaming anyone either. It's just... sad. Sad that this is the reality of things. [TBD]

Scalped #60: The other big ending and it didn't blow me away. Too big of expectations? Too let down by the downer ending? I don't know... It just seemed like it didn't cohere entirely. Too much effort put in to making things ambiguous or left wide open for too many characters? In a sense, it felt like another issue of an ongoing, serialised story. Which is fine... but it doesn't necessarily make for the 'best' conclusion. I liked this issue and will no doubt grow to see it as the most appropriate ending for this series, but, right now... I'm not feeling it as much as I'd like to. [Not yet, no]

Secret Avengers #30: Ha ha ha... fuck you, Max Fury! You ain't no person! YOU AIN'T NO PERSON! [***1/4]

The Ultimates #14: "Hey, Sam, welcome on board The Ultimates. We know that you're following Jonathan Hickman and his run, with Esad Ribic and Dean White on art, has been highly regarded by some. We want to give you the best start possible by pairing you with artists that are vastly inferior and will make this book look like everything else on the shelf. That will help you win 'em over! Good luck, son!"

...okay, it doesn't help that Humphries's dialogue runs a bit too far towards the 'typical' superhero shit either. Hickman had a lighter touch, a way of making his different ideas seem different. If you look at what happens in this comic, it's not that different from what Hickman was doing it. How it happens, how it's presented, though, is very different and it's not as good. It's not as engaging, it doesn't have the same verve or energy. I hope it gets better, because, on a plot- and idea-level, it's still a good comic. On every other one, though... [**1/2]

Untold Tales of the Punisher MAX #3: A new exhibit for how, sometimes, self-contained single issue comics are just fucking boring. [**]

The Unwritten #40: Man, Tom's takedown of the crazy man was great. I'm glad that they held off on him showing up for a few issues. The best issue of the latest arc... But there still isn't a sense of what this book is about anymore and where it's going. I guess we'll have to wait and see on that end. [***3/4]

Wolverine annual #1: A great conclusion to this trio of annuals. Davis did a good job at making each self-contained but telling a larger story. Though, really, it seems like it should have just been a Dr. Strange/ClanDestine crossover mini-series or something. But, hey, if sticking these stories in annuals of other books helped make them happen, I'm not going to complain too much. Another big story to add to the ClanDestine group of titles. Lovely. [***3/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of July 25, 2012

Three days of work down. Two to go. This whole 'work five days in a row' thing is insane. Also, preparations for the fifth Blogathon have begun. This one is going to be insane. You have no idea. You may think you do. But you don't.

Batman, Incorporated #3: If anyone at DC or Diamond is upset that I got to purchase a copy of this today, let me assure you that I'm not the sort to be offended by coincidence. I just dig me some Grant Morrison and Chris Burnham Batman comics. This one included. (I figured I'd keep this spoiler-free given some people won't be getting this for a month, theoretically.) [****]

Captain America #15: So... the dude's complaint is that Captain America is only one man and can't be in many different places at once? And people take that as a legitimate complaint about how good Captain America is at his job? I can't tell if that's bad writing or exactly like the real world. I really can't. [***1/2]

Haunt #25: Another fill-in artist, another tangent. An entertaining one. I'd like to see more comics with prostitutes dressed up in leather pony suits as men ride their backs. Well, not that specifically. It's just rare to see and I'm not sure that that's a good thing. [***1/2]

The Manhattan Projects #5: So... there's a plot to this book. Hmmmm? [Hmmmm!]

The Mighty Thor #17: Oh, Donald Blake... you get your rest now until someone decides to dust off your disembodied head and attach it to the Destroyer or something. Also: Thor hates his ex-girlfriend. That's a surprise. Because he seems like the sort of guy who would want to stay friends. Just like Seinfeld. I guess Amora ain't no Sif. [*1/2]

Ghost Whisperer National Comics: Eternity #1: At least Cully Hamner's art looks good. [And at least Jennifer Love Hewitt had breasts.]

Prophet #27: Die Hard! Die Hard? Die... Hard... That sort of took me aback. It makes sense of course. I guess I never expected that particularly Liefeld character to pop up. I didn't expect any to pop up. This may be a 'continuation' of a Liefeld comic, but it's so divorced from what we think of that sort of comic that a tangible reminder that, yeah, this is just the future of that world, is a little shocking. Meanwhile, this universe gets more expansive and strange with every page. Insane. [****]

Secret Avengers #29: You could really just pull those Avengers vs. X-Men issues out and not miss a beat going from issue 25 to 29. Not a single beat. That's the smart way to approach a book like this. I'm a little surprised that it bothered to get involved at all. Sales bump? And the chance to bring back Mar-Vell for no real reason? Anyway, the Shadow Council is back and that's fine. Plus, lots of supervillains. And, yeah. I liked this. It was fine. [***1/4]

Spaceman #8: It's weird to think that there's only one issue left. It doesn't feel like we're at the end of the story yet. Oh, maybe the end of the 'Tara kidnapped' plot, but that's not the story. Is it? Azzarello has said that this is only the first story in a larger work that, hopefully, he and Risso will return to after doing some other things. The Mars stuff seems more like a dream... something fake. But, is it? It's so detailed... I just enjoy the hell out of reading this comic when it comes out. And, soon, it's over. Damn, man. [****]

The Ultimates #13: What am I supposed to do with this? Am I supposed to pretend that the last 12 issues didn't happen? Am I supposed to forget about Hickman and Ribic and White and act like this is the same fucking comic? Because it's not. The slow shift to this point has been happening for the past few issues and, here we are: a mediocre, fine superhero comic that exists within a larger, interesting framework... and it doesn't feel like anything new or noteworthy is being done. I don't know. Part of me wants to simply drop it. Make a clean break and pretend that the series ended. Part of me wants to give Sam Humphries and his line-up of Vastly Inferior To Esad Ribic aritsts a chance to maybe make me like this comic despite being something quite different. After the City, the Children, the People, Reed Richards, and the rest... what the fuck does Captain America bring to the table? That's what I want to know. [**3/4]

Winter Soldier #8: It's kind of a shame that the Black Widow can't permanently become Bucky's arch-nemesis because of her role in other comics. That would be interesting. Her brainwashed and moving against him. A giant black ops game between a guy who loves a woman, and that woman trying to kill him. Or maybe that wouldn't be great. I think Brubaker could make it work. He's making this work and, on paper, this doesn't sound much better. But, that's why we like Brubaker, right? [***3/4]

X-Treme X-Men #1: I dig alternate reality comics and, yeah, I didn't like this. A messy, convoluted thing that gave me no reason to care about anything that's happening. I don't really know what it's about. Something about the multiverse being broken? Maybe? Somehow? And these random people are going to save it? It's like a less organised Exiles and that comic was nothing but a disappointment time and time again. I gave it a shot. [You only get $2.99 from me once]

Later

Riding the Gravy Train 15 (AVX: VS #4, New Avengers #28, and Wolverine and the X-Men #13)

The AVX: VS card continues with two intergender matches. If only Andy Kaufman were alive to see this. He'd be so proud.

Match #7: Daredevil vs Psylocke

Two Japanese-influenced fighters bring a lot of kicks and blocks to the ring. Lots of jumping and stiff, close working. This is meant to play off the Daredevil/Elektra feud, but doesn't have the same energy or personal stakes. More than that, it casts Psylocke in Elektra rip-off territory when she's a lot more. Daredevil countering her telepathic attack was nice and Psylocke playing possum is another bit of evidence towards the X-Men now being heels. Unfortunately, like so many other bouts on this card, this one goes to a non-finish. The comic labels it a 'draw,' but that's clearly not the case. Both people just walk away, so I'm calling it a double countout. Nothing special, honestly.

Result: Double countout [*1/2]

Match #8: Thor vs. Emma Frost

Now, this is more like it. This is how you tell a story to build up a character. Thor and Frost dance around one another for a while, Frost even displaying a little power before Thor just destroys her with a massive hammer hit. That's followed up by more beating until he shatters her. It looks like he's won until Frost no sells being shattered, rains down diamond shards from a low orbit, reassembles herself, and knocks Thor out. We've been told that the Phoenix Five are powerful and this is showing. This is how you make a new faction look like a legitimate threat: take out a main eventer and look unstoppable in the process. Not a great match, but the first time that the Phoenix Five have looked like the threats they've been built up as. Kaare Andrews gets it, folks, and, also, after a card filled with non-finishes, delivers the second clear, decisive victory. You don't build people with cheap wins and countouts.

Winner: Emma Frost [**]

***

"Do you mutants ever get tired of not thinking for yourself?" is the line of this event.

***

New Avengers finally told a story about Avengers vs. X-Men that didn't involve K'un L'un and expanded upon the perspectives of the Avengers. The tide is turning, folks. After the first half of the event built up the X-Men, slowly transforming them from crazy cultists to misunderstood underdogs, the approach is shifting back towards the Avengers because, well, the X-Men are proving them right. Kind of. The Phoenix Five, so far, have actually only tried to have a positive effect on the world and have only been revealed as cruel and corrupt when confronted with violent Avengers ready to brind them down, hard. That said, with the power they possess, dealing the Avengers shouldn't be a problem. In fact, the Phoenix Five are powerful enough that they could literally confront the Avengers with non-violent, passive resistance. Let the Avengers attack them and don't respond, just keep talking, just let them wear themselves down until they're left either depleted or ready to assume you're not going to become corrupt. Instead, the Phoenix Five imprison the Avengers they capture in virtual reality machines that play over and over again their imprisonment and escape attempts until they're woken up, told that it was all dream, and sent back in.

This is because the Phoenix Five don't want to just win -- or, convince the Avengers -- they want to punish anyone who disagrees. They want to punish the Avengers for the imagined slight of hating mutants. They are using the same tactics that the real mutant haters used. It's a little obvious (the persecuted become the persecuters), but I'm still shocked at how quickly the shift happened. We've had two issues of Avengers vs. X-Men with the Phoenix Five and in only one of them did they have any real appearance of purity/goodness. There's no real fall here, but they wasn't any rise. They practically began from the position of using Limbo as a prison or making their prisoners replay over and over their imprisonment and escape, knowing that it's not real. Emma Frost quite possibly told Spider-Woman that she's going to execute her.

This is some heavyhanded shit right here.

***

The first page of Wolverine and the X-Men #13 is a pretty great Watchmen reference.

***

Despite the X-Men's dominance right now, the entire Avengers vs. X-Men story has been one where all but the top-tier X-Men have looked like absolute jokes compared to the Avengers. The X-Men may have an army, but it's most grunts that can't shoot straight. Hell, do the Phoenix Five really need them anymore?

Next week: Avengers vs. X-Men #8, Uncanny X-Men #16, and Avengers Academy #33.

Riding the Gravy Train 12 (Avengers vs. X-Men #6, New Avengers #27, Secret Avengers #28, Uncanny X-Men #14, and Avengers Academy #32)

That's what I want to see. Avengers vs. X-Men #6 wasn't perfect and it will only lead to disappointment on my part, of that I'm sure, but... damn, that's what I want to see in my superhero comics. Characters with extraordinary powers using those powers in extraordinary ways beyond just hitting one another. And, let's face it, this has been a story that just wallows in how stunted these characters are, how incapable they are of responding to any sort of disagreement or challenge without punching someone in the face. It's been five issues (and many, many tie-ins) reminding us that these are horrible people that we should pity, because they're trapped in their ugly little world where the solution to every problem is violence. I mean, the logical solution to the argument at the end of issue one would have been the X-Men and Avengers taking Hope off planet, well away from Earth, and waiting to see what happens when the Phoenix arrives, prepared to kill her if things went wrong, but also prepared for the possibility that it would work out fine. It's kind of like that What If? comic Marvel published about Civil War where Captain America and Iron Man stopped for a moment and talked about the problem at hand, and came up with a solution that made everyone happy without all of the fighting and bloodshed. It may have been the most subversive comic Marvel published that year -- and surprisingly so, because it showed just how stupid and pointless that story was and how stupid and awful their 'heroes' are. For much of Avengers vs. X-Men, I've had that on my mind as people who have worked together to save the world suddenly decided they hate each other ("They're racists and facists!" "They're a crazy cult!") And, here, we have some characters actually doing things to make the world better and that's always nice to see.

Except...

Except.

Except, there's the problem that always crops up in stories where heroes are given extraordinary powers and decide to use them to make the world better: everyone else has a shitfit and decides that they must be stopped. How dare those uppity mutants try to end war?!? How dare they talk to the bad guys instead of crushing their skulls!?! How dare they do anything except fight and fight and fight and fight and fight...

So, of course, they fight. And they just showed up a little. And they'll overreact and prove that, yeah, maybe power corrupts and they need to be stopped. And the lesson at the end of the day is that a real hero shuts up, colours inside of the lines, and doesn't try to actually do anything except punch problems away.

Maybe I'll be wrong. God, I hope I'm wrong. I would love it if I were wrong. Normally, I'm a guy who will fight tooth and nail to prove I'm right, but, this time, let me be wrong. Because, for a big part of this comic, I saw something I love to read about: the actual effect superhumans would have on a world (the flipside of that is the effect a superhuman lifestyle would have on a person leading it). It wasn't revolutionary or new, but it was nice to see, because of the tease that there may be more. I usually only get to see this part of that story before what I predicted above happens. That's why this is the same as other comics where this sort of thing has happened: they all begin the same way and there's a moment where they could do something great... I don't know, man, any comic where the hero talks some bad guys into stopping their destructive behaviour and helping make things better is a comic I want to read and see played out without the usual 'power corrupts so let's keep the status quo' bullshit.

Because there are other conflicts than physical ones. There are other ways to be interesting and exciting than by spilling blood.

***

In my ongoing thought process of how to order the entire Avengers vs. X-Men event, I guess we now put New Avengers #25-27 after Avengers vs. X-Men #6. Somehow, I didn't see that coming.

***

Secret Avengers #26-28 is an odd little story within this larger story, isn't it? Beginning as a group of Space Avengers try to stop the Phoenix from progressing, it becomes a story about the Kree bringing back Captain Mar-Vell and brainwashing anyone related to the Kree into thinking that the Phoenix Force coming to their planet is the Best Thing Ever, including Ms. Marvel and Protector, two of the Space Avengers. Bringing back Mar-Vell was another move in this event that seemed like a mix of Civil War and Secret Invasion. In Civil War, Mar-Vell returned, not from the dead, but from the Negative Zone, presumably taken from sometime in the past before he died. Later, it was revealed that he was actually a Skrull posing as Mar-Vell, but the deception was so real that the Skrull couldn't help but act like he was Mar-Vell, going so far as to sacrifice his life in Secret Invasion... seemingly for the sole purpose of showing Noh-Varr that, while carving giant flaming swear words into cities is cool, being a protector of humanity is what's really tops.

Here, he's back again, this time really from the dead. It never really makes sense considering the way that Mar-Vell was viewed by the Kree (a traitor who deserved worse than the painful death he had) until the final issue where we get a lovely speech by the villain (Mar-Vell's nephew) explaining how Mar-Vell brought down his family's name and, now, this guy is getting it back, implying that the idea of using the resurrected Mar-Vell as a pawn just makes it more poetic and fitting. In the end, Mar-Vell sacrifices his life to save the planet from the Phoenix, inspiring Noh-Varr in Avengers #26 to betray the Space Avengers and steal a piece of the Phoenix Force so the Kree can... uh, do what the crazy guy in Secret Avengers #26-28 wanted to do?

Yeah, this story makes no sense when you put it before what Brian Michael Bendis is doing in Avengers, which I've discussed before. Since then, I've wondered which story should take precedence. Which one is 'right' and which one is 'wrong?' My first instinct was to choose Secret Avengers as the 'true' Space Avengers story because it takes place first and it has Mar-Vell. And, well, Bendis has a history of writing comics that contradict other comics, seemingly with little care of what's going on elsewhere in the Marvel Universe, because, fuck you, he's an Architect. But, now, I'm leaning the other way. After all, one of these writers is part of the five-headed beast leading this whole big crossover story event. Surely, those comics should be the ones we pay attention to first and foremost, right? Isn't that the rule of events? The order of importance goes: event series, comics written by event series writer(s), everything else. Seems pretty clearcut to me...

And, I guess, part of me is disappointed with this three-issue story. I read somewhere that Rick Remender reread Jim Starlin's work on Captain Marvel to get the character right and it seems somehow wasted and futile. This is a nothing of a story that seems to set up a premise only to knock it down right away before a big 'heroic' finish that feels hollow given that the hero just came back from the dead and spent most of that time brainwashed. It feels unearned somehow -- more joke than sincere.

***

I'm not sure if I can put up with Avengers Academy anymore as this event progresses. Look, I get that the kid loves his pet robot, but it can't change. It will always want to destroy all mutants and, now, an extremely powerful mutant has shown up, demanding to destroy it -- or, erase its memory so the part of its programming that demands it destroy all mutants can be eliminated. The kid somehow believes that the robot will overcome that bit of programming and I can understand why. In the Marvel Universe, every robot seems to rise above whatever they were programmed to do, gaining free will, and a desire to have sex with redheads. But, there's something so frustrating in seeing a comic devoted to the idea that leading kids into a fight with a superemely powerful being who's really annoyed when all that's at stake is a formerly genocidal robot is a good idea. Part of me wants to see Emma Frost slaughter everyone except for Hank Pym next issue just so we can have another moment of "Hank Pym is the dumbest genius in comics." But, yeah yeah yeah, little boy loves pet robot, let's all get mushy inside and pretend like that gives him the right to allow a possibly genoicidal robot that, knowing the world he lives in, would kill at least one mutant at some point in the future and have to be destroyed to exist until that time comes. Who the fuck left Hank Pym in charge?

Next week: Wolverine and the X-Men #12 and X-Men: Legacy #269.

Riding the Gravy Train 08 (Avengers #26 and Secret Avengers #27)

When Avengers vs. X-Men ends, I plan to look through all of the comics related to it and try to put them in a decent reading order like I did with Secret Invasion. One of the biggest problems with large events like this is that the comics, as released, don't work necessarily. The story doesn't flow, because each tie-in is presented from a different perspective and time period. In Secret Invasion, the comics that I rearranged most were the issues of New Avengers and Mighty Avengers where Brian Michael Bendis showed the past of the Skrulls (taking the place of people, preparing to attack Earth, etc) because they were released, seemingly, at random. They may have tied into the most recent issue of Secret Invasion, or they may not have. There was no way of telling until the new issue came out.

Avengers #26 and Secret Avengers #27 came out in successive weeks and, yet, the events of Avengers #26 take place after Secret Avengers #28 (which hasn't come out yet). Worse, reading Avengers #26, it seems like the events of the three-issue story in Secret Avengers means nothing. Absolutely nothing. Where we find the Avengers Space Team in Avengers #26 is very much the same place we found them at the beginning of Secret Avengers #26 minus a confrontation or two with the Phoenix Force.

Now, I'm not one of those people who get hung up on stories that 'matter.' I'm enjoying the story in Secret Avengers just fine and whether or not it changes the direction of Avengers vs. X-Men in any way doesn't really factor into that. It's doing what a good tie-in series does: tell an interesting story that relates to the main narrative, but can also stand on its own, creating an experience that enhances the overall narrative without being so entrenched in it that readers of that title aren't getting something out of it alone. (If that makes sense...) I do find the scheduling of the arcs and issue odd, though.

For one thing, Secret Avengers #27 was the only Avengers vs. X-Men released this week, while five comics related to the event came out last week. As well, Avengers #26 beginning a story that takes place after the current Secret Avengers story is a little offputting. At the time of its release, one issue of the Secret Avengers story had been released and, already, Marvel was skipping past it to allow Bendis to finally attempt to do something with Noh-Varr despite Secret Avengers being a Kree-heavy story? It's a less obvious case of conflicting events over different series than we've seen so far in this event, but it's still a conflict -- and one, that like the others, readers will just have to gloss over and pretend doesn't exist.

What bothers me the most about these conflicts is that I've never heard an explanation for them. Why the disparities over the comics relating to this event? I understand the challenges in crafting a narrative over nine different titles, but doing so was also Marvel's idea. We didn't demand that Avengers vs. X-Men take place over those titles, nor did we demand that it happen on a specific schedule or demand anything that should have prevented editorial from making certain that everything lined up. Hell, it's not even a 'continuity vs. consistency' problem, because it's not consistent to have different comics released in the same month show conflicting events. What's laughable is these events are designed to be one large story when you put all of the issues together and, yet, these problems crop up early and often. How exactly did the fight at Utopia start once the Avengers arrived? Because, I've seen two or three different versions of that event, and they don't match up at all. Which is right? More importantly, why did they need to be presented differently?

Then, there's Avengers and Secret Avengers where, I guess, we're shown that, after the Avengers Space Team solves the problem on the Kree homeworld where a resurrected Mar-Vell is leading a cult of brainwashing Kree fanatics in an effort to have the Phoenix Force go there (and Ms. Marvel and Noh-Varr have been 'brainwashed' along with the Kree because of their ties to the Kree), Noh-Varr then betrays the Avengers Space Team... because the Supreme Intelligence (who was in on the Mar-Vell/Phoenix-Force-come-to-the-Kree plot) told him to? Or, are these meant to be two different versions of the same story? We see both Noh-Varr and Ms. Marvel turn on the Avengers in Secret Avengers #27 and it's nothing like the end of Avengers #26 -- especially Ms. Marvel's disappointed/pleading "Noh... how could you do this?" Didn't they both already betray the team? And wasn't there already an attempt to bring the Phoenix Force to the Kree homeworld, which Noh-Varr says his mission is?

How can you reconcile these comics? Especially when they share the same editor, associate editor, and assistant editor? What happened?

When this is all over, I'll try to put these comics in an order that makes sense, but I'm not sure that's possible.

Next week: Wolverine and the X-Men #11 and X-Men: Legacy #267.

Riding the Gravy Train 04 (AVX: VS #1, Uncanny X-Men #11, New Avengers #25, and Secret Avengers #26)

The most capable and consistent method of telling a story through violence right now is professional wrestling. Action movies have their moments, but the focus there is more on something that will look cool. Wrestling, on the other hand, attempts to further narratives through matches. A fantastic recent example is the Hell in a Cell match from WrestleMania XXVIII between the Undertaker and Triple H. That was a master class in telling a story in a match. While Marvel has promoted AVX: VS as a series that's simply expansions of fights teased in the main series with all of the story taken out, that's a bit of a lie. Even if there isn't a a broad story being told, there's still the story of the fight itself being told. Basic concepts of who these characters are, how they relate to one another, and what they ultimately want can be viewed through how they fight one another. How vicious are they? Do they fight clean or dirty? What strategies do they employ? A lot of information can be communicated through violence, something that even the most basic wrestling matches tend to do.

Take the dark match (pre-show match put on for the benefit of the live crowd and usually featuring wrestlers who either aren't high profile enough to make the main show or a new talent learning how to wrestle in the style of that company) that I saw on Monday night at the taping for WWE Monday Night Raw: Antonio Cesaro vs. JTG. JTG has been with the company for years and never progressed beyond the midcard, beginning as one half of a popular tag team Cryme Tyme. His gimmick is 'urban toublemaker,' which can shift between face (good guy) and heel (bad guy) pretty easily depending on how mean he acts. Antonio Cesaro is a wrestler with lots of experience on the independent circuit as Claudio Castagnoli and, after signing a developmental deal with the WWE, has been working in Florida Championship wrestling as Antonio Cesaro. Recently called up, his gimmick is that he's a former European rugby player that, according to a very brief pre-match promo he cut, broke too many of his opponents, so he's come to the WWE where it's encouraged that he break his opponents. The match was maybe three minutes long and, yet, you could see the basics of each man's character on display. Cesara used mostly striking moves and did so aggressively, like he was legitimately trying to hurt JTG. JTG, on the other hand, was more flashy in his moves, relying less on power than speed and agility, doing moves that would draw notice to himself. This is a fairly standard concept in wrestling: heels don't do 'cool' moves, because that will make people want to cheer them. This division was kept up throughout the match where Cesaro kept relying on power/striking moves and JTG did inventive, flashy counters. More than that, at times, Cesaro seemed like he didn't know what next to do, showing inexperience that JTG capitalised upon. But, JTG could never keep things going because Cesaro was too overpowering -- too strong, too aggressive, just too much. As far as matches go, it was dead simple and didn't tell a broader story beyond who these two were and how they related to one another.

Neither of the two fights in AVX: VS #1 manage to even accomplish that, but they come close in a few areas.

Match #1: Iron Man vs. Magneto

The idea here are two familiar opponents who know each other's abilities and have planned accordingly. Iron Man immediately counters Magneto's magnetic powers, so Magneto hits a big power move. Right there, the pacing is awful. They go from zero to two thousand in no time. Partly a limitation of the page count, but also a sign of not knowing how to structure something as simple as the comic book equivalent of a three-minute match. Of course, part of the problem is that they're sticking Iron Man vs. Magneto in a three-minute match. Watching this fight is like watching the first few minutes of the Undertaker/Triple H match from WrestleMania XXVII where they immediately tried to end things and it didn't work: there's a reason why they're called 'finishers.' They need a solid base to build upon and this match doesn't have that. Instead, it's a couple of quick punches, a big power move, a counter, Iron Man hitting Magneto's finisher on him, Magneto kicking out, Magneto stealing some of Iron Man's moves, that not working too well, so we get into one of those 'punching back and forth' bits that spills to the outside before Iron Man jumps back in the ring to squeek by with a countout win. Lame. It's a filler match that prolongs the feud until the big showdown on PPV. Whose bright idea was to book this match?

Winner: Iron Man via countout [1/2*]

Match #2: Underwater Cage Match - The Thing vs. Namor

Marvel takes a page out of TNA's playbook and books a bigtime stipulation match too early, so it winds up meaning nothing. They begin brawling outside of the underwater cage and, immediately after entering the cage, they begin using weapons. I did like the Thing countering Namor's initial strike, but the use of weapons so early lacks in build. The giant fish is the underwater cage equivalent of a steel chair, I imagine. Namor introduces the weapon, but the Thing counters and uses it against him, pinning him down to escape the cage the winner at 2:37. Namor getting right back up shows how unsatisfying a victory for the Thing this was and, like, the Magneto/Iron Man match, this was simply a transition match that left things open-ended. Except the use of the stipulation and weapons drag it down since they come off as meaningless and ineffective.

Winner: The Thing via escaping the cage [DUD]

Two matches in and AVX: VS is already looking like a complete disaster card with the wasting of stipulation, reliance on big, flashy moves... it's like Vince Russo booked this shit. In future matches, look for the big swerve finishes where allies turn on one another. Also, notice how everyone is sarcastic and kind of jerky: no faces or heels, just a bunch of 'cool tweeners,' because everyone wants to cheat, but no one wants to get booed. Weak. (Also, those 'fun facts' are like the most annoying play-by-play commentary ever.)

***

Uncanny X-Men #11 doesn't attempt to show violence in the same way, preferring to step back a little and expand upon moments we've seen already in Avengers vs. X-Men from a perspective unique to this title. The closest thing we get to a 'match' is Red Hulk vs. Colossus, which is sort of like watching two surprisingly inept big men go at it. It's just punches and no real strategy -- funny given the Red Hulk's role as a strategist on the Avengers. Just two big men trying to outpower one another, like the Undertaker vs. Giant Gonzales or the Undertaker vs. King Kong Bundy or the Undertaker vs. Mark Henry or the Undertaker vs. Kane... goddamn, the Undertaker had a lot of shitty WrestleMania matches... But, there is an interesting element here in the way that Colossus's character is one where he is strong and is afraid of losing control. When he does, he freaks out after a while and the Red Hulk takes advantage. Nice bit of storytelling there. I am disappointed that the Red Hulk's big finishing move is the Big Show's Knockout Punch. He always struck me as a Powerbomb sort of guy...

The other glimpses of fights are unremarkable in that regard, getting by on some clever narration by Kieron Gillen. The end of the issue (Cyclops sending out a press release) is a little underwhelming.

New Avengers #25 and Secret Avengers #26 each tell stories that have little to do with one-on-one fights that I can compare to wrestling matches. As such, I don't care about them this week. They're also in their beginning stages and don't offer a lot. It is nice to see that the tie-ins will do more than simply expand upon the main series. We knew that Secret Avengers would be fairly independent in its approach, but how independent New Avengers will be is hard to say for sure yet.

Next week: Avengers vs. X-Men #3 and, possibly, Avengers Academy #29 (it may simply come down to the ability to buy a rack copy determining if I begin buying tie-in books beyond my existing pull list).

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of April 11, 2012

Another week, another stack of comics, another set of EXCLUSIVE! mini-reviews and star ratings.

Avengers Assemble #2: I liked this issue more than the first. Like many modern first and second issues, I hit the end of this and thought "Hey, this is where the first issue should have ended..." Double-sized first issues were great and allowed for a stronger introduction, one that this comic definitely would have benefitted from. [***]

Avenging Spider-Man #6: Yeah, I broke down and bought this and I'll probably buy Punisher next week, because I am a sucker. A giant sucker. Particularly because this comic wasn't good. It introduced the story and then sort of fumbled around with what to do. Pages of characters arguing over what to do, none of them with anything approaching an actual idea. And the only guy with something that resembles a clear plan is dismissed as a psychopath. I get that these three characters are linked, but it always comes off as stupid to read every single time about Spider-Man and Daredevil bitching out the Punisher because of their different moral takes on crime. Then again, if I could never read a comic where Spider-Man ever has to confront the idea of someone killing someone else again, I would be quite happy, because he always sounds like a simpleminded child in that conversation. [**]

Frankenstein, Agent of SHADE #8: Walden Wong's inking continues... It cleans up Ponticelli's pencils too much. I love the roughness of them. The art still looks good, mind you; just not as good. And this was a strong issue. The Frankenstein/Lady Frankenstein relationship hasn't been touched on much and to see why they broke up, where that emotional fracture occurred and why was good. It was also a little underwhelming in a way that a lot of the stories in this comic have been: something may seem like a big threat until it's actually encountered and, then, there's a more lowkey solution than you expected. You almost expect their son to be an unstoppable monster when he's really a freaky little manic thing... And that's not a complaint. The stuff with Father Time was handled quite well, too. Strong issue. [****]

Haunt #23: A breather issue of sorts... and, unlike most breather issues, we don't learn a lot. We learn that Daniel was in the Second Church without realising it. I guess that explains why he was such a creepy perv of a priest. Well, not necessarily... I like how this series both has the frantic energy of a radical reboot and the slow burn of gradual change. It's difficult to pull that off, to move in two directions like that. And Nathan Fox's ability to go from crystal clarity to insane chaos is remarkable. [****]

Journey into Mystery #636: A fun conclusion to this storyarc. The board game bit was cute. As was the end scene. Bring on the crossover! Wait... another one? Fuck you, Marvel. [***1/4]

The Mighty Thor #12.1: Partway through this issue, I realised that the best Matt Fraction Thor stories are the ones where we're told of some past deed or accomplishment. In fact, a lot of the best Thor stories are of stories that don't take place in the present, but at some point in the character's long, cyclical life. That makes sense: the character is mythology. He almost needs to exist in a weird 'story telling the story...' world where we can view him at a distance, where the stories have a simple and direct point to them. There needs to be a message gleaned from the character and his world. Some explanation of human behaviour or emotion. By taking that 'epic' mythological approach and applying it to direct stories featuring the character, something is lost. He's too close to us and there isn't that essential message to be gleaned. So, what do we learn here? Stand up for your friends and family no matter what. Good message. Decent comic. [***1/2]

Secret #1: Intriguing start. I like Ryan Bodenheim's art. [***1/4]

Secret Avengers #25: I couldn't get into this arc. Gorgeous art, though. A story that left me cold. Bring on the event! [***]

Uncanny X-Men #10: I'm tempted to stick this in my Riding the Gravy Train post for this week with New Avengers #24 since this (and the previous issue) is very much a prologue to Avengers vs. X-Men. Captain America's line about Cyclops's first priority was great. The stuff with Unit and Hope doesn't excite me as much -- if only because I'm not a fan of the 'young confused person is manipulated by the older confident trickster douchebag' cliche. With any luck, Gillen will do something cool with it. Also, Emma's frustration that Cyclops wasn't pissed over the Namor making out was interesting. Ideally, you'd think a guy who recognises that being hit with excessive pheremones that cause you to jump on the nearest guy isn't a reason to get pissed off would be a good thing... except Cyclops is the King of Repression, so who knows if he's 'enlightened' or simply ignoring it... [***1/2]

The Unwritten #36: After issue 35.5, I'm not sure this title needed another 'breather' issue following issue 35. I was a little let down that we weren't jumping into What Happens Next. Without 35.5, I'd see the wisdom in a quick break, but... It doesn't help that this issue didn't interest me particularly. I assume the Wave has to do with the death of Pullman and the Cabal being destroyed... or does it? The weird subreality of fiction in this book is so mysterious and unexplained that it's hard to tell what any of it means in the larger picture besides Some Shit That Happens. [**1/2]

Winter Soldier #4: A decent action comic. [***1/4]

Later

Sketch Reviews (March 29 2012)

Avengers #24.1: Between this and Avengers vs. X-Men #0, we get a little closure on the Vision's resurrection. But, is anything of value said? I'm not sure. There's obviously value in his struggle to figure out what he should do -- and how he should react to what happened to him. It's like he feels like he should be upset or sad or... something. There's almost a sense in the She-Hulk scene of the Vision feeling let down that she immediately apologises and is ready to be attacked, saying she won't fight back. He wants to be angry, to blame someone... and there isn't anyone. He can't find the Scarlet Witch, so he's left... with nothing. Thankfully, Avengers vs. X-Men #0 provides him with the chance to tell off his ex-wife in a story that easily could have begun an event titled "Men vs. Women." This issue, though, is unsatisfying, because it's meant to be. There's no satisfaction to be gained when you come back from the dead, discover that your teammate tore you in two because your ex-wife went nuts and made you both do fucked up shit. All you can do is make strange faces and wander around aimlessly... and maybe actually kill the terrorist... stoopid android. [***1/4]

Daredevil #10: That final page is strange... The rest of the issue is good. The Mole Man actually has an odd paradoxical depth here and Paolo Rivera draws the hell out of this issue. Next month: another crossover! [***3/4]

Deadpool MAX II #6: David Lapham writes and draws this issue and that's a little strange. He previous provided art for the Christmas special and, aside from Shawn Crystal doing a couple of issues, this has been a Kyle Baker joint. As much as I like Lapham's art, it feels wrong to end this way. The tone is different... Maybe the vision is purer, more like what Lapham intended, but that wasn't the comic I was buying. I don't know... [***1/2]

The Mighty Thor #12: And, so it ends, with a completely rushed reveal that, hey, yeah, the bad guys were kind of shit here, weren't they? Yeah, they were. You can see it clearly when the two big fights end within two panels and the good guys not even breaking a sweat. I particularly enjoyed how Iron Man did nothing. Literally nothing. He just sort of stood there and went "Um... maybe we should go inside and wait this out, ladies?" As much as I enjoyed the art of Giuseppe Camuncoli and Klaus Janson (they make for an interesting pair), it's a pretty big shift from the art on this story to date. It's messy and blocky and awesome... though stuck living under the shiny D'Armata colouring that kind of makes me hate the art. Very little about this issue works -- everything that does is undercut somehow. Except for those final two pages. I dug those. I really did. [**1/2]

Moon Knight #11: Someone please tell Alex Maleev to stop using low angle shots where it looks like he's cramming the figures into the panel awkwardly. In fact, much of this issue looked akward. Madame Masque seems to lend herself to weird, stiff-looking movements... [***]

New Avengers #23: We already know how this ends. But, it's nice to see how utterly useless this group of Dark Avengers are. I still don't know who half of those people are, too. And I don't care. [**]

Scalped #57: This issue swings wildly in the other direction from last issue. It was hard to tell exactly what the conflict in these final issues would be. Red Crow v. Dash isn't dead yet, son. [****]

Secret Avengers #24: A gorgeous comic that doesn't quite click for me. I like it. I do. But something is off. The ending of this issue seemed obvious for one thing. For another... I'm not quite sure the plot matters to me. Nor am I necessarily impressed by the conceit of a magical robot city featuring entire species of robots that... wait, why are there so many Visions or Machine Men besides it being 'cool?' Still, enjoyable in its moments. [***]

Spaceman #5: Hmm... [****]

The Ultimates #8: Interesting game being played here. Reed Richards neutralises the Hulk with ease, the People look ready to attack the City, and the United States seem ready to commit suicide... Of course, that last bit won't happen, because of the effects it would have on the other two Ultimate titles. This is an issue of broad movements hidden by nice character scenes. Reed Richards doesn't say it, but there's almost a suggestion that he at least respects the Hulk for his evolutionary responses -- his ability to constantly change and adapt to situations. He fits in with the Children in a way... And Esad Ribic and Dean White continue to be one of my favourite art teams. [****]

The Unwritten #35.5: I guess this issue provides a hint at the future of the title. It spans the course of the series (more than the course of the series, actually) and introduces Pullman's replacement possibly. Good stuff. [***1/2]

Later

CBR Review: Secret Avengers #23

I recently reviewed Secret Avengers #23 for CBR and, in the process, wrote the following sentences: "One the best aspects of Warren Ellis’s six-issue stint on Secret Avengers were the string of artists he was paired with. It’s nice to see the book continue with gorgeous art under new writer Rick Remender. Gabriel Hardman first impressed on Atlas and again on Hulk. Paired with colorist Bettie Breitweiser, Hardman's art has never looked better. She brings the same pale, washed out look that’s made Captain America and Winter Soldier so distinctive here, almost making her style of coloring the official espionage-influenced color style at Marvel right now. It makes Secret Avengers a comic worth buying even if you don’t read the words."

You can read the rest HERE!

Sketch Reviews (February 17 2012)

Yeah, I bought comics on Wednesday. Just hadn't gotten around to this post until now. Mostly because I spent all of Thursday blowing my nose every twelve seconds -- and, on days like that, the only thing I can stand to do is watch TV where blowing my nose doesn't actually interrupt anything. I watched around 20 episodes of King of the Hill. Awesome day. Aside from nose-blowing. (I'm about a third of the way into season three of King of the Hill after getting the first five seasons on DVD from Michelle's mom for Christmas and my birthday. As I said on Twitter, I think, on the whole, I prefer King of the Hill over The Simpsons. At its peak, The Simpsons was funnier, no doubt. King of the Hill is better at blending a lot of different elements consistently -- similar to what Parks and Recreation does compared to 30 Rock, say. Also, Pamela Adlon's voice acting of Bobby is some of the best voice acting ever done. Simply stunning stuff.)

Daredevil #9: One of the weakest issues yet -- which sounds negative, of course, but it was still a good issue. Conceptually, this issue had a good focus and some of the bits with Matt's radar was quite clever... it just doesn't connect with me. In the hands of a lesser artist, this issue probably would have fallen completely flat for me. Personal preference, I suppose. [***1/2]

Uncanny X-Men #7: Damn, Kieron Gillen wrote the hell out of this issue. Then again, I have a fondness for alien lifeforms that talk down to humans... Greg Land's art didn't bug too much most of the time. That's as good as it gets with him, isn't it? [***1/2]

Winter Soldier #2: When Bucky stands up and yells "Nobody move! This is a raid!" I laugh myself silly. It's just so fucking dumb. [***1/4]

Hellblazer: Phantom Pains: The one thing that I really liked about this trade was how Peter Milligan had John forget various spells at different times. He's an old bastard, he's losing his touch, and he will fuck up even more in the future... at least if his wife isn't there to save his ass. Now the wait for the next trade begins... [****]

Uncanny X-Force: Deathlok Nation: Three issues less than the Hellblazer trade and a buck more expensive. Fuck you, Marvel. This was fine. I'd read the 'point one' issue before and found it tedious here. The 'main story' (of three issues) was entertaining in its way. The Deathlok concept never really landed as well as intended and, goddamn, Esad Ribic's art is much better on The Ultimates with Dean White on colours. This is the necessary trade that bridges the first with the third and fourth... and judging from what people are saying about the comics after that, that will probably be where I get off this little ride. I did like the Fantomex Deathlok bit. (Also, the more we explore Fantomex as a character, the less interesting he is.) [***1/4]

Later

Sketch Reviews (February 9 2012)

Fuck it...

Some Brief Thoughts on Before Watchmen (which aren't meant to be nuanced or deep, but quick summations of where I'm coming from after reading 28,000 arguments for why this is the worst, most evil thing to happen in comics since forever... but, please, present those arguments again in the comments and see how much I care)

I honestly have no problems with Before Watchmen. None. I don't see the moral problem. I don't see scabs or traitors or anything wrong. It's not because I'm cynical or apathetic or unsympathetic... it's because Alan Moore signed a contract. Did something unexpected happen? Yeah. Watchmen stayed in print. You know what that makes DC? Lucky. You know what that makes Moore? Wrong. It's not a moral issue, it's a matter of someone signing a bad deal and it biting them in the ass. Let's not all pretend like DC stole anything from the poor victim Alan Moore. Especially if you've gotten a copy of Watchmen after its initial print run, you hypocritical fucks. You kept the book in print.

There's much more to it, of course. I guess it comes down to how much you expected DC to rework a deal that wound up benefitting them greatly. Or how much you blame them for exploiting a deal that benefitted them greatly.

One thing I keep wondering about is what exactly people are fighting over. I mean, literally, what is there about Watchmen and its characters that's worth fighting over? What made Watchmen so special, such a great work? Was it the Charlton analogues? (And, make no mistake, 'analogue' is just another word for 'rip-off.' Don't pretend like it's not. Don't pretend like these characters are everso original and sprang fully formed from the mind of Moore. They're different enough, but come on... if you're going to start arguing bullshit technicalities to bolster that side of your argument, then I'll have to direct you back to the 'Moore signed the contract' part of what happened...) If it was just the characters, then, yeah, I guess it's all wrong. I was always under the impression that Watchmen was more than a bunch of analogues... more than anything in the plot... it was style, technique, and innovation -- a bunch of things that Moore doesn't (and can never) own. DC is publishing a bunch of books featuring analogues of characters they already own... it's like they own the empty shell that looks like a crab and are trying to make everyone think it's a crab. All I see are a bunch of people arguing over an empty shell.

And, just to add one more point to make people hate me: I did laugh at Moore's arguments against the idea of Watchmen prequels considering he's been pretty close to doing more work with the characters and the world in the past. I understand that the real argument is over whether or not it should be his say no matter what he thought in the past (and people can change their mind), but it really came off as a convenient shift in position. It's not so much that Watchmen doesn't need (or shouldn't have) prequels, it's fuck DC for doing them without him. Which, fair enough. I get his perspective... Everyone else? Keep arguing over your empty shell that he gave away willingly and you helped keep away from him. Me, I'm going to read (and hopefully enjoy) some comics by creators I think are talented.

(Also, go buy Minutes to Midnight: Twelve Essays on Watchmen featuring "The Smartest Man in the Morgue," an essay where I apply Raymond Chandler's "Twelve Notes on the Mystery Story" to Watchmen!)

Now, onto brief words on this week's comics (like anyone will care now...):

Batwoman #6: What do you do with a comic you were buying for the art when the artist isn't drawing it anymore? I like Amy Reeder's art... or, I have in the past. Here, it's got the added 'benefit' of two inkers who I'm not a fan of (Rob Hunter particularly has been an inker whose work I've loathed since seeing the job he did on Jim Starlin's pencils). The mediocre writing was a lot easier to stomach when it had JH Williams and Dave Stewart dressing up into something amazing. Somehow, the 'new 52' has started falling apart on me lately... This may have to be a book I buy every other arc. [**]

Captain America #8: Conceptually, an issue that didn't add much to the first two parts of this story. There are a couple of plot points worth seeing happen, but, for the most part, it's more of Cap dealing with his problem. I did really like the way he overcompensates and how that winds up biting him in the ass. And Alan Davis art! That opening fight scene is absolutely gorgeous. [***1/4]

Haunt #21: When I wondered a few weeks back if this issue had come out, I know now that it had not. Always nice when Diamond's own list is wrong, right? Anyway... Bickering and fighting dudes on motorcycles while a guy reads from his evil Bible? Joe Casey's brain is a fun place -- made even better by Nathan Fox's art. [****]

Journey into Mystery #634: Richard Elson's art looks different in this issue. Slicker, faker... maybe the colouring changed? I don't like it as much. Otherwise, an entertaining issue. The banter between Loki and Leah was funny -- and the way that Loki figured out Nightmare was trying to trick him was clever. [***1/2]

Secret Avengers #22: I really like Gabriel Hardman's art and I'm digging on Rick Remender's take on Captain Britain. The rest? Not as much. This story here didn't keep my interest at all. The villains come off as tedious -- there's nothing there for me to hate and nothing there for me to like... they just are. Unsure if I'll give this another issue or not. [**1/2]

The Unwritten #34: Goddamn, that's a great issue! The reversal of Tom's fortunes was genuinely surprising and the way he took down the members of the Cabal was shocking in its execution -- mostly because this was more organised and capable than we've seen these characters act yet. It's the perfect time for them to get their act together, of course. And, the cliffhanger has me genuinely excited to see what happens next. Tom and Pullman. Goddamn. [****]

Wolverin and the X-Men #5: A charming comic if there ever was one. There's a bit more plot to this issue than the fourth, but the things I liked best about last issue continue: namely, wonderful little character bits. Pieces of dialogue that just pop. Jason Aaron has zoned in on these characters to such an extent that I don't care about the plot. There doesn't need to be a plot as far as I'm concerned. I could read a comic about lunch in the cafeteria every month, I think, and find it wildly entertaining. Hell, the thing I liked least about this issue was the plot. A rare thing in comics. Nick Bradshaw's art is a bit hit or miss for me: it depends on the characters and, sometimes, the individual panel. His style tends to make characters look like children, which I find annoying -- at least for the adult characters in the book. There needs to be a better distinction between the students and teachers visually, I think. But, he absolutely nails stuff like Kid Gladiator sulking and Toad's surly annoyance. [****1/4]

Wolverine and the X-Men: Alpha & Omega #2: Poor Quentin... girls aren't impressed by the way he's taken down Wolverine and made him run through his Construct. That's a shame. [***3/4]

Later