Best of 2012: The Top Ten Comics of 2012

My top ten comics of 2012...

10. PRISON PIT BOOK FOUR BY JOHNNY RYAN! Book two made my 'best of the year' list, while book three did not last year. What makes book four of Prison Pit so worthy? After all, you'll see that a lot of big, important, fantastic comics did make this list. Yet, a comic about depraved violence does? Mindless, brutal violence with no redeeming value, some might even argue! I wouldn't be one of those people. I love fake violence. I read superhero comics, watch professional wrestling, and love me some Prison Pit. I love Johnny Ryan's imagination. While there is an element of "If you've read one Prison Pit book, you've read them all," that's not true. Because he surprises in every book with the ways he does the same sort of violence in new ways. The ways in which he keeps himself and the reader from being bored at a little bit more of the old ultraviolence. The ways he comes out with new monstrosities and new conflicts for Cannibal Fuckface to deal with, each bigger than the last. Each seemingly more hopeless.

Book three ended on a cliffhanger that left me wondering "What next? How can Ryan get CF out of this? WHAT HAPPENS TO PRISON PIT NOW, YOU BASTARD!" And, then, here we are, and CF gets out of it in a clever, entertaining way. Recently, I've become fascinated with the way writers will create seemingly impossible situations for their protagonists and, then, get them out of it. I love that stuff. And, like most fiction, that's all Prison Pit is at its core: Cannibal Fuckface gets into a seemingly impossible situation and, then, gets himself out. Usually, it's a big, monster of a foe that he has to kill in a bloody, disgusting way. We've seen him eaten by an enemy... and break his way out. He's set on a collision course with a former enemy in this book and the end of this book is... well, you have to see it to believe that someone would make a comic like this.

And I love it.

I spent a lot of time after getting Prison Pit book four flipping through it, letting Ryan's art just sit in front of my eyes... His messy blacks -- pages covered in black inky blood! That splash page where you can hear the metallic score reach a high mark in the background as CF stands with a sword, head and torso covered in blood as he demands another guy's boots and kneepads. It's pure fucking heroic storytelling! THIS IS COMICS!

9. SCALPED BY JASON ARRON, RM GUERA, AND OTHERS! Scalped released its final six issues in 2012 and I had a chance to read the entire 60 issues over the course of a week. It is an impressive work, especially in its final six issues. Jason Aaron doesn't give us a clean, easy conclusion. It's messy and awful and ends in a way that I hate yet respect and understand. It wasn't a book that was going to end in a way that satisfies, honestly. We all wanted a happy ending. After 59 issues of death and pain and struggle, all you really want is an issue where some peace and happiness can be found, especially for the book's lead, Dash Bad Horse. Scalped is an ensemble piece with the Rez acting as the star to a degree, but Dash is the closest thing we have to a protagonist and, fuck, I wanted him to get a win. I wanted him to be happy. I could live with everyone else getting fucked, but Dash? He did some awful stuff and I wasn't more happy reading this book than at the beginning of that final arc when he was happy and seemingly settling into a leadership role in the Rez. Not the leader, but someone who was finally looking beyond himself and his concerns.

But, it wasn't that kind of story. I should have known better.

I don't always (or often) get invested in characters like that. It takes something special to do it and Scalped had that. A big part of that was the art of RM Guera. It took some time, but I grew to appreciate and love his art. His work is so savage and sweet at the same time. There's so much passion in his line work and the way he builds pages. Even moments of calm (of which there are two or three over the couse of Scalped) have this energy that makes them seem like a page can barely contain them. His art is messy and grotesque in those best ways. His characters look like people and not -- exaggerations, but so specific and deep that they may as well be real.

Endings are hard to land in cases like this. How could that final issue live up to everything that the previous 59 issues promised? Hell, who wanted this book to end? We hate endings, because we don't want endings. Especially in comics. Comics don't end, they keep going forever! It's hard to really love an ending to a comic. Like I said, I respect and understand the final issue of Scalped... but I kind of hate it. Yet, this book makes my top ten comics of 2012 nonetheless, because it was still a damn good ending even if I hate it. Does that make any sense?

Every single one of these six issues released in 2012 were issues that I greatly anticipated and... they all delivered in their own way. They surprised me, they moved me, they entertained me, and they stuck with me.

8. ULTIMATE X-MEN BY BRIAN WOOD, PACO MEDINA, CARLOS BARBERI, AND OTHERS! This time last year, the Ultimate title that I was in love with was The Ultimates under the direction of Jonathan Hickman and Esad Ribic (it was my #7 book of 2011). But, Hickman and Ribic left that title for Avengers and Thor: God of Thunder, while Ultimate X-Men writer Nick Spencer was replaced with Brian Wood. What Wood did with the title was make it a book about a revolution, about a world where mutants are not just feared and hated, they are penned up and killed -- and just when it seems like they've won, like they've finally gotten their freedom, something comes along and all but 20 mutants decide to stop being mutants. Forget the 198, Wood made mutants a truly endangered species on the brink of extinction. And he made them unable to function as a single group.

That one-two punch of mutants coming together to fight against oppression and win only for humans to come along and find a way to snatch victory from the jaws of defeat... it was masterful. It was taking advantage of the Ultimate Universe in a similar way to how Hickman did the same in The Ultimates. Take some familiar toys and fuck them up, because... why not? He could never do this on X-Men, but Ultimate X-Men is a whole other story.

Kitty Pryde has been the protagonist and leader of the mutants... even though, now, a sizeable minority seem to want her dead, because she seems intent on playing nice with humanity. In the most recent story, the mutants invent a seed that can grow anything anywhere... and she decides to give it away for free. This, after President Rogers gave mutants a dead piece of land for their reservation. You can see why some would simply want to declare war on humanity and die taking out of a few humans. But, Kitty sees a better way. It's a more spiteful way, I think. A "You try to kill us? Well, we're going to solve world hunger. Fuck you." way. It's doing good in a manner where everyone will want to accept it and some will hate themselves for it. It's forcing humanity to embrace its hypocrisy.

What would someone do if they were in a similar situation? Wood is quite good at creating these dramatic, fucked up contexts and, then, exploring how people would act in them. How noble intentions can go wrong, how people will still insist on doing stupid things, and how things will usually wind up bad even when it seems they can't.

Honestly, what I keep waiting for is for Wood to be paired with an artist that can make his scripts sing like they should. This is a book that makes this like despite the art. It's rarely been bad, but it doesn't enhance and improve like it should. It's serviceable at best. The strength of Wood's writing -- and the way that writing like this appeals to me specifically -- carry the day.

7. WONDER WOMAN BY BRIAN AZZARELLO, CLIFF CHIANG, TONY AKINS, AND OTHERS! Earlier this week, I wrote that Wonder Woman often reads like the least Azzarello-esque thing I've read by Brian Azzarello. I stand by that. There's little in Wonder Woman or Orion that scream "Typical Azzarello!" but there's plenty that does. Like the way the gods play one another and vie for power. Or the way Azzarello writes dialogue with so much precision and playfulness. The most recent issue, for example, had the Wonder Woman/Orion stuff that didn't seem at all like Azzarello, but it also had the stuff in the bar that felt like the Azzarello we all know and are a little afraid to love.

While Batman seems like a more 'natural' fit for a guy like Azzarello, he's very suited to writing Wonder Woman. A pure character who has a dark, dangerous side. She comes from a violent, cruel world - the Amazons are warriors, their gods are spiteful... she can work within the dark side of things. She can think of dangerous, cruel things to do, because she has a noble cause. She clearly doesn't like doing certain things, but she will. She will doublecross gods and sacrifice herself to save a baby. She's a hero unafraid to do what it takes to protect life. Yet, it never feels like she's bloodthursty or as brutal as someone like Batman. There's a hope and optimism to the character that most don't have -- and it never feels corny like it sometimes does with the likes of Superman. She's a good person who will do bad things if necessary and that's pretty simple.

Wonder Woman had the best zero issue that I read from DC. Azzarello was so playful in the opening narration and used the conceipt in a way that clearly plays a big role in the story he's telling. Almost like a backstory he was aware of but wouldn't share unless necessary. A lot could be learned there.

The art on Wonder Woman is top-notch. Cliff Chiang brings the right sort of light, cartoony feel that helps soften Azzarello a little and make this work feel more like a complete whole than a mismatched writer/artist (it helps that they're not mismatched). And Tony Akins is a great fill-in artist, working in a similar style to Chiang. There's a very unified look to this comic and it's a strong, bold one. It's sort of what you want a superhero comic to look like.

The character designs really impress me as well. The looks of the gods are inventive while remaining true to their natures. Apollo looks nothing like you've seen him portrayed before... yet it doesn't seem wrong in any way. Hades is particularly inspired. And the Orion redesign is the best redesign of that character. Very true to Kirby's original while looking more contemporary in a way that isn't immediately dated. How did Chiang do it?

Tim, you should catch up on this comic. It's really, really good.

6. FURY MAX BY GARTH ENNIS, GORAN PARLOV, AND OTHERS! I picked the perfect summer to read American Tabloid by James Ellroy, didn't I? Ennis owes Ellroy a debt in how he's writing Fury MAX, but that isn't really what makes it such a great comic. Sure, grabbing a few things from a truly great piece of fiction never hurt. A lot of what Ennis does with Fury is stuff we've seen before in the few times that Ennis has written Nick Fury in the past. He's always written him as a hard man, cruel and lonely, but usually one who recognises his place in the world. If possible, Fury wants to make the world better and make sure as few innocents die. The closest we saw to him not doing that was in the first Fury series Ennis did -- and that was the point. The character had gotten old and desperate for something. Here, he's still young and all he wants to do his job well and make the world 'better.' Often, he learns that he didn't. There's a sense that this is a history of Nick Fury's failures. His self-delusion that he was a good person in any way. That his actions had any nobility. He leaved Indo-China in one arc on the side of a man, returns two arcs later to kill him. What changed? Politics. Is there a point? Probably not.

Parlov is one of my favourite artists to work with Ennis. He draws hard men well. He draws violence well. His Nick Fury is a man of stone that looks more cracked as we go on. Old Fury narrating... that man is unhinged but we see that only around the edges sometimes. This is a messy comic and Parlov captures that. Much like no one can draw Ennis scenes of two men shooting the shit in a bar like Steve Dillon, few can draw violent Ennis comics like Parlov.

If I did a list for 2013 (and I won't), this would make it again most likely.

5. PUNK ROCK JESUS BY SEAN MURPHY AND TODD KLEIN! When you hear the title of this comic, you expect a certain type of comic. Maybe something akin to American Idiot by Green Day. Certainly something a bit more crude and actually focused on the eponymous character. Instead, it's a wide-ranging character piece that spends nearly half of the series looking at the people surrounding Chris, the reality show clone of Jesus. If anything, the main protagonist is Thomas, the bodyguard at the J2 project. A former member of the IRA, he's a believer in the possible divinity of Chris and tries his best to keep his depressed, alcoholic, regretful mother alive, fend off religious fanatics that hate the project, and all while keeping watch over a child raised to be the new Christ... who, as he grows, realises more and more that it's a crock of shit.

I regret that this comic didn't come out 15 years ago. My teenage self would have loved it. It would have topped his best of the year list no doubt. I grew up going to Catholic school and, in my teens, became a hardcore atheist. I'm still quite anti-religion. This comic speaks to that side of me. But, that alone wouldn't earn it a spot on this list. Sean Murphy's writing and art do that. Anyone can take cheap shots and trash religion -- not everyone can create compelling characters, complex situations that make you think and consider your position, and deliver gorgeous black and white art. I loved his work on Joe the Barbarian, but this was better. More than that, this was Vertigo doing something unexpected: giving him a complete comic with no ads in black and white. How great is that? Could every Vertigo comic be that?

Murphy builds the world in this series. He doesn't simply jump in and start throwing punches. He does the work, he develops his characters, and, when Chris becomes the "Punk Rock Jesus" of the title, it feels earned. It feels organic and true, not simply an easy way out. This series showed writing skills beyond what I thought we would be getting. Everything about this series seemed to be about destroying my lame expectations. Well done, Mr. Murphy.

4. BUILDING STORIES BY CHRIS WARE! It seems that one of the things that takes a work from simply being something I respect/admire and makes it something I love is the ability to connect with me on an emotional level. There are plenty of technically profficient books out there, but if I feel nothing (emotionally, intellectually), well, shit, what's the point? There's got to be something besides lines on the page. Chris Ware has always done that for me. He did it when I first read part of Building Stories when it was released as an edition of ACME Novelty Library and he did it again here. His character study is engrossing and so far-reaching that it's hard to escape.

So much was made of the format of Building Stories that I'm not sure that I have a lot to say there. I think it worked in some ways, not in others. I wasn't a big fan of the little fragment fold-outs. But, I got the point of them. He gave you two little pieces with no set beginning or end and that's the only way to present that material to accomplish that. You can't do that in a book and produce the same effect. That formalist experiment is a nice thing to think about and I would love to see it explored further. But, that doesn't mean that everything worked quite as well. It's cute to put one of your stories in a storybook-esque package... but to what end?

But, I came here to praise Ware, not bury him. His art stuns me. Just floors me. The way he designs pages and make everything work -- adds such warmth to his characters, is able to communicate what's going on in their heads... His style seems like it would be cold and impersonal, but it isn't. That never stops shocking me. It always defies my initial expectations that I can't seem to shake.

3. GØDLAND BY JOE CASEY, TOM SCIOLI, AND OTHERS! And it's not over yet! That's what I had to say. All of that in Gødland #36 -- the ultimate battle of cosmic life against entropy and that's not it! One of the biggest superhero comicbooks I've ever read. Something that felt like it Mattered and would remain a part of me forever... Or something. It was a single issue of brilliance. Of payoff for 35 issues that came before. I mean: ADAMAXIM! Page after big of big pictures of cosmic battle matched with Casey's narration at its most bombastic. This is comics! This is the sort of thing that reminds me of being a kid, of when these things meant the world to me instead of being stacks that I read through and add to other stacks. This is the sort of comic that, back then, I would have read and reread and reread and, damn, I should do that more often. The finale is coming. I should reread this comic many, many times. I should know every line, every word, every hue and shade...

The moment where Kafka Nickelhead steps out of reality... Like the last time we saw that, reality sits in a room with Kirby '70s comics. It's all filtered through that. But, that's this reality. What about the next? What about what's new?

Tom Scioli... Tom Scioli... that battle. The weightiness of his lines... the sense of import, of largess... how can he do that?

"LET THE HEAVENS FALL!"

"SYSTEM RESTORE"

I just want what happens next... what happens... next...

The new Gød replaces the old...

2. PROPHET BY BRANDON GRAHAM, SIMON ROY, GIANNIS MILONOGIANNIS, AND OTHERS! It's hard to see the shape of Prophet entirely. There's a war, the resurrection of the Earth empire, the awakening of its John Prophets... and a gathering of Old Man Prophet as the opposing force. So much is still unknown, but each issue is something new that I haven't seen before. Each issue brings more answers and more mysteries. Such touching moments of friendship and kindness fill these comics. The gathering of Old Man Prophet's group was nice. Old comrades coming together, remembering what it was like to be together, relearning, and enjoying one another's company. There's a bit of a 'hang out' book in Prophet. It's pacing is odd, but never not engaging.

Brandon Graham's imagination seems limitless as he comes up with new names and species and things that defy explanation. One of Old Man Prophet's closest allies is a sentient tree of some sort. But, really, he's just like anybody else. A surprise that shouldn't have been was the return of Die Hard. Graham makes good use of the universe he has to play with.

And each issue is geared towards the artist in question. What Simon Roy draws isn't what Giannis Milonogiannis draws isn't what Brandon Graham draws. All of these pieces fit together in such a way that it works incredibly well to have numerous artists that pick up different threads. I hope to see a jam issue one day if they can make that work logistically. Bring it all together is a mashup of different artists and styles. I wouldn't put it past them to give it a go.

Like I said, what really grips me is that every issue is a new experience. I never know what to expect and I have stopped expecting anything but surprise. No other comic can match that. No other comic fails to let me down like this one. It gives me what I didn't know I wanted until I got it.

1. THE BOYS BY GARTH ENNIS, RUSS BRAUN, DARICK ROBERTSON, JOHN MCCREA, KEITH BURNS, TONY AVINA, AND SIMON BOWLAND! Yes, The Boys. When compiling this list, no other comic cried out, demanding to be put atop like The Boys. It offered not one, but two fantastic conclusions this year. First, wrapping up the superheroes plot and, then, wrapping up business between Butcher and Hughie. It was an awful year of issues that broke my heart again and again. But, first Ennis concluded the superhero conflict as the supes descended on the White House and Butcher came face to face with the man who killed his wife. And he kills the bastard. Uses a crowbar to rip the top of his head off and pulls out chunks of brains. Because that's what you want to do to a man who raped your wife and impregnated her with a superhuman child that burst out of her like an alien. It's crude and nasty and so, so, so satisfying to see. I do love superhero comics, but I love hating superheroes, too, and, not since Marshal Law has a superhero murder been oh so lovely. The Boys do what they set out to do. The good guys win.

Until Billy Butcher does some nasty shit and things go south. And it keeps getting worse. Every issue is nothing but shock and gasps and heartbreak. Ennis plays off everything he can and do so masterfully. If there's something that man is great at, it's final storyarcs that just crush you and surprise you and leave you wanting more while hating him for what he does. Nobody does it better, honestly.

And, then, there's the final issue where Stillwell realises that he is fucked forever. And Hughie and Annie get a happy ending. I love happy endings. And I wanted this one more than any other. Garth Ennis may be a bastard of a writer, but he knows when to deliver the feel good moment. He much softer than people give him credit for and it's one of the reasons why he's one of my favourites.

While Darick Robertson returning for the final issue was nice, I will continue to be in awe of the way Russ Braun stepped onto the title when he did. It was so effortless the way he made the characters his own -- make the book his own. Robertson's return was appropriate, but didn't feel quite right. Then again, Braun got to draw the Hughie/Butcher finale and that was just fantastic.

The Boys was cheap and crude in its treatment of superheroes. But, it was funny and heartfelt and touching and true and right. I miss is quite a bit and I can't see that feeling ever going away completely.

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 November 21, 2012

Avengers #34: The first of the one-two punch that is the End of Brian Michael Bendis's Avengers Run. I wonder if the essay at the end of this issue will run in next week's New Avengers finale as well. It seems like that would be the more fitting place. While Bendis began on Avengers technically, New Avengers was his book really. I liked this end well enough. Wonder Man is put back in the box alongside the Wasp. I'm not sure Bendis ever really did enough with Wonder Man, but I always liked the idea of his turn. Not a 'bring the house down' finale or anything, but I liked this. [***1/2]

Daredevil #20: A well-crafted comic. [***1/2]

Hawkeye #4: Probably my favourite issue of this series so far from a writing perspective. Some clever bits, too. A bit more balanced... Yeah, I dug it. [****]

Indestructible Hulk #1: One of the few Marvel NOW! titles that I'm giving a single issue to make me continue and, while I think the concept is clever and reminds me a bit of Joe Casey's approach to Bruce Banner, it doesn't really interest me. It's the sort of idea that can only go so far because of the limitations of the Marvel Universe and I can see that that will always be a frustration for me with a book like this. The conflict between Marvel's internal reality demanding it approximate our world and the level of genius it possesses is one that I try my best to avoid, because it's just hell watching. Also, the Hulk never seems to interest me. He smashes. Yay...? Whatever. [No issue 2]

Ultimate X-Men #18.1: Brian Wood jumps over 'the cure' almost as quickly as he jumped over the end of the Sentinel conflict. Good for him. A transition issue that allows the book to jump into "Reservation X" in issue 19 without too many distractions. The problem with the cure is that it's partly an effort to exterminate mutants, but it's also a story-ending machine where those that don't take it don't necessarily engender sympathy. There's the idea that mutants are born that way... but they also only get their powers as teens and most mutants in the Ultimate Universe are teens... is that who they really are? And given the sort of lives they've been forced to lead as mutants, why would they want to remain that way? Mutants in the Ultimate Universe have had a much harsher time of it than the regular MU and by sidestepping the conversation as much as possible, Wood doesn't linger on that too long. That QQ mention has me wondering, though... [***3/4]

The Unwritten #43: It's shocking to see fictional characters like that... but... there isn't any effect. I know that Leviathan hurt is bad for humanity, but the shocking lack of effect of the damage of fictional characters take a bit of the urgency out. As Tom says, this doesn't change anything in the real world. So, why care? This book has become about managing destruction that seems contained in a way where we know it's bad, but that's only because we've been told. What we've been shown doesn't actually seem to matter. There is something interesting in watching a book flail about like this, unable to find its footing, though. I'm with it. So: I'm with it. [***]

Wolverine and the X-Men #21: Amusing, but something that misses my sensibilities. That happens. No one's fault. This just doesn't click with me. [***]

Wonder Woman #14: Oddly, my least favourite pages were the final ones with Highfather and Orion. The rest was good: Wonder Woman winning someone over with patience and genuine caring, and the gods being dumb and petty... Good stuff. [***1/2]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of November 14, 2012

The Boys #72: I don't think any ending could have totally satisfied, but this came damn close. The final few pages in particular are wonderful. And Stillwell's realisation... I'll miss this book. [****1/2]

Frankenstein, Agent of SHADE #14: This book isn't quite on autopilot, but all urgency is gone. It knows it's dead and is taking everyone is can with it. That's interesting, but also depressing. It's nothing but death and misery. [***]

The Massive #6: Another good character spotlight issue. I like the slow pace with this book. There's no need to rush. There's so much room that so long as the comic is interesting in and of itself, I don't mind a thin plot. Not many books could get away with that, but this is the sort of title where that seems almost preferred to heavy, plot-driven stories. [***3/4]

New Avengers #33: Thankfully, the cover didn't predict what happens inside of this issue. But, I guess that could be next issue... This arc hasn't wowwed me, but Bendis has one issue left. Two weeks. First, Avengers and, then, New Avengers... [***1/4]

Punk Rock Jesus #5: This comic reminds me of my teenage self so much. If time travel is ever invented, I may send him this. He'd love it. Love it. I'm liking it quite a bit. [***3/4]

Thor: God of Thunder #1: A fine Thor comic. Probably the best I've seen in many years. Not a home run -- a solid double that might have been stretched into a triple if they'd ran their asses off. I do like Aaron's take on the character here and who doesn't love the Ribic/White art team? (Idiots, that's who.) [***3/4]

The Ultimates #18: I wound up liking this finale to Sam Humphries's first arc than I expected. It somehow clicked. It's a bit rushed, a bit obvious... but, it works. And the status quo is still interesting enough that I'll stick with this for a while. I just need to remember that Hickman, Ribic, and White are gone and they are never coming back. Remember... remember... remember... [***1/2]

Where is Jake Ellis? #1: I dug Who is Jake Ellis?, though not as much as many. It was a great-looking comic with a story that grew increasingly thin. That seems to carry on in this first/sixth issue. But, it's nice enough to look at that I don't mind. And Edmondson gives Zonjic enough cool things to draw. Maybe it will turn out to read great, too. Who knows? [***1/2]

Wolverine and the X-Men #20: The other side of the coin, in a sense, to All-New X-Men #1. The final page isn't a knock-you-on-your-ass one... if only because I think that's meant to be Kade Kilgore and he looks about ten years older than he's supposed to. But, good issue still. [***1/2]

The Zaucer of Zilk #2: This is comics. This is superhero comics. This is you. This is me. This is them. If only... if... why isn't that... you and me and them and comics and superhero comics... why... Why don't we learn? [ZZZZ1/Z]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of October 31, 2012

What a week. Not a happy week. Work kind of sucked, Wednesday night was killed putting together our new bed, and I was in an overall bad mood. But, it's the weekend now and I've spent the day sleeping in, watching wrestling, reading Metabarons, listening to good music, drinking a Slurpee, and generally relaxing. So, let's talk comics...

The CBLDF Presents Liberty Annual 2012: I bought this more for the charitable aspect than anything else. As usual, the stories tend to be preachy and not necessarily entertaining. But, there's also some cool things in here. I was disappointed that the solicited content from Warren Ellis was nowhere to be found. [I don't rate charity books... and, if I did so in the past, I don't anymore...?]

Fatale #9: Have not read. Letting this pile up a bit before reading. I find it reads better in chunks, not single doses. [Who knows?]

Happy! #2: When I first heard people dismiss this as "Grant Morrison trying to do Garth Ennis," I didn't agree. Then again, that was before reading the second issue. I assumed that Morrison would do his own thing a bit more by now, but hasn't. It does seem like a third-rate Ennis rip-off book. Except without the humour or the wit. I hope it gets turned around by the end... [**1/2]

Haunt #27: This Lady Haunt diversion was decent. The underlying story with the Second Church stuff is quite good -- fascinating. I've enjoyed the slow burn here. Still not a fan of the colours. [***1/2]

The Mighty Thor #22: And so does Fraction's run come to an end... Was this issue's goal to convince me that Thor is a menace for all living things? I always find stories like this amusing because, when applied to serialised corporate superheroes, all they do is point out that these supposedly good characters are, in fact, doing bad things simply by living. There's so much history built up that they're unwilling to part with that threats come for them, not some other reason. Because a writer thought putting Asgard in Oklahoma would be interesting, Thor had to make that choice and, as a result, he's been responsible for a town continually being attacked and terrorised. His defence? "Life would be boring without me!" and everyone just sort of buys it? It works with most superheroes and stories like this highlight how the external constraints of publishing these comics eventually turn heroes into villains without meaning to. Welcome to Marvel NOW! [***]

New Avengers #31: My shop didn't receive its copies two weeks ago, so I got this now. Like Avengers, this is clearly Bendis trying to tie up some loose ends. Michael Gaydos on art is a lovely treat for a Luke/Jessica story. Looking at the upcoming releases, the next two weeks bring new issues of this, so, for me, it's suddenly become a weekly book. Thanks, Diamond? [***3/4]

Ultimate X-Men #18: The action scenes in this issue seemed very rushed. They began and ended so quickly that there wasn't any sense of struggle. Just putting this whole Sentinel business behind us as soon as possible it seems. Which I don't actually mind too much. We've seen that before. Mutants put on a reservation while some choose to give up their powers? That has a bit more potential, I believe. For an 'end of the story' issue, this was surprisingly transitory. And Wood did a nice job with that final scene. Captain America came off as reasonable despite that not being what was required. Bring on the next issue! [***1/2]

Winter Soldier #12: It's a shame that there probably isn't much chance of Ed Brubaker leaving this book with both James and Natasha still brainwashed and acting all evil, right? That is the book I want to read. Those two running around trying to bring down America in the name of communism. Just kill off that lame James wannabe and we could have some fun, folks. Besides, it would be fitting for Brubaker to leave the character where he was at the beginning of his reintroduction to the Marvel Universe. Who wants to read about a whiny guy who's constantly holding back? Chump. [***1/2]

Wolverine and the X-Men #19: Kitty Pryde has pretty high standards for teachers. Like everything else in life, it's who you know... and if you're a mutant. [***1/2]

Later

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

Venture Elsewhere

This week's EXCLUSIVE! mini-reviews and star ratings are over at Comics Should be Good. Why? Because I felt like it. So look there.

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of August 29, 2012

I'm listening to Everybody's Rockin' by Neil Young & the Shocking Pinks. It's pleasant enough. I still have a few big gaps in my Neil Young collection, so I'm trying to fill them. His 'bad' stuff from the '80s is the biggest gap as, up until buying this album last night, I jumped from Live Rust to the Eldorado EP in my collection. Also: Everybody's Rockin' was the first album Young released after I was born, so I've gotta love it a little.

Journey into Mystery #642: More a story that's come out of Journey into Mystery that The Mighty Thor seems to have latched onto, I'm not complaining about that. The first bit of this comic is sluggish, but gets moving when it comes down to just Loki and Thor. Loki laying out how he'd fucked everyone over his last few adventures, all while trying to do the right thing, was excellent and made this feel like a story that's been built up to. The end of the issue was a bit dumb with that old mob mentality bullshit from characters that are supposed to be better than that. [***1/2]

Prophet #28: For some reason, I really liked the scene with the drugged drink. Kind of funny. Or the roots. I like the small stuff like that. [****]

Spaceman #9: The emotion of this issue is overwhelming at times... goddamn, Risso brings it. This is his show. [****1/4]

Ultimate X-Men #15: Wood's approach here is quite good. The way he's built this new world over the past few issues and forced the characters to confront some harsh realities has been some of his more skillful work. It's a bit nasty and more than a little depressing. I'm glad I stuck with this after the first issue. [****]

Winter Soldier #9: Of course Natasha 'waking up' was part of the plan! It was obvious, but still a great trick, playing with the idiotic convention of 'love' overcoming brainwashing, like somewhere deep inside the 'real' person is screaming to get out. Brubaker doesn't seem to buy that bullshit any more than I ever have... and good on him. [***3/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of August 15, 2012

Butcher Baker, the Righteous Maker #8: I can only imagine how frustrating the wait must have been for Casey given that this is the last issue. That was a surprise, wasn't it? I can't recall being surprised like that before. The comic just comes out and, boom, done. It snuck up on us. And I think it was the right call. Not just ending the book -- who am I to tell these guys how long to keep making this book -- but not announcing it. The shape of the story wasn't apparent until now. It wasn't a 'waiting out the clock' game. No looking at your watch and going "Oh, there's only five minutes left in the episode, I guess it's time for them to catch the killer" bullshit. Instead, it's a wonderful surprise kick to the gut with strong writing, amazing art, and a desire for more. Always leave 'em wanting and all that... But, also, everything is ending now it seems and, now, this, too. Just when I thought I had it back, it's over. That kinda sucks. [****1/2]

Daredevil #17: I don't know why, but I have the impression that this comic is, like, 40% stories about the past. I get it, Matt and Foggy are best buds and the current situation is unnatural. Good art. [***1/2]

Fatale #7: Something was lost in the wait... What? It's true. [***1/2]

Wonder Woman #12: The fight scene! Apollo on the throne! THE FINAL PAGE! And, now, we have to wait an extra month for what happens next thanks to fucking zero month. [Fuck you, DC]

X-Men #34: Five pages just to show some guy on a boat getting a package... Only one page of Cyclops chewing out Storm... Cyclops definitely has that 'asshole police chief' vibe in that scene. I'd read more comics about that. I really would. Hell, I would have read a comic about a small police squad in Utopia, busting up crime, busting heads... did such a comic exist and I missed it? Probably not. I do like this comic, though. They're trying to take down mutant-gene-drinking L. Ron Hubbard after all. That's pretty neat. I wish Roland Boschi would let loose a little more, though. [***1/2]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of August 8, 2012

Avengers Assemble #6: You fuck with Thanos, you get to die in space. He's already killed ya before, Avengers... why you wanna fuck with him again? [**3/4]

Captain America #16: This storyarc really isn't clicking with me. I understand mind control is involved, but it seems so lazy -- a way to justify a plot where, uh, a TV pundit turns Americans against Captain America by pointing out that he's not able to defeat everyone everywhere at all times? It's just dumb. Never mind that the art totally kills a central scene of this issue because Eaton can't make it clear what's going on. [**1/2]

Daredevil annual #1: The second of the three Alan David ClanDestine-centric annuals being done this year and I like how this one follows up on the first one, centring things around Vincent's death and showing the next step in that. Though it's not Davis's fault, how many more comics will we have to read where someone gets inside Daredevil's mind and freaks out at his enhanced senses this year? My favourite moment: "But I didn't win." [***1/2]

Frankenstein, Agent of SHADE #12: An unexpected approach to the storytelling in this issue. It's not quite as effective as you'd hope, mostly giving the whole thing a sped up, rushed through feel, like Kindt needed to cram it all in so the story wouldn't be broken up too much by next month's zero issue. Is that what happened? I don't know. I also don't care, because that's what it reads like. Which, of course, makes the decision to tell this story a poorer one if that's not the reason why he made it. [***]

Godzilla: The Half-Centry War #1: I don't really know much about Godzilla specifically beyond the most superficial of things. James Stokoe's visual depiction of the giant thunder lizard surprised me a little, but I rather like it. I love the fiery word balloon he does for Godzilla. The story is pretty basic, but the art is gorgeous. I'm glad I'm picking this one up. [***1/2]

The Massive #3: Man, I'd just rather read about Unalaska. Not really a negative thing about this comic since I enjoy it -- more that I think I'd rather read about Unalaska. Especially during the Cold War. Beyond that, I really like the idea of trying to be a pacifist group in this world and the struggles that would create. Clever stuff. [***3/4]

The Mighty Thor #18: More Alan Davis! How lucky are we this week? VERY. That's how lucky we are this week. A solid mood-setting issue for "Everything Burns." [***1/2]

Punk Rock Jesus #2: Oh shit, I didn't have time to read this yesterday. It was the only comic that I didn't read. Er... Be right back.

...

...

...

...

...back. Another great issue. I wasn't sure what to expect from Murphy as a writer, but he's quite good. Engaging, a little melodramatic at times, but also unexpected. He's taking his time getting to the 'punk rock' teenage 'Jesus' from the promo images, isn't he? And I don't mind one bit. The "I painted it pink" part was both hilarious and a clear window into how fucked up Thomas is. Damn good. [****]

Spider-Men #4: That cover is a total lie. But, most of this issue simply consisting of Peter, Miles, May, and Gwen talking was great. Bendis really knows how to write those scenes well. I could read a monthly comic called "Conversations" where it's like Marvel Team-Up except it's just two heroes in a room having a conversation if Bendis was writing it. [***3/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of August 1, 2012

Action Comics #12: How can one empty their brain of all thought and still explain how they're emptying their brain of all thought? Also: RIP Johnny Clark. [***]

Age of Apocalypse #6: I love how, on the cover of this issue, Cyclops takes a punch from Colossus and his head stays attached to his body. This series remains a little strange, a mixture of awful people and even worse people... a lack of anything approaching a plot... characters that fail to leave any impression... Yet, I'm drawn to it somehow. [***]

Black Kiss 2 #1: This is some fucked up shit. A dude survived the sinking of the Titanic because a Succubus anally raped him. A move screen comes alive and shoots out tentacle penii to rape the audience. There... there's something wrong with Howard Chaykin, I think. [So... I have to wait a month for issue two?]

The Boys #69: We march towards the conclusion and it's not quite the same lively march that other Ennis series have had at the end, but the sense of dread is somehow bigger. It's a proper superhero story in many ways. A pretty easy to grasp attempt to kill a large chunk of the world's population, allies betrayed and killed, and one lone man standing alone to stop his former mentor. It was inevitable almost that, after last issue, two more would fall here. What I can't figure out is how the V-A folks will factor in. And what of Annie? [****]

Daredevil #16: The Pym/Murdock stuff left me cold, but Waid and Samnee nailed the Foggy/Matt scene. [***1/2]

The Defenders #9: Heh... I liked that. It never quite cohered how you can picture it meaning to, but it was still pretty fun. Somehow, though, two issues in and McKelvie's art hasn't quite lived up to expectations/past work. It feels almost at odds with Fraction's writing. He needs something a little wilder. [***1/4]

Fury MAX #5: Reading this, if this weren't based on what happened, you'd think that Ennis was writing a pretty bad comic in how the whole Bay of Pigs thing goes down. And, yet, that's how it happened. Fucked up. I love their surprise when they learn that Castro wasn't hiding in some bunker, letting other people do all of the fighting for him. [****]

Gødland #36: From the beginning of this issue, the endpoint seemed obvious, but no less satisfying when it was reached. It's amazing how big this got while still maintaining a small, human perspective. Scioli fucking brought it and Casey is at his verbose, hyperbolic best. This is the comic that I'll be thinking about for a while, picking up, flipping through, and just lingering on cøsmic cømic gøødness. [øøøøø]

Hawkeye #1: Not at all what I was expecting. This is a pretty different take than what we've seen before and it has potential. A little cheesy in places, but definitely an attempt to carve out a unique spot for this character. And, y'know... David Aja... yeeeeeeeeeeeeeeeeeeeeeeeeeah. [***3/4]

RASL #15: And, so it ends where it began and it's a great final issue. Smith lingers a bit here and there and his visual storytelling is incredible. So clear and engaging. I'll miss this book. It was always something new and surprising right down to the final page. [****1/2]

X-Men #33: Somewhat disappointing. I'm not really a fan of the whole 'bad guy is confronted, brags about the hero is too late, and kills himself' thing. It seems like a cheap way to provide 'closure' on the story while leaving the door open for more later. Like, the cheapest way to do so. But, the focus here is more on the characters and what this mission meant to them and, in that respect, Wood and Lopez succeed. [***1/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of July 18, 2012

Daredevil #15: Goddamn, that's some of the old Daredevil stuff, isn't it? Inventive, smart, clever -- Waid's writing is on point and gives Samnee a lot of chances to show off. The best issue of this series in a while. [****1/4]

Journey into Mystery #641: Wow. I've been running cold on this book for a while and this was, like Daredevil, a reminder of why I liked this title so much. The stuff with Leah was heartwrenching and the end of the issue was a kick in the gut. Bring on the Thor crossover! [****]

Untold Tales of the Punisher MAX #2: This was a surprise. Another story that gets the point of the Punisher, keeping mostly as a force of nature that cannot be killed (despite us seeing his death). Latour's voice is a strong and distinct -- this kind of reminds me of Ennis a bit, but not as 'cute' as Ennis can get. Willumsen's art is the perfect match for the writing. Cartoony, messy, broad, and just in your face. Great stuff. [****1/4]

The Unwritten #39: I love the art on the flashback bit in this issue. We also get a more backstory on Bruckner. I like how we still haven't seen Tom this arc yet. Still unsure if this book has the direction it needs -- if the story is there. But, this issue is the best of the arc so far. [***1/2]

Wonder Woman #11: Apollo and Artemis as badass villains who tear through our heroes is a nice move. There's a genuine sense that these two cannot be defeated by Diana, Hermes, and Lennox. Lennox in particular gets the shit kicked out of him. After 10 issues of them... well, not breezing through things, but seeming to have a plan and not looking terribly overmatched, this is a nice curveball. [***3/4]

X-Men #31-32: The first issue of Wood's run on this title had a similar vibe to when Warren Ellis wrote Astonishing X-Men and that doesn't entirely go away. The 'proto-mutants' is a good idea and makes sense -- better, Wood develops it well. Where he differs from Ellis is how much he focuses on the characters. A lot of space is given to Storm having to deal with the members of her team questioning her approach to the situation and it works quite well. I'm digging the art as well. I may have to stick this on my pull list. [***1/2]

Counter X: X-Force -- Rage War: I can't remember if I completely read these issues. I know I read all of the "Counter X" X-Man and Generation X stuff up right until the end, but I liked both of those more than X-Force. X-Force just didn't land for me like the other two had and it shows in this second collection, delivering the final six issues by Ian Edgington and Jorge Lucas (along with the 'Rough Cut' of the first "Counter X" issue of the series). Warren Ellis doesn't even get a 'plot' credit anymore and the titular "Rage War" story is a mess. Filled with twists and convoluted science -- say what you will about Ellis, but that is a man who works his ass off to make complicated things simple and easy to read. Edgington doesn't do that here. The only time that things seem like they're on track is in the two-part finale where X-Force begins taking down every target Pete Wisdom put the team together to take down. Fuck 'innocent' people, fuck 'murder is bad,' just a team of 'terrorists' bringing down every scummy and horrible thing they can. That is interesting. Lucas's art is hit or miss. He shifts between a detailed style and one that's akin to Ladronn at his most 'Kirbyesque.' Some panels are gorgeous, others are ugly and sloppy. Glad to have this, though. All Marvel needs to do is collect the final five issues of X-Man and Generation X now... [**3/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of June 27, 2012

If you didn't notice, Random Thoughts! return this week after five weeks off (only four of which were planned). I've also decided that, going forward, comments will be turned off for that post every week. They're not something I'm interested in when it comes to that weekly column anymore.

Batman, Incorporated #2: An issue that basically gives us the life of Talia and shows how she got to where she is. Part existing material, part new -- what impresses me most about an issue like this is how good Morrison is at crafting a narrative out of, most, one-off panels that sum up an experience or moment so well. Being paired with Chris Burnham doesn't hurt in that regard. Excellent use of communication. [****]

Fatale #6: I already like this arc more than the first one. The tone is more to my liking and works better with the setting. It builds on the first arc, obviously, but also feels more comfortable and more confident in the way it comes across. That Brubaker mentions that this arc has been informed about research he's had for a while no doubt plays a big part in that. This story seems like it's been a long time coming with him. I still can't get enough of the way Phillips draws Josephine. [****]

Hell Yeah #4: Each issue grows a little more confident in style and technique. I still find the pacing a little too brisk in places, but it's falling into a nice rhythm and adding on little mysteries as it goes. The opening was pretty damn good. [***1/2]

The League of Extraordinary Gentlemen: Century: 2009: I really loved the exploration of how living forever (or damn near it) can fuck you up. That's, by far, the most interesting thing about this to me. The fictional games are fun, but there's not much to them. Nor is the nostalgia/dislike of the modernity that seems to crop up a lot. The journey of these characters, even just across the three books that make up Century, though, is really engaging and where I connect. The Malcolm Tucker and Bond gags where the only ones that really made an impact on me. Kevin O'Neill remains amazing. I have all of the other books out and think I should reread the whole thing now. [****1/4]

The Manhattan Projects #4: Well, there's a twist that left me completely underwhelmed. Three issues after revealing Oppenheimer to be an evil twin, we get Mirror Mirror Einstein. That's... disappointing. [***]

The Mighty Thor #16: It's difficult to express how underwhelmed and apathetic I am towards this story. Are you sure there isn't a Mare on me? [Zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz]

Prophet #26: I can't wait to see what all of this is building to. We've had a few issues of dancing around what's happening, preparing for something, and Brandon Graham drawing this issue himself was a nice treat. It was surprising to see that the focus wasn't a John Prophet and that choice played into Graham's strength well. He draws rather cool looking robots. The Emma Rios back-up was another surprise in that it played into Graham's ongoing narrative a bit. I never know what to expect with this series and that's really great. [****]

Scalped #59: It all builds to that final page... [****1/4]

Spaceman #7: The cuts between Earth and Mars worked better in this issue than any before because, in both locations/times, the focus was on Orson and Carter, and showing that not much has changed necessarily. I've always enjoyed both times/locations, but this is the first issue where they really connected and made the whole issue seem very cohesive. [****]

Spider-Men #2: I wish this was the first issue. This is a much better place to start the story. Take the final few pages of the first issue and put them in front of this and, yeah, you have a much stronger beginning to this story. I enjoyed this issue. Peter freaking out a bit at the different world around him was good -- as was the way that he eventually calmed down and used his brain. I'd like to think that, with all that he's experienced, it would have happened a little quicker, but, still... [***1/2]

The Ultimates #12: Look, let's not kid ourselves: we always knew that Reed Richards was going down. He was the 'villain' of this comic and he was always going to lose. He was. And we knew that. But, that doesn't make it any better to see, especially when it's at the hands of a tumor. In someone else's head. Yeah. That's the second big swing and miss from Hickman for me this week. Hell of a way to say goodbye. [sigh]

X-Men #30: Hey, my shop finally had some copies of this. I didn't see any copies of issue 31, though. Weird. It was okay. This reminded me a little of Warren Ellis's work on Astonishing X-Men and has potential. It didn't really engage me, though. I read it, understood it, put it down, and kind of forgot it. Not a good sign. [**3/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of June 13, 2012

The second "...And the Superhuman Review" is up at Comics Should be Good. It was amusing to watch the comments section of the first one devolve into a bunch of idiots saying stupid things. My favourites were the comments that basically said "Contracts are too hard to understand, so Alan Moore was screwed" and "DC fucked Alan Moore by not forcing him to hire a lawyer to make sure he understood what he was signing." And I say that those are stupid things to say in the broadest sense, looking at ANY situation, not the DC/Alan Moore one specifically. I wonder how long it will take before the comments sections for those posts are dead, because no one wants to talk about the situation surrounding Before Watchmen... My bet is never.

Avengers Assemble #4: Why the fuck did they get rid of Star-Lord's helmet? That helmet was badass. Not as badass as Thanos, though. Bendis comes pretty close to getting the character right here -- much better than the Dr. Strange attempt from Avengers. Of course, Bendis doesn't have to get it right, because this Thanos is a clone. Obviously. [***1/2]

Batman #10: Thomas Wayne, Jr. It was at that reveal that I officially decided that this was a little too similar to Grant Morrison's Black Glove/Dr. Hurt story. It's like the mainstream movie adaptation of that story. Something a bit more easy to swallow by the masses. Something that doesn't quite hold together as well. After all, halfway through this issue, Batman suddenly solves the mystery and we all collectively went "Wait... there was a mystery?" Not that there's something inherently bad about a story recalling a previous one; it's just that... "Batman RIP" is only, what, three years old? Part of me wonders how long it will be before we get a resurrected Dr. Hurt teaming with undead Thomas Wayne, Jr... (Also, if you JUST read Batman, the Court of Owls was a group with a lot of build-up and almost no payoff.) [***]

Captain America #13: The panel where Henry Gyrich screams "I'm the hero here! Me!" as he's arrested sums up that character in the most profound way that I can imagine. [***1/2]

Frankenstein, Agent of SHADE #10: I forgot when Matt Kindt was taking off (and so did the person who proofread the credits on the cover) and I'm glad that I stuck around. This was a good start to his run -- not radically different, but definitely a shift in storytelling. I love the flashback/hallucination stuff. AND(!) that final page...! Awesome. Glad to see Ponticelli sticking around, too. [***3/4]

The Massive #1: This was Brian Wood Week at the shop or something with this series kicking off on the same week that he took over Ultimate X-Men and X-Men. Unfortunately, my shop didn't have any rack copies of X-Men, so I only got two-thirds of the experience. This was a decent first issue. It didn't quite address the central idea of the series, but it laid a lot of groundwork. Definitely a good enough hook for me to stick around -- and I do dig that art. [***1/2]

The Mighty Thor #15: I wish this were nothing but Amora and Don Blake. I'm kind of putting in times right now until the crossover with Journey into Mystery, I guess. [**1/4]

Spider-Men #1: A total impulse purchase. I was curious. This was your typical first issue where you get to see the premise you already knew played out. But, I do enjoy the way that Bendis writes Spider-Man -- and once the comic has him fighting Mysterio, it hums along nicely. The ending was a nice, especially the "Thanks, but that costume is in bad taste..." scene. And the comic looks pretty, pretty good, too. I'm a sucker for stories where alternate versions of characters meet. AND where they're not zombies or vampires. Wait -- is Miles Morales a vampire or zombie? [***1/4]

Ultimate X-Men #13: It's funny jumping into this book as a reader of The Ultimates where the southern states seceding doesn't seem like an anti-mutant Sentinels thing -- it seems like a nation panicked over Washington getting blown to bits thing. For the first 2/3s of this issue, I had little interest in buying issue 14, but I like the way it built at the end there, making those first 2/3s seem necessary and worthwhile. You don't see that too often and Wood pulled it off. This could be an interesting little book. [***1/4]

Untold Tales of the Punisher MAX #1: I said that there need be no more Frank Castle stories, but this isn't a Frank Castle story. Like most of these one-shots (and this feels like a one-shot that got put into this mini-series) featuring the Punisher (MAX or otherwise), he appears at the beginning and the end only long enough to kill folks. Otherwise, it's someone else's story. I dug this. I like Roland Boschi's art -- especially when he's working with Dan Brown on colours. The writing was solid. I wasn't sure if I was going to buy this and, then, it was in my pull file, so... And I have to admit, they've got a decent set of creators lined up for this title so far. I guess I'll ride it out... [***1/2]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of May 2, 2012

The tragedy of the day is my shop not getting any copies of Fury MAX #1. They ordered them, but they never arrived. Drat.

Action Comics #9: What are we to make of this one-off issue that doesn't really have anything to do with the series otherwise? Hell, this title seems to have little approaching a larger structure. That's not a bad thing since this was an enjoyable issue. Hints of Hexus in there -- Hexus as Superman / Superman as Hexus. And Lex Luthor of Earth 23 denying he's a racist is funny. Still, what seemed like it would be a series about the young and upstart Clark Kent has quickly become something more freewheeling -- more like I would almost imagine Morrison's idea for more All-Star Superman would be like. Weird. [***3/4]

Age of Apocalypse #3: Small moments amuse me in this series. The little one-page scenes usually, like Pierce busting Shaw's balls on that first page. I like the way this series meanders a little -- more about the characters and their world than a strict forward-moving plot. And de la Torre draws the hell out of it. [***3/4]

Animal Man #9: Reading this comic sometimes feels like riding in a car on a long trip and watching for signs that tell you how far it is to your destination and no matter how much distance you think you've travelled since the last sign, the change is small and depressing and you will never get there. Never ever. [**3/4]

The Boys #66: Similar idea to the final arc of Scalped: jump ahead a period of time and move past the immediate fallout to the 'good part.' There, it's the trial of Red Crow; here, it's the 'trial' (senate subcommittee thing) of Vought-American. And Hughie is made to look the ass in front of the Boys because Butcher is sick of his whining. And his girlfriend leaves him because she's sick of his whining. Next issue: the fat hamster kills himself because of his whining. Oh ho ho. [***1/2]

Daredevil #12: A thoroughly enjoyable comic with some great art. That's enough, right? (Though, that ending did make me wonder... what the fuck was the point of last month's crossover? Did it actually accomplish anything?) [***3/4]

The Defenders #6: Watch as the art grows increasingly bad as the issue progresses! It's like the world's worst magic trick. There's something about this issue that felt so forced. The chaos and meandering (I like that word) of the first few issues has been replaced with... I don't know what. Something. Something I don't like as much. It's not order. It's almost like continuity. Or being too pleased with itself and the self-awareness that lacks true self-awareness? Like, those 'dateline' bits that were, three quarters of the time, really lame. It's like Fraction took that Doc Brass issue of Planetary and decided that it was too exciting for the modern Marvel audience so he took out all of the clever and interesting bits. Except for the bar one. That was pure Venture Bros. [**1/2]

Dial H #1: It's like reading one of those early Vertigo comics. But without the swears or nudity. The art even looks like it came from that period. DC will eat itself -- all of it. That sounds really snarky since I did like this comic. I didn't love it. But it was solid. Good enough that I'll probably buy the next issue. [***1/2]

Exiled #1: Another crossover! Unless the Journey into Mystery issue kicks this up a notch, I can't see myself buying the New Mutants parts of this crossover. There just wan't much that I found interesting in this. Some nice little moments, but not much else. [**]

Green Arrow #9: Does this make sense to anyone else? Yet, I can't look away... [???1/2]

Wolverine and the X-Men: Alpha & Omega #5: I like how Wolverine is the type of guy who, if you kick his ass, he immediately likes you more and wants to hang out with you twice a week so he can learn how you kicked his ass and he can make sure it never happens again. Once he's done this, he will then kill you and feel a little bit bad about it, but... dude, you kicked Wolverine's ass. You do not get to walk away from that. Obviously Avengers vs. X-Men will end with Hank Pym's head on a one clawed hand and Quentin Quire's on the other. Also, Wolverine hates those thinkin' types. Probably. I don't know anymore. So... where are people placing this in Wolverine and the X-Men chronology? [***1/4]

Later

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Later

Sketch Reviews (February 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

Sketch Reviews (January 4 2012)

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

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

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

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

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

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

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

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

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

Later