Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
I'm a little shocked by the vehement reaction to yesterday's posting on AICN Comics of a Hulk image from the upcoming HEROES, the Marvel tribute to September 11th. People went nuts, saying the people at Marvel don't understand what New York is going through and what New Yorkers are still feeling, and they called them insensitive.
Ummm... Bill Rosemann, the Marvel guy who wrote in yesterday... he's from New York. So is Andrew, the editor of Gray Haven, who sent in today's column. I think they, as much as anyone, should be an arbiter of taste as to what they include in their book. If you're somehow offended by that Hulk image, I must confess I'm baffled, but I'd just say don't pick the book up. If the mixture of fantasy and reality right now is too much for you to bear, then I'm sorry it got you worked up. I think the art we're seeing so far from this book is powerful and evocative, and considering how much of the comics world is centered right there in Manhattan, this is going to be very personal, very relevant.
And let's face it... we all have different levels of sensitivity about how quickly we'll get back to normal, or even if we will. I have to say a special thanks to the guys over at The Onion for putting together a ferocious, angry, funny, and heartbreaking first issue back since the tragedy. Finding a way to laugh in the face of all this seems almost impossible, but they did it with an unflinching courage. If nothing else, check out the searing "God Angrily Clarifies 'Don't Kill' Rule," as red-faced and raw a piece of satire as I've ever read.
Anyway... back to comics. Here's Andrew with a hell of a good column. Thanks, man...
We have nine new reviews this time around, more than usual. So I tried focusing particularly on the best or most noteworthy books of the past couple of weeks that I haven’t reviewed already, and a couple new ones. I also tried to be brief this time around. Let’s get to it.
And don’t forget to check back here, at Grayhavenmagazine.com or any number of comic related sites on Monday, October 1st as we begin our Charity Auction to raise money for victims of 9.11.01.
Adventures of Superman #596
Written by Joe Casey and illustrated by Mike Wieringo and Jose Marzan Jr
Published by DC Comics
Every dark cloud has a silver lining and such is the case with the horrendous ‘Our Worlds at War’ storyline. Without it, we wouldn’t have had a powerful story like this one. This issue of ‘Adventures’ focuses on the aftermath of the War, particularly in the city of Metropolis. The story rings more powerful due to the terrible events that happened on 9.11.01. The battle against Imperiex and Braniac 13 caused countless deaths and major damage to cities and rural areas of the world alike. The time has come to rebuild. Everyone from the overworked Justice League to the average worker and the President are getting their hands dirty aiding in helping things go back to normal as quickly as possible.
Not everyone is helping out, though. Noticeably absent from any of these worldwide rebuilding efforts is Superman. The Man of Steel had many loses during the war, from his father’s disappearance and hometown destroyed to the death of his father in law, but grief isn’t what’s preventing him from lending a hand. It’s responsibility.
Superman has the power to move planets. As President Luthor points out, if he wanted to, Superman could make things back to normal pretty much immediately. What Luthor doesn’t understand is if Superman were to do everything for them, it would cause more harm than good. People need to do things on their own, especially something like this. It’s their city, even more than his, and they need to take responsibility for it. They need to band together as humankind and work out their own problems for once. To let Superman make things better in the blink of an eye would only hurt their own self worth. By rebuilding Metropolis and every other area affected by the war, without help from Superman, they’ve shown that they’re just as powerful in their own way, as the Man of Steel.
Wieringo’s is a real asset to the creative teams of the Superman titles. He’s been overshadowed but some of his more famous counterparts, but I don’t see that lasting for too long. The guy has been in the business for awhile, drawing characters like Spider-Man and those that make up the rich and wonderful world of Tellos, but this may be the book that launches him onto the A list. He’s completed a difficult task of making Superman both larger than life while keeping him simplistic as well.
Score: 8.5 out of 10
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Blue Monday #4
Written and illustrated by Chynna Clugston-Major
Published by Oni Press
The second Blue Monday miniseries (Absolute Beginnings) comes to an end and I already want more. When last we joined the gang, our heroine, Bleu had agreed to go out with Alan the prick in exchange for his return of a videotape showing Bleu in her birthday suit. The finale begins with Clover trying to lend moral support to Bleu as she prepares for her date, but she begins to suspect that maybe Bleu isn’t as upset about the situation as she appears. Could she actually be looking forward to it? Meanwhile, across town Victor and Erin are plotting against the couple, trying to find ways to best sabotage their evening.
So, will Alan keep up his end of the bargain and return the tape to Bleu? Will Bleu fess up to her true feelings about Alan? Why is Erin so intent on making a mess of things? Is Seamus (the imaginary otter) really invisible to everyone but Bleu? Find out, maybe, here!
Clugston-Major handles the final issue well. The big moment of course, is the date between Bleu and Alan and it rings so true to life. Anyone who’s ever had an awkward date (whether they were too nervous because they really liked the other person or anxious to leave because they couldn’t stand them) will appreciate the stumbling, angst filled, and hilarious moments that begin as soon as Bleu is picked up by Alan on his scooter and continue throughout the evening. One of the best indicators of a good slice of life story is how well a reader can identify with it. Anyone over the age of 16 should be able to recognize themselves in this group of characters. Maybe no one’s had an imaginary otter to talk to and maybe they weren’t videotaped in the shower, but there are moments that feel believable, if not true. The creator has always had a knack of making her characters sound and act like real teenagers.
One of the other pleasures of the book is the recommended soundtrack. I always thought that was a cool idea and while I don’t usually read the comics with a particular order of songs playing, I’ve picked up more than one CD after reading Blue Monday. The caricatures of editor Jamie Rich are always good for some laughs and he’s a good sport to be roasted like this on a constant basis in Clugston-Major’s books. So if you’re looking for a quality read that also happens to be funny, heartwarming and musically informative, pick up this series. The first trade paperback is available now, as are the first three issues of this second mini.
I’m hoping for a third installment of the Blue Monday series very soon, but in the meantime you can see more of Clugston-Major’s work in the excellent Hopeless Savages mini-series (also from Oni) and the forthcoming Spider-Man/X-Men Ultimate Team up from Marvel. That one’s sure to be memorable.
Score: 9.5 out of 10
Cerebus #270
Written by Dave Sim and illustrated by Dave Sim and Gerhard
Published by Aardvark/Vanaheim
In less than 3 years, Dave Sim will bring Cerebus to an end with the 300th issue of that title. Since he began the almost impossible task of writing and drawing 300 consecutive issues of his own creation, a lot of other comics have tried to go the finite route. Preacher, Sandman, Bone and many more have started their runs with a definite number in mind for when the story would come to an end. They’ve been mentioned in mass media publications, won awards reserved only for ‘real books’, but no one has come close to telling a story like Cerebus.
The story of the aardvark that is destined to die ‘alone, unmourned and unloved’ has focused on love, death, religion, feminism, politics and even parodying popular comics at the time: Punisher-Roach anyone? Since this is Sim’s creation and his vision alone, as a reader you come to expect the unexpected. He doesn’t follow any formulaic rule of comic book storytelling. If anything, he breaks them and makes them his own. Some storylines may move at such a slow paces that it would cause readers to jump ship in an instant, but they usually don’t. Cerebus readers tend to be a loyal bunch for the most part. Even when a story goes on, methodically for 20 or so issues and no one knows what the hell is going on, we stick with him, because we know it’s going to turn out great.
Gerhard’s backgrounds are something to behold. Sim was never a slouch in the art department, but when Gerhard joined him years ago, the book took on an even more detailed, professional look. Consider again, that Sim has written and drawn the book consecutively, for over 270 issues without missing a beat and Gerhard has been right with him, almost from the beginning. Together, they’ve created something that is a beautiful to look at as it is thought provoking to read.
Six months ago, the ‘Latter Days’ arc began and readers are bracing themselves for the end of an era. They were rewarded with a faster paced storyline, a jump forward in time and the return of the always entertaining letters page: Aardvark Comment. No matter what happens during the next 30 issues and how Cerebus ends its historic run, one thing is for sure: the final journey isn’t going to be what we expect.
Score: 9.5 out of 10
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Daredevil #24
Written by Bob Gale and illustrated by Dave Ross and Mark Pennington
(cover by David Mack)
Published by Marvel Comics
Bob Gale, screenwriter of such hits at the Back to the Future films isn’t new to comics. He wrote a few of the ‘No Mans Land’ Batman issues, as well as an Antman special for Marvel a couple years back. His gig on Daredevil follows in the acclaimed footsteps of Kevin Smith, David Mack and Brian Michael Bendis and when his run ends next month, Bendis takes over as full time writer (along with Alex Maleev on pencils). Daredevil is the hidden gem amongst Marvel’s treasure chest of titles. From famous creators to compelling stories, the book was saved from obscurity by Joe Quesada and the Marvel Knights line 4 years ago and continues to be one of the ‘must have books’ by Marvel.
The six part, bi-weekly ‘Playing to the Camera’ storyline started off slowly, but has turned into one of the most intriguing superhero stories in a long time. Mr. Griggs has brought a lawsuit against Daredevil, after the hero apparently destroyed some of his property. With the amount of destruction these battles cause, it’s surprising that more lawsuits haven’t been fired. To make matters more difficult, Griggs hires Matt Murdock (Daredevil’s alter ego) to try the case. How does a man both prosecute and defend himself? How does Daredevil appear in court while Matt Murdock has to as well? And did since Daredevil is pleading not-guilty, just why is Griggs so adamant about making Daredevil pay up? Those are some great questions that Gale has been exploring pretty well so far.
The pacing of the first couple issues wasn’t the only problem. I just don’t care for Phil Winslade’s art. He’s been a part of some pretty high profile books over the past couple of years, but he just doesn’t do it for me. I prefer Ross, who’s style is similar to that of Joe Quesada, who penciled Kevin Smith’s arc. I also think that Maleev will do wonders for changing the books style as much as Bendis’ words will. With Ross on board for the latter parts of the story, it helped my overall enjoyment of the arc and this issue was the best of the bunch.
With the bi-weekly format, the story didn’t flow as slowly as it might have had readers needed to wait 3 months for the pace to pick up. It also afforded the title a chance to catch up, after many high profile delays in the previews years. But the series and the story are back on track, full speed ahead. If nothing else, this story is a great warm up for the sure fire hit that Bendis and company will deliver when they take over the book next month.
Score: 9 out of 10
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G.I. Joe #1
Written by Josh Blaylock and illustrated by Steve Kurth and John Larter
Published by Image Comics
GI Joe is back as 80s nostalgia sweeps the nation. Even though the book has been out for two weeks now (a second printing of the sold out first issue is coming) I can’t ignore this important piece of pop culture now returning for a new generation to enjoy. As hard as it is to believe, not everyone is a GI Joe fan. And those people are not likely to enjoy this book based on the first issue.
The first issue does everything it’s supposed to. We’re introduced to all the major characters (they even identify who’s who on the bottom of the panel) and are somewhat brought up to speed on what’s been going on since the team disbanded years ago. Cobra is back in action and the Duke needs to reassemble a Joe team to combat them. It’s refreshing to see these characters back in comics after a long absence and the bickering between Destro and Cobra Commander felt like I was coming home, so to speak. There are some fun moments and one liners which die hard fans will appreciate, but there is enough of a guide to what has gone before to fill newer readers in on the story.
If there’s a weakness in the book, it’s the art. Some characters (even with the cue cards) are difficult to recognize at points, with their faces seeming to change throughout the book. And, none of them are Zartan. Also, the expressions on the characters (good guys and bad guys) are too reminiscent of the early days of Image where artists like Rob Liefeld drew everyone as if they were constipated. Everyone is scowling in this issue, even when they’re happy. Kurth makes up for it with some great shots of Cobra Commander, but those won’t carry over for long.
It was an issue that I think I enjoyed more for the nostalgia aspect than any great moments of story or dialogue. In fairness, I reread a few issues of the original series and found that it wasn’t much different. The art was better and there were some wonderful issues (like Silent Interlude) but for the most part it’s like a summer action popcorn movie. You experience it for the sheer enjoyment and nothing more. It’s possible that I outgrew the book, more than the issue was bad. I’ll be back next issue to find out if that’s the case. Fans of the original series or cartoon should be sure to check out the book to make that distinction for themselves.
Score: 7 out of 10
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Kissing Chaos #1
Written and illustrated by Arthur Dela Cruz
Published by Oni Press
Kissing Chaos is the new series from the company that pretty much can’t miss in terms of delivering quality comic books. I don’t remember the last time there was an Oni story I haven’t read and you have to go even further back to find when there was an Oni story I didn’t like. This series is 8 issues and will come out every three weeks at a cheaper than usual price of $2.25. This first issue was even less, at only $1.95. I’m happy to see another company attempting to publish a book more frequently than once a month. Marvel’s War Machine and Oni’s Kissing Chaos are trying to stir the pot a bit in an effort to test audience’s pulses and buying habits. Change is always something worthy of trying.
Romance. Violence. The first issue has it all, almost. I love a comic book that doesn’t hand you all the answers in the first pages or even the first issue, and this book doesn’t. Kissing Chaos is a comic that’s going to challenge you to stick around and make up your own mind about what’s going on. Dela Cruz doesn’t give us all the information or history on these characters right away. We don’t know at what point we’re entering the story or what these characters are really running from. Dela Cruz is selective in what he chooses to say or show through the images and I appreciate the tease. Focusing on a trio of characters that would want nothing to do with one another, but are forced by circumstance to be together. Slice of life stories have always appealed to me more than the standard superhero fare and this one looks like it’s going to be a doozy. It comes off as if it’s going to be the slice of life road trip from hell and I’m certainly up for that.
Something needs to be said about the art and the fantastic job Dela Cruz did on this issue. The illustrations looks like a hybrid of animation and painting. There’s a uniqueness about his art style that shines throughout this first issue. The closest I’ve come to seeing this type of art is in some of the higher quality Manga books. One panel in particular that caught my eye was a snapshot from a hidden camera. The artistic effect used to convey the digital quality of the film was most impressive.
The quicker, 3 week publishing schedule is going to become more important as the action intensifies and the feeling of reading the book will probably be more similar to that of reading a trade paperback or other collected work. From cover to cover, this is just a damn good comic book. The story, art and dialogue are top notch, Kissing Chaos is going to be a surefire hit and Arthur Dela Cruz is definitely a creator to keep your eye on.
Score: 9.5 out of 10
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La Perdida #1
Written and illustrated by Jessica Abel
Published by Fantagraphics Books
The Artbabe creator returns with a new miniseries. La Perdida follows Carla, a half Mexican/ half Anglo who seeks to learn more about her Mexican heritage. The story opens with Carla observing a tourist trying to make her way through the language to order a taco, and getting amused at her dilemma Carla was in this same position just two years ago when. The story then flashes back to two years earlier, when Carla first arrives in Mexico. She has little money and no place to stay, but this isn’t going to deter her.
After getting in touch with an old boyfriend, Harry, who’s moved down to Mexico to do nothing but drink apparently, she starts to explore the area. Carla’s relationship with Harry is one part of some very amusing moments throughout the book. Harry wasn’t so much a boyfriend to Carla as he was a frat boy type who was good in the sack and good for an escape. With him being in Mexico, he fulfils a needed role for Carla again. Some of the other humorous parts of the book involve Carla trying to speak the language. Abel adds a nice touch by showing readers both what Carla is actually saying, and what the natives are replying back.
Anyone familiar with Abel’s work knows that she has such a perfect grasp of the characters and situations they’re put in that it feels autobiographical, even when it’s not. She knows the material she covers and she knows it well. As good as the writing in this book is, the art is almost better. Abel is at the top of her game here, handling dozens and dozens of characters in the foreground and background. The city and surrounding areas are given life through her art. It’s as if she’s giving readers a tour of Mexico and lesson in culture at the same time she’s trying to tell a meaningful story.
Relationships and personal stories have always been a strong suit in Abel’s previous work and it’s entirely evident here. But there’s a hint of mystery and a larger story behind what we’ve already been shown, as the present day Carla thinks she spots someone named Ricardo and is petrified. Who exactly Ricardo and why is Carla so worried about running into him? It looks like we’ll find out soon, and I’m intrigued to find out how Abel handles this type of story. Writing and drawing good stories is nothing new to Abel, so go pick up one of the best comics to come out this year, La Peridad. It’s been awhile since Jessica Abel had some comic work out, but it’s definitely worth the wait.
Score: 10 out of 10
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Best of the Bunch
Slow News Day #2
Written and illustrated by Andi Watson
Published by Slave Labor Graphics
Andi Watson is the creator who brought us the truly masterful Breakfast After Noon mini-series from Oni Press last year, which is currently available in Trade Paperback: www.onipress.com. He is also one of the top ten (if not five) creators working in the comic industry.
Slow News Day focuses on Katharine Washington, a San Francisco native who heads overseas to for a summer internship at the local paper The Wheatstone Mercury. It’s a small, weekly paper that’s been in decline for years. Short on reporters, Katharine is partnered with Owen, one of the veterans of the paper. He doesn’t feel the need for an intern and considers Katharine more of a nuisance than anything else, but he does oblige the decision of the editors and takes her on. One of Owen’s problems is the fact that Katharine is an American and it’s that ‘fish out of water’ scenario in which the series is built around. Watson himself explains that this series is about the similarities and differences between the two cultures, based on his own experiences.
There have been some great moments where the culture shock angle is played up with terrific results. The characters of Own and Katharine have been defined a little more in this second issue. We’re let into their personal lives a bit more and they’re becoming even more fleshed out. These characters seem real. Even when not everyone appears to be likeable, you never once get the feeling that these are fictional creations.
Glimpses of a larger picture continue to unfold. Katharine is still having her mysterious phone calls and now it appears that she’s in the process of writing a script that may have something to do with her job at the paper.. Why is she really there? What’s this American’s connection to some small paper overseas that only has one reporter on staff and why is it important for her to stay there? These are some intriguing questions that will be resolved by the time the 6 issue mini-series ends. In the meantime, readers can look forward to even more wonderful moments featuring Katharine as the foreign invader in a strange new world.
Watson has a pretty unique style artistically, as well. He doesn’t veer much from his style of previous works like Geisha or BAN, but that’s a good thing. The art has a clean, almost animated quality about it, similar to Mike Oeming’s work (Powers, Hammer of the Gods). Though the characters aren’t muddled with detail themselves, every panel is loaded with information. These guys don’t skimp on the details.
This is a comic you need to get your hands on any way you can. Go to www.slavelabor.com, www.andiwatson.com or email me grayhaven00@aol.com and someone will find a way to get a copy in your hands.
Score: 10 out of 10
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Star Wars: Infinities #3
Written by Chris Warner and illustrated by Al Rio and Neil Nelson
Published by Dark Horse Comics
Marvel used to publish a comic called ‘What If?’ The idea behind it was to ask a hypothetical question and write a one-issue story answering it. For instance, what if ‘Spider-Man’s Clone Had Lived’ (published before the appearance of Ben Reilly a few years back) explored that question, along with the ramifications of how Peter and the clone’s life would be with that change. Like dominos, every change (minor or major) causes other changes.
For the first time, Dark Horse is using this idea with the Star Wars license. It’s basically what if the Rebellion hadn’t destroyed the first Death Star. The four issue limited series examines the chain of events that occur when instead of sending the Empire off to regroup, the Rebels are dealt a final powerful blow to their alliance. Great concept. Poor execution.
Even with the vast amount of fan fiction out there on the Star Wars saga, most people tend to create stories picking up after Lucas and company left them off. A Star Wars fan is a fickle individual. When you show a vision of what the consequences would be if certain things did or didn’t happen, you’re going to get them in an uproar of some sort. My problem isn’t with the way the story plays out. I think Warner does a pretty good job of recreating his own trilogy here with the basic core concept of Star Wars. The problem lies in how he gets the story and characters from point A to point B. Familiar quotes are used in different situations, and it doesn’t really work. I think that had Warner taken the hypothetical idea and moved the story in a new direction, it would have been more satisfying. Instead, we have some big changes that end up taking us back to familiar ground when all is said and done.
Rio isn’t bad. The Star Wars comics have suffered in the art department lately, but that isn’t the case here. The characters look pretty much like their movie counterparts and Rio fills each panel with as much detail as possible. Some of the outer space scenes are very well done and capture the feel of the movies quite well.
Again, I’ll be checking out the final issue next month to see how it all wraps up, but I think it fell short of what it could have been. There’s a possibility of some good opportunities here, though, and I’d like to see another attempt at this ‘what if’ in the future.
Score: 7 out of 10
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