Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
Andrew from Grayhaven Magazine dropped me a note to let me know that he’s been reading your reactions, and he’s trying to write more, a response to your feedback. This time, he’s got a couple of quick reviews for new titles, stuff that’s already in stores. He’ll be back this weekend with a look at stuff that’s coming up.
Andrew from Grayhavenmagazine.com here. There are a bunch of titles I read that I didn’t have time to review just yet so I wanted to get them up before moving on to other books. Coming this weekend: first looks at: Cable #98, Daredevil #26, Hey Wait, Magic Pickle #2, and Nightside #1.
Alias #2
Written by Brian Michael Bendis and illustrated by Michael Gaydos
Published by Marvel/MAX Comics
Private Investigator Jessica Jones was on a routine stakeout in the first issue and accidentally stumbled into something she never expected to find. Since she was recording what was transpiring, she can’t exactly forget the information she witnessed, either, even if that’s exactly what she’d like to do. Jessica is now in possession of a videotape that some people would very likely kill for. If she turns the tape over to authorities, she could destroy a man’s life. If she destroys the tape and ignores it, she may just find out that it was a setup and she fell right for it.
This issue only improved upon the first. While issue #1 dealt with setting up the necessary pieces for the first arc, the second installment takes the reader deeper inside Jessica’s troubled life: both personally and professionally. The former Avenger is afraid to go into her own apartment. She can’t go back to her former allies for help. When she tries to seek comfort in her friend (and onetime love) Luke Cage, she’s shunned. When she continues to investigate the case that causes her to panic in the first place, it only causes more problems.
Reading Bendis’ work is like reading a play. While some would suggest that both have a similar word count, I’m referring to the pacing of the story and rhythmic quality of the dialogue. The words don’t seem forced here. After two issues, we already have a feel for what type of person Jessica is and that’s without knowing all that much about her. Only a strong writer can reveal so much and yet so little about a character and still make it captivating to the reader. And of course we get the classic Bendis interrogation scene. After his run on Sam and Twitch ended, readers only had Powers to go to for a dose of Bendis’ realistic dialogue in these interrogations. The wait is over and once again he shows how two people talking can provide as much action and excitement as any explosions in Authority. The narrative style of the book, told from Jessica’s point of view is a welcome touch
Bendis and Gaydos are paving the way for the rest of the MAX Comics line. They’re proving how you can create a book for an older reader without being gratuitous (in any way) just because they could. Alias isn’t flashy and it will probably get overshadowed by the more violent (sexual books) with a ‘mature’ label on them. Alias isn’t about shocking people. It’s about telling great stories and they’re succeeding in that.
Score: 9.5 out of 10
Amazing Spider-Man #35
Written by JM Straczynski and illustrated by John Romita Jr and Scott Hanna
Published by Marvel Comics
The battle with Morlun comes to an end and the long awaited ‘surprise’ moment takes place. Straczynski introduced two of the more interesting characters to appear in Spider-Man comics in quite some time with Ezekiel and Morlun. Ezekiel apparently met his end at the hands of Morlun in the last issue, but no body was discovered. We get some closure on him in this issue. But what readers have really been waiting for was the final battle between Spider-Man and the centuries old, seemingly unbeatable Morlun.
Overall, it’s an enjoyable issue and there are some moments of brilliance. Straczynski has been examining the nature of Spider-Man’s powers since his run began and he delves into them even more here. It also gives readers a logical resolution to why Spider-Man would show up at a nuclear power plant thinking it was his best way to defeat Morlun. The problem is that the end seems too abrupt. I’m not saying that the arc should have gone on another issue or two more or that Spider-Man should have handled things a different way, but the resolution is handled a bit too quickly and neatly. I suppose the writer may have painted himself into a corner by making Morlun so impossible to defeat in the first place, but to have it end the way it did, after several months of Spider-Man and Morlun beating on each other, didn’t ring true to me.
What I did like was Spider-Man using his head to try and defeat Morlun. He’s one of the smartest characters in comics and that’s something that’s been ignored for too long. I’m glad to see Straczynski using Spider-Man’s intelligence as an asset to the story. The post Morlun battle was also very well done. There were a few things that needed wrapping up, and he did so efficiently. Readers were given closure, but with that door cracked open just enough to warrant a return if they so desire. Spider-Man’s elation after his final revelation is true to the character and makes for a great scene. And you can’t talk about the good points of this title without mentioning the incredible work being done by John Romita Jr. His pencils have had as much to do with the success and enjoyment of the book in recent months as anything else. He once again puts in a great effort, making this one of the best looking comics on the stands.
I also have my reservations about the surprise ending. We all saw it coming and it’s too soon to speculate because there is the slim possibility of a red herring being thrown in, but we’ll see in a few months. I can scream ‘been there, done that’ later, when we know for sure what the consequences of the final pages are. In the meantime, the next issue will depart from the current storyline and become the first Marvel title to acknowledge the terrorist attacks. Spider-Man has always been the character that was the most human to me. Sure he has these incredible powers, but that’s only part of his appeal. He’s a New Yorker, born and raised. He’s one of the most realistic of these super beings that populate comic books. If any character should be used to explore the horrific events of the 9.11.01 it should be Spider-Man. JMS and JRjr are a proven creative team working with a character who, more than any other, represents New York. I know they’ll do everyone justice.
Score: 7.5 out of 10
Powers #14
Written by Brian Michael Bendis and illustrated by Michael Avon Oeming
Published by Image Comics
The Groupies storyline concludes, ending the best Powers arc yet. The story began with the discovery of the naked body of Olympia, one of the greatest heroes in the world in which Powers takes place. There were no witnesses and no signs of a struggle, making the case even more difficult to solve. At the end of the previous issue, a woman shot and killed herself after reading an ‘exclusive’ Olympia interview in one of the tabloid. Powers #14 begins with the discovery of her body a few days later.
Detectives Walker and Pilgrim are on the case again. It’s been very interesting to watch their relationship progress for the past year. Walker didn’t want a partner, but he’s slowly getting used to the spunky Pilgrim. Either that, or he’s discovered the ability to ignore her while making it seem like he’s putting up with her. He quietly goes about his business, talking to the police officer that made the call while Pilgrim gets into trouble. A nice touch was how not even the cops were immune from being start stuck, as evidenced by the young cop in utter awe of getting to meet Detective Walker. During the investigation, Walker is extremely focused, unlike his partner. While the chattier Pilgrim notices comments on why the victim would have a movie like Runaway Bride on DVD, Walker is all business.
The resolution is more than satisfying. It wasn’t what most people will expect. Okay, so it wasn’t what I expected, maybe you’re smarter than I am. There are some great moments with Walker and Pilgrim as they move closer to the truth and discover more of Olympia’s secrets. Walker’s past continues to be shrouded in mystery and Pilgrim’s continued questioning reveals tiny pieces at a time while also building upon the duo’s relationship. It all leads up to a more subtle ending than usual, but a powerful one nonetheless.
The art has become increasingly important to the series. It’s always been good, but lately the creative team seems to be sharing the same head. I really liked how Oeming showed the reader where Walker was looking as he took a walk around the house, until he turned his attention on a photo of the victim and Olympia. The reader is basically walked through the moment via Oeming’s panels. A comic book is always a collaborative effort. For one to be good, the art and writing have to be good, not to mention coloring, etc. But usually people still have their favorites. One may like a comic because of the art or only because of the writing. Powers is one of the only books I read where the writing and art are equally dynamic. Bendis writing isn’t better than Oeming’s art and Oeming’s art doesn’t overshadow Bendis’ writing. Taking a look at the Powers Scriptbook might give you a little insight on the process that goes into creating this title. It’s one of the best collaborations that I’ve seen in a comic book. It’s really amazing how well these two work off of one another.
Score: 9.5 out of 10
Star Wars: Tag and Bink are Dead #1
Written by Kevin Rubio and illustrated by Lucas Marangon and Howard Shum
Published by Dark Horse Comics
I don’t think I’ve really enjoyed a Star Wars comic since Dark Empire. Maybe it’s because I still prefer stories with the ‘classic’ characters as opposed to the expanded universe. Or maybe there just hasn’t been anything to match the level of quality of the initial Dark Horse SW comic? Tag and Bink are Dead seemed like a concept that was different enough from the ordinary Star Wars comics that it was worth a try. If I gave ‘Infinities’ a shot, I’d have to do the same here. Plus, it’s written by the creator of the hilarious Troops parody. At least I went into it knowing I appreciate his sense of humor. The story follows Tag and Bink, two young Rebel officers, through the events of Episode IV, told from their perspective. Tag and Bink aren’t the smartest fellows in the galaxy, but they seem to have luck on their side and that may be just enough to keep them alive after all.
The first issue begins, as the first movie does, with Princess Leia’s ship being overtaken by Imperial troops. Rather than stay and fight, the two take off running only to be captured a few moments later. They’re able to escape the Stormtroopers by making use of the troops’ lack of peripheral vision with their helmets. The Stormtrooper uniform’s lack of practical use is a running joke throughout this issue, as is the ability for this hapless duo to extract themselves from dire situations intact.
One of the things I enjoyed about the story was how they tried to fit Tag and Bink into the movie continuity. While much of their adventure apparently takes place ‘off camera’, there are a few scenes which will be familiar to fans of the movie. It was interesting to see how these two get from mishap to mishap, while getting a few cameos into the Star Wars cannon all the same. Sure, lot of the dialogue and sight gags are just plain silly, but that’s really the appeal of the book. Enjoy it for what it is and you’ll be fine.
The art is done in a crude, cartoony style, but since the book is just a silly farce it doesn’t matter too much. Most of the enjoyment from the issue is going to come from Rubio’s writing and some of the visual gags in the book. The art doesn’t add much to the issue, but it doesn’t take anything away, either and that’s a fair trade for this type of book.
I’m glad that Dark Horse is finally attempting to do different types of stories with their Star Wars license. While their universe of characters is vast, not all of them are interesting enough to want to read about. Both Infinities and Tag and Bink are Dead are trying to mix things up a little and it’s a good sign of possible things to come.
Score: 8 out of 10
X-Force #120
Written by Peter Milligan and illustrated by Mike Allred
Published by Marvel Comics
Before the revamp of X-Force several months back, some people joked that a creature resembling a giant lima bean would become a fan favorite on par with Wolverine. Well, he’s not quite there, but damn if Doop mania isn’t sweeping over fandom. Doop is the resident photographer and video journalist of the new X-Force. He’s arguably the most popular member of the team. There’s even a Doop translator making the rounds across the Internet. So it seems ridiculously natural to pair the new pop icon with that very popular mutant, Wolverine.
The issue begins with Wolverine being interviewed by Doop for the new X-Force’s ‘First Year’ video. A longstanding relationship is hinted at, but not really focused on, saving room for further exploration down the road. But who knows? Maybe the secret history of these two will never be revealed. The fact that they know each other and appear to be friends is so absurd yet entirely entertaining. With the deaths of important team members in earlier issues, readers already know to expect the unexpected with this title, so why should a Doop/Wolverine team up be a shock?
While the last few issues concentrated on showing off the team’s ability in the field, action takes a backseat to characterization this time around. We learn the truth about The Orphan and Coach. We also find out a little more about Zeitgeist, the new team’s original leader who died in the first ‘revamped’ issue. And finally, the conflict between Edie, The Orphan and Coach comes to a resolution no one would expect. The team is filled with characters that are quite unique in powers and personalities, and since they’re all relatively new, there’s the added depth of secrecy to them. I’m not hoping to a 25-year plus mystery ala Wolverine, but I like how Milligan isn’t giving everything away immediately.
Allred is getting better with each issue. Think back to when this title began years ago with Rob Liefeld’s pencils and what it looks like now. There is no comparison. And while I don’t usually mention colorists in my reviews, I can’t ignore what Laura Allred is doing. This doesn’t look like any other mainstream book on the racks. She’s using purple and greenish greys that you normally don’t see. Her choices make the pages jump out at the reader and make you take notice of what’s happening in each panel.
X-Force is a series that hasn’t failed to delivery yet. Along with Cable, the creators turned the concept of the book inside out and have made the characters their own. Milligan and Allred are redefining the way you look, not only at an X book, but at Marvel Comics as a whole. Sure Marvel has their Mature reader line and they have their Startling Stories, but X-Force is an in continuity core book that’s been around for 10 years now. Their ability to turn it into an alternative version of a mainstream comic book is astounding. The book is indicative of everything that the ‘new’ Marvel represents.
Score: 9 out of 10
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I actually just got my first look at X-FORCE, and I’m fascinated by the way Allred’s art looks in a Marvel universe. It’s as iconic as when the impossible to spell Bill Szienkiewiczzzizizxcz had his exceptional run on THE NEW MUTANTS, and just as unusual. I may have to pick up a batch of this one...
"Moriarty" out.
