Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
You know the drill by now. Andrew. Gray Haven Magazine.com. Our weekly comics review column. Of course, when I'm in absentia because of other pressing concerns (I am trying to take over the world, remember), then we end up with two weeks worth of material on the same day. That's my fault, since Andrew is his usual punctual self.
Here's the most recent column. Last week's can be found right here!! Enjoy 'em both!!
Hi Gang. Andrew from GrayHaven Magazine here with five 'First Look' reviews of comics set to come out within the next several weeks. There are a lot of 'buzz' books ready to come out over the course of a month and here's our take on just a couple of them.
Once again, our handy dandy rating guide:
Don't Miss- A flawless example of a comic book. From writing to art, there is nothing that could be improved upon.
Highly Recommended- While not absolutely perfect, a grade of Highly Recommended goes to books that are a cut above the rest. These are essential reading for any fan of comic books
Recommended- A book that is a bit better than average. A few shortcomings, but otherwise a very good effort.
Mildly Recommended- Average. Books with this rating aren't terrible but they may fall short in one area or another and while they aren't to be discounted, most likely these issues appeal to only the die-hard comic fans.
Captain America #1
Written by John Ney Rieber and illustrated by John Cassaday
Published by Marvel Comics/Marvel Knights
Reviewed by Andrew Goletz
(Shipping 4.24)
'It doesn't matter where you thought you were going. You're part of a bomb now'.
Those are the first words you read as you open this first issue and are taken inside one of the planes that was hijacked on 9-11. The reader is then moved to quick shots of the terrorists, first waiting, and then celebrating their deadly victory. Finally, we see through the haze and dust in New York City. We see a figure of one of the many men in the ruins of the World Trade Center, doing what he can to help save lives. He's Steve Rogers, Captain America.
The opening sequence of this first issue is extremely powerful. I must have reread the first few pages a half dozen times before writing this. It's certainly not easy to look back on the events of September 11 and try to humanize it, regardless of whether it takes place in a comic book, television program or newspaper article, but we have to acknowledge that it did happen and come to terms with it.
If you haven't guessed by now, the first issue of this newly re-launched series takes place in the aftermath of the attacks on September 11. Our first image of Captain America is as a 'civilian', with Steve Rogers assisting firefighters and other volunteers looking for survivors in the rubble. I can only imagine that there will be a sect of comic readers who are offended that a comic book dare tackle a real life event. They'd rather see a story about the Cosmic Cube or some other cosmic nonsense. If any character needed to be used to comment on the horrors of that day in September, it's Captain America. He's not just a superhero, but also a soldier. Ideally, his actions should take place as much in the battlefield as they do on other worlds.
The tone of the story changes pace in the last third of the issue and I didn't think that it was as strong as the initial segments. While I understand the rational behind the scenes, just didn't work quite as well as the rest of the book. Too much introspection and 'mood' shots and not enough actually happening in the story for my tastes, but it's not a complete loss as there are still effective scenes in towards the end, as well.
John Cassaday's art is amazing. For many readers, he will be the real draw to the book and deservedly so. Real emotion and life comes across in all of his characters. You can see it in their faces and their eyes. In an early scene, Nick Fury tells Rogers that he is needed in the Middle East immediately. Rogers' rage at being pulled away from the recovery work and looking for survivors is expressed wonderfully. This is not a person you want to get pissed off. Cassaday has also tweaked the costume a little bit. It shouldn't offend purists, but the modifications make for a more realistic and less spandex feel than the traditional uniform we're used to seeing.
Fans have been anxiously awaiting this issue since the announcement of the re-launch was made almost a year ago. Realism seems to be the operative word here. Captain America is as much a super soldier as he is a costumed superhero and now there's a creative team on board that acknowledges that. I was looking forward to seeing whether a new creative team and a new direction could win me over. It did.
Overall: RECOMMENDED
Deadline #2
Written by Bill Rosemann and illustrated by Guy Davis
Published by Marvel Comics
Reviewed by Andrew Goletz
(Shipping 5.1)
'Damn that 'awkeye! Arrows he needs to defeat Batroc ze Leaper! I spit on him and his quiver!"- Batroc the Leaper to his doctor after a painful altercation with Hawkeye.
Deadline is the story of Katherine 'Kat' Farrell, a rookie reporter for the Daily Bugle who is stuck on the superhero beat, the lowest of the low in terms of hierarchy at the Bugle. Kat wants to get away from the 'capes' as she refers to the masked heroes and follow in the footsteps of a true crime reporter like Ben Urich. To her, the Spider-Mans and Daredevils of the world are nothing more than immature boys taking the recognition away from the true heroes. The cops. The firefighters. Kat has no respect for 'capes' and they feel she's nothing more than a nuisance, but in order to achieve her goal of getting to a more respectable position at the Bugle, she needs to be the best at her job, even if she can't be proud of what she's covering. She needs a big story.
That big story occurs in the form of dead super beings piling up in New York. Seven of them in the last six months, and all with the same apparent causes of death. Kat decides to investigate further and her trail leads to Judge Michael Hart, a man once dubbed 'no Hart' because of his extraordinarily harsh sentences for 'capes'. Hart went missing shortly after the body of his new bride was found and the underworld rumors abound that Hart is back with a vengeance. Kat digs deeper into the murders and the missing Hart but then she has a confrontation that will drastically change the game. Now, instead of working on her fluff pieces like a story on the Wrecking Crew, Kat is trying to figure out who murdered Hart's wife and turned him into the super villain serial killer known as the Judge. Kat's search takes her across the city of New York, in and out of some of the most dangerous hang outs and Rosemann keeps the reader interested without pandering and giving it all away too soon.
There are two very good scenes in this second issue and both of them shed light on the mysterious lives of super villains. The first deals with a place dubbed 'The Hospital' since it's where criminals go to get mended up after their encounters with heroes. No questions asked. The cameo by Batroc is worth the price of the book alone. The scene is enjoyed most of all occurred in the Bar with No Name, a pub where super-villains go to unwind. Zimmerman focuses on this place exclusively in his issue of Tangled Web and it was nice to see a different perspective on this most unique establishment.
Guy Davis is one of the most underrated artists in the business and I'm hoping he gets the exposure he deserves with this work. Anyone who's read Baker Street or The Marquis should be amazed at the amount of detail in Davis characters, his landscapes and his architecture. He is able to convey both the beauty and awe of New York while at the same time showing the more ominous side of the city. We're given a much greater look at New York City in this second issue, and Davis' New York is all one could have hoped for. There is a short segment in the middle of the issue where Kat stumbles into the middle of a fight between Doctor Octopus and Spider-Man at the Flat Iron building and it's a sight to behold. It's as if Davis was storyboarding the feature film.
Rosemann has created, in Katherine Farrell, one of the more interesting characters to come out of Marvel in quite some time. We get a sense of her frustration at being a reporter for the major newspaper in the biggest city in the world and yet forced to work on stories that she is embarrassed to be covering. This isn't a book about superhero slugfests or flashy cosmic adventures. The approach is a gritty, real world look into the New York City of the Marvel Universe and some of its more outlandish inhabitants.
I was very impressed by the first issue of Deadline and I'm very happy to see that Rosemann and Davis have done the reader one better with this second installment. The creative duo is making magic here. Again, don't let this one pass you by.
Overall: HIGHLY RECOMMENDED
The Hood #1
Written by Brian K Vaughan and illustrated by Kyle Hotz
Published by Marvel/MAX Comics
Reviewed by Andrew Goletz
(Shipping 5.22)
"Say another word…and I cut your f@(#ing face off"- Parker Robbins
The Hood brings us the first entirely new creation from the MAX line since Brian Michael Bendis launched Alias. It also mixes things up a bit by having making the protagonist a villain. Parker Robbins is not a nice guy. He's a two-bit hood who pays for sex just so he doesn't have to engage in small talk after the deed is done. He hangs out in seedy bars that cater to super villains and is always on the lookout for an easy score instead of trying to make an honest living. The only one he seems to have any feelings about at all is his mother.
This first issue is mostly set up and serves to introduce readers to Parker and the people around him. Parker's motivation is established, and through the course of the story we're introduced to a lot of the elements that are likely to encompass the rest of the series. There are a lot of things in this first issue that reminded me of Ultimate Spider-Man #1, although our main character in this case has no redeeming qualities like that of young Peter Parker.
Vaughan handles the first issue well. I've enjoyed his short arc on Batman (the Matches Malone story last year) and his Swamp Thing series, but this is all him and it shows. His dialogue is conversational and the words flow smoothly from page to page. Much like the writing of Brian Bendis or Greg Rucka, Vaughan is able to make things interesting not so much because of what his characters say, but how they say it. There's a sort of poetic feel to the way this type of dialogue is rendered. I liked the meeting between Parker and his cousin that takes place in what is apparently a super villain hang out. I don't know if this is supposed to be the Bar with No Name or not, which would be an incredible coincidence (and the third time the bar makes an appearance in the reviews this week), but it is a great scene. A very well known villain makes a cameo appearance, and though the character doesn't do all that much, we see how Parker and his cousin react to him, which is quite interesting. The idea of there being these people who look up to super villains could make for some terrific moments down the line.
Kyle Hotz may get some well-deserved attention for this book, finally. I've always found his artistic style to be very unique and really liked the work he did on the Hulk a few years back, but he's adapted his penciling a bit here and his artwork has never been better. His work seems to have grown from a Steve Skroce styling to something completely his own. He uses a lot of shadows here to convey the grim and moody tone of not only the main character, but of the story itself.
The Hood is a welcome new addition to the MAX line and nice departure from the typical superhero fare. I'm anxiously awaiting the rest of this story.
Overall: HIGHLY RECOMMENDED
Spider-Man's Tangled Web #13
Written by Ron Zimmerman and illustrated by Sean Phillips
Published by Marvel Comics
Reviewed by Andrew Goletz
(Shipping 4.24)
"You're an old, ugly, bald dude named after an old, ugly, bald bird. Going out with cute young girls is not an option for you"- Al Kraven to the Vulture.
Ron Zimmerman will get vindication for his very public thrashing over his fill-in work on the Punisher a few months ago with this issue. It'll be interesting to whether his critics back-peddle or just simple disappear now.
'Doubleshots' takes place in the Bar with No Name (also featured in Deadline), a seedy little dive where super-villains can feel free to congregate, relax and BS with each other, without having to worry about being bothered by any of the heroes. The story begins with a mysterious first timer coming into the bar that he's only known from rumors and whispers, and just observes the action around him. He soon meets his appointment, none other than the Vulture and as the two sit down to chat, they are joined at a table by another villain, Al Kraven, son of the infamous Kraven the Hunter. Aside from being villains, the men seem to share one other important trait: they've all had their clocks cleaned by Spider-Man.
This is a departure from your typical mainstream comics in a lot of ways. This title has always been a place where writers could tell stories away from the norm, but this one goes one better. First of all, the focus is on the villains. There isn't a respectable character in the story, with the possible exception of the waitress. We've seen plenty of anti-heroes in comics like Punisher or Deathstroke, but stories centering on all out, no regret villains are few and far between and it makes for an enjoyable diversion.
Another thing that sets this apart from most superhero books is that it's damn funny. Not funny with silly puns and inside jokes (well, maybe a few), but Zimmerman taps into the personalities of these characters and brings out their inner most (troubled) thoughts and delusions. These villains know they're at a place where they can be themselves and it allows for them to break out of type. A gag early on has two sad sacks debating the sexuality of Daredevil. A closer look at the backgrounds of panels reveals cameos by dozens of super-villains that are good for a chuckle or two. Most of the humor, however, is derived from the conversation that the mysterious stranger has with Al and the Vulture where the trio discuss their sex lives, the rules of crime and why there don't seem to be any good looking female super villains. The most mileage is gained from the Vulture, whose role it is to be the butt of everyone's jokes in every appearance he seems to make.
The story also serves to reintroduce readers to Al, son of Kraven the Hunter, who is going to have a very big role in the Marvel Universe the second half of this year, from backup features with Spider-Man in most of the Marvel Comics in May to his own limited series later on. Zimmerman has revamped the character from a carbon copy of his late father to a more sophisticated criminal with a more professional look. Gone are the animal skins, replaced with 3 piece suits. Al is a ladies man with a sarcastic wit and an attitude to match, if need be. I like the way he's used in this story and it certainly bodes well for what Zimmerman plans to do with the character later on.
Sean Phillips delivers dependable work, as always. He manages to fill the backgrounds with a lot of detail, giving readers a chance to try and spot who's who behind the scenes in the bar. Like Zimmerman, he gets the most mileage out of the Vulture, with his exaggerated features. The looks on the faces of those around the old bird, as he enters the bar, are priceless.
This is one of the strongest issues of Tangled Web since the series began, second only to 'Gentleman's Agreement' by Greg Rucka and Eduardo Risso. There are moments of both brilliance and silliness, of tension and levity and it all adds up to an extremely satisfying read with more than a few laugh-out loud instances.
Overall: HIGHLY RECOMMENDED
X-Factor #1
Written by Jeff Jensen and illustrated by
Published by Marvel Comics
Reviewed by Andrew Goletz
(Shipping 4.10)
"We are watching you. We do not trust you, or the FBI, or the integrity of this task force'. - Jean Grey psychically communicating to Agent Catherine Gray.
When I saw the first preview image of this book, I was curious to learn more. After speaking to Jeff Jensen about the series in an interview we did a few months back, I became even more interested. I'm glad that the book was worth the wait.
We're introduced to the main characters right off the bat in the form of two government agents who work for the Mutant Civil Rights Task Force. Aaron Kearse is a loving husband and father who has deeply religious views, carrying a Bible with him on trips and asking his family to pray for him. He also has suffered a serious handicap after an altercation with a mutant. His partner is Catherine Gray, a strong willed woman who is trying to reconcile with the fact that her child was killed in a most horrendous way. They're brought together again to investigate the murder of William Sumner, who was strung up on the Hollywood sign in California. The crucifixion imagery of his death was used heavily in teaser ads earlier in the year.
The Mutant Civil Rights Task Force is an offshoot of the FBI, created to curb the rise of anti-mutant sentiment and anti-mutant hate crimes in the country. The mutant population is growing at an increased rate and with that growth comes increased fear and hatred towards mutants. The establishment of a government organization to help the mutant population was something that I liked a lot. For too long in the X-books, the mutants were universally hated by virtually every human being on earth and were on their own. As books like X-Force show us, it's possible for there to be a mix of love and hatred of mutants and still provide entertaining stories.
X-Factor also introduces something that has a wealth of possibilities and that is a sect of homo sapiens who have been labeled 'Third Species' nuts. These particular humans think that they can gain super powers by having mutant parts implanted in them, surgically. The agents discover this at the LA County Morgue when they're told a victim had someone else's mutant liver in them. Experts don't think this is possible since mutants are born with specific genetic codes that determine whether they will be mutants, but the impressionable kids aren't easily convinced.
Jeff Jensen is a relatively new face to comics. Best known for his writing for the magazine Entertainment Weekly, Jensen had previously written comics for DC a few years back. With X-Factor, he has created a world where not everything is so easily categorized into good or evil. Throughout the course of this first issue, other characters provide warnings and clues as to the true motivations of both the main and supporting characters, turning the reader's perceptions upside down by the time they reach the final page.
I'm not familiar with Ranson's work before this but he made a very good impression on me. He manages to achieve a great amount of detail in both is inanimate objects and the people in the story. Kearse, in particular, has this tired and haggard look about him that goes a long way in giving an added depth to his character even without Jensen revealing the same through text. Heck, you should pick this one up for Ranson's art alone.
X-Factor is a book that steps out of the typical boundaries of mutant stories while not ignoring them completing, making it an easy entry point for mutant and non-mutant fans alike. If you like your X-books a little on the mysterious side with that little touch of X-Files thrown in for good measure, you're going to love X-Factor.
Overall: DON'T MISS
I hate to mix the columns like this, but the length of the 4.03.02 Column demands that I break a few of them off and include them here for you:
Suspension of Disbelief #1
Written & Illustrated by Paul Quinn
Published by Lone Horseman Press
Reviewed by Mike Gagnon
Here we have a truly well written epic tale of boy meets girl, girl sleeps with guy's best friend, and boy wanders the mall and runs into female friend.
OK, maybe I'm oversimplifying this book considering that it is very involved and quite well written. The lead character Davis is getting over his girlfriend cheating on him with his best friend when he runs into his female friend Allison. It turns out Allison has a very neglecting boyfriend who is more interested in "working late" than her or her career as a struggling artist. Hmm…what to do what to do? Well, the answer may seem obvious to you, but you may be surprised to see what happens when Davis attempts to make up for the neglect in Allison's life caused by her boyfriend, with a cliffhanger that will definitely make you come back for the next issue!
The art is very good, overall, with a style that is a perfect meshing of real-life art and cartooning. This book is a great slice of life, and successfully makes you emotionally attached to the characters and really care about them. Indy books are increasing in quality every year, and this book is a fine example of what you should expect.
Overall: HIGHLY RECOMMENDED
Ultimate Spider-Man #21
Written by Brian Michael Bendis and Illustrated by Mark Bagley
Published by Marvel Graphics
Reviewed by Drew Haverstock
"I love it when a plan comes together…"
- George Peppard, aka. Col. John "Hannibal" Smith from The A-Team
You've gotta' know that if I'm quoting George Peppard in the beginning of a review, things are good! (And I hated the A-Team) In arguably his most ambitious storyline thus far, Bendis hits a home-run closing up the Doc Ock / Justin Hammer / Kraven the Hunter free-for-all.
This issue touches on all the little things that have been brought up since the Kingpin issues, giving closure to not only the main villains, but the SHIELD / Sharon Carter tie-in, Mary Jane's place in Peter's world, and the media's perception of Spider-Man. Aunt May arguably steals the show by book's end though, in a touching scene that hits home showing how truly difficult it can be raising a teen.
After watching Kraven be built up over the past 4-5 issues, seeing his confrontation take place live on TV was nothing short of fantastic. Bagley did a phenomenal job of pacing, not only during the fight scenes, but with the simple movement between action, drama, and lightheartedness - all done without a hitch. For the first time in quite a while I felt a feeling of awe when the story unfolded, and as Peter had his chance to speak with the media, you can tell that words came with effort.
This book is full of so many great moments I don't know where to start or end. So let me say this: superhero books are given a bad rap on a daily basis for a variety of reasons, but I'd argue that if any alternate choices out there gave me as much to chew on as this issue did, I'd buy it in an instant.
I'm not knocking indy books. As comic reviews editor here a Grayhaven, I read quite a share. But for my money, Ultimate Spider-Man is the pinnacle of what comic books can accomplish in any form.
Overall: DON'T MISS
Vampire Rock #1
Written & Illustrated by Mark Rehkopf
Published by Undead Graphics
Reviewed by Mike Gagnon
Picture this…a young rock guitarist named "Bug" decides that the best way to make it to practice on time is to cut through a cemetery late at night. Inevitably the lad runs into an angry vampire and a scraggly vampire hunter. All seems fine until the bands lead singer discovers the ancient goblet that Bug stole from the vampire. Heck, this story also has hot rock chicks, zombies, rock concerts, and a whole lot of comedy rolled in as well.
Bug decides to cut through a cemetery to make band practice. A little crazy, but it could happen. The vampire Anubus is actually characterized very well considering traditional vampire characters. Bug accidentally pilfers the vampire's mystic goblet, and old Anubus wants it back. The entire band is infatuated with female drum player Shelby, who is kidnapped by Anubus's minions in order to get his goblet back. Simultaneously lead singer Michael discovers the goblet and the secret powers it grants. Will Michael sacrifice his soul? Will Shelby really end up with the zombie she meets while she's captured? Is it really the best idea to hold a rock concert in a cemetery on Halloween night? Pick this up and find out.
While this book is in B&W and it's an Indy, don't dismiss it out of hand. The inking is a little over-powering sometimes, but it lends itself to the dark theme. Art itself is very good and could be used to produce work in any mainstream title. The style is a very animated caricature look. Most people can't pull off a dark vampire comedy (except Eddie Murphy from Vampire In Brooklyn), but Mark does it very well here. There's a lot of sick and corny humor, but it is well placed in the scenarios. An overall quality product.
Overall: RECOMMENDED
X-Force #126
Written by Peter Milligan and Art by Mike Allred
Published by Marvel Comics
Reviewed by Chaos McKenzie
I love X-Force so much I consistently have to remind myself that it's a Marvel book. This isn't a statement on my love of a book dropping due to the Marvel, but more a salute to one of the few revamped Marvel books that maintains an edge. Milligan and Allred don't hold back, making things surge with excitement and frivolity in every panel.
In this issue the team heads to space to loose a predestined battle, while at the same time we get to meet the newest fodder… oops teammate, Dead Girl. Milligan and Allred should be saluted right there for yet another "no one's ever thought of that before" mutant gift that puts the other X-guys and there lame attempts at new powers to total shame. Plus giving her a name that makes for the best line I've read in months, "DEAD GIRL, YOU'RE ALIVE!" It needs to be put on t-shirts; I'll take mine in a medium on blue or yellow.
Hmmm, I guess I should say more about the vague insights to character and the fun play of team interaction. But I'm tired of wasting words on describing a book that you should have all run out and bought and read, and reread, and fondled a million times by now.
We reviewers don't lie; we are here for a reason, to tell you how to spend your money. And this book is a great place to start. Hats off to Milligan and Allred for keeping comic books exciting and fun without losing relevance.
Overall: HIGHLY RECOMMENDED
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