Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
One of these days, when I have carpal tunnel syndrome that makes me look like Popeye, I’m going to track down Andrew from Gray Haven Magazine and I’m going to punch him with my huge, freakish forearms.
Y’see, he puts together these huge columns for your enjoyment, and I get to format them up for you each week, and after doing so, I normally need a nap. It’s great stuff... and there’s SO MUCH OF IT...
Hi folks. Andrew from GrayHaven here with this week’s batch of recommendations. The usual suspects (and a few new faces) are here to tell you which books you need to go and pick up as soon as possible. And now, on with the show…
Statement for the New People: We don’t review bad books.
“A lot of people have been wondering why there have been so many positive reviews on this section and on GrayHaven Magazine.
This doesn't mean that we like every single book that comes out. We’re just not going to draw attention and waste time on the bad ones. What it does mean is that we're going to use the time and space we have in a given week to focus on the quality books...the books we think you SHOULD be reading.
We want to bring your attention to these great works, get a debate going and get your butts into the comic shops to check them out for yourselves.
Avengers #54
Written by Kurt Busiek and Illustrated by Kieron Dwyer
Published by Marvel Comics
Reviewed by Aaron “Vroom Socko” Button
I don’t want to see Kang in an Avengers story ever again.
I don’t say this because I dislike the character, or the yearlong storyline that is concluded in this issue. I say this because Kurt Busiek has given us the definitive take on Kang, and I don’t think anyone can even begin to top it. Between Avengers Forever from the beginning of his run, and this, the end of his run, Busiek has shown a greater understanding of Kang than anyone before him.
The final battle that begins this issue features not only the best Kang ever, but the best post 9/11 Captain America I’ve yet to see. The simplicity of this fight compared to the previous issue is what makes it so harrowing. No holographic combat, no giant space stations, just a conqueror with a sword and an American with a shield. There’s one page of the fight that sticks out for me; it’s a simple nine-panel grid, no dialogue, no sound effects, just these two men having it out. Dwyer just handles it beautifully, showing rather than telling what this fight means to the men involved. Cap is at his best here, and this exchange, for me at least, shows why:
Jack of Hearts: We won, right?
Cap: Look around you, Jack. Nobody won here. Nobody.
This is Cap how he should be portrayed. This is Cap how he needs to be portrayed.
As for Kang, the narrative in this conclusion shows just why Kang staged this invasion the way he did. I have no intention of spoiling the ending for you, but it is both vicious and gut wrenching at the same time. The workings of Kang’s mind are laid open here, and it is a fascinating, satisfying end to an amazing run by Kurt Busiek. Geoff Johns is a fantastic writer, but he’s going to have some big shoes to fill.
Exiles #14
Written by Judd Winick and Illustrated by Mike McKone
Published by Marvel Comics
Reviewed by Tim Schnurr
"Ah...no kissing in front of Doom." - Morph
The Exiles land on an alternate Earth (although really where else would they land?) where Namor has invaded Latveria. Doctor Doom is asking the assistance of the Exiles to remove the Atlanteans from his land.
I think they need to call this book Judd Winick Present "The Exiles" because Judd is clearly the creative force behind this book. No Marvel book is this creative. The characters are fun, interesting, and different. It's also an action-comedy comic book. Of course all the comedy is brought to us by that loveable shape-shifter Morph. However, this issue the comedy is lowered and we are given a peek at Mimic's origin. Hopefully we'll see more of these origin's of the Exiles in the future. The origin is not too wordy, it doesn't take up the whole issue, and it's interesting.
As for McKone's art....it's enjoyable. Doom has no words in this book, so it's up to McKone to portray Doom's feelings here. When Doom turns to look at the team....you can see he's pissed and annoyed. Although...have you ever seen a happy Doom? Plus let's not forget Morph. Nearly any panel Morph is in he's morphed into someone else....my personal favorite is his Loki. And I like the use of lights and darks in the issue. The dark colors and shadows when Mimic is in jail, and the bright colors when he is in the X-Men.
All in all, another great issue.
Fantastic Four # 55
Written by Karl Kesel and Illustrated by Stuart Immonen and Karl Kesel
Published by Marvel Comics
Reviewed by HD Schellnack
Well, well, well…
You see, the thing is, I was one of those folks clamouring for Kesel to get a writing gig at the FF. Kesel and Immonen on the Fantastic Four seemed like such a perfect fit, especially as both of them confessed that they were eager and hot to do it. Kesel has done magic with a single FF story featuring the thing, with a very clean and wonderful stint on Daredevil (and currently does with Harley Quinn), and Immonen is a solid clean mainstream artist, so nothing could go wrong, could it? Let’s go harass Tom Brevoort until he gives Karl & Stuart a shot.
Well, well, well… you know what they say about wishes.
Now, don’t get me wrong. Karl is good. Stuart is good. The story in FF 55 is neat and personal and has got all the right touches, a keen insight into the characters, the usual wonderful Kesel dose of humour, and all the FF bells and whistles any writer’d want to do: Ben and Johnny fighting, Reed and Sue making goo goo eyes at each other, cute Franklin, nice interaction with the rest of the Marvel Universe… all that stuff. Basically the whole “How to write a good FF story” is there. The artwork, of course, also does a wonderful job, Stuarts smooth and polished style, which is just a tad harder and rougher than Alan Davis or Bryan Hitch – and that isn’t meant in any negative fashion – and can deliver the fun scenes just as well as the action of Ben and Johnny fighting the Grand Acquisitioner in some Yancy Street car dump (see… even the Yancy Street isn’t missing). Even the terrible pop-green colouring job can’t ruin that.
And maybe that’s my problem. I miss the thrill of the new. Especially with THIS book, I miss it. While I respect that Kesel wants to go back to what is familiar about the FF, but it feels too much like “been there done that” to me. And the FF I liked never felt that way. Not even with John Byrne, who relied heavily on bringing back some of the look and feel that made Stan Lees and Jack Kirby’s FF so wonderful. But John never forgot what MADE that book by Lee and Kirby so great – it was constantly keeping you on your toes, throwing way out absurd ideas and notions and concepts at you faster than light, month after month after month. Lee never relied on the family shtick or some other stuff, although, of course, it was all there… he relied on doing the most far out stories you could conceive. No mainstream book at that time was as trippy as the FF. Of course they fought Doc Doom now and then, but we also had the first Silver Surfer, Galactus, Alien space races, the Negative Zone, the Inhumans, the Kree and so on and so on.
And I miss that aspect of the book. I miss the weird ideas.
I don’t want to read about Ben and Johnny fighting, I don’t want to feel like reading a book that’s written by formula. I don’t want 24 pages without real content, I don’t want a meaningless fight that is (spoooiiilllleerrr) a hoax after all, and Lord knows I don’t want any more cuddly stuff.
I want energy. Pure, burning energy. I want the same kick I get from the New X-Men at the moment. The same cool white-hot intensity. I don’t want Mark Waid promising he’ll bring back Doctor Doom… I actually could live without Vic for some time, just as I don’t miss Magneto right now. What I’d like to see is new concepts, new ideas, new ways of telling stories. Lee did it. Byrne did it – remember how whacked out his experiments were back in the early 80s? God, that man was such a god once. And while everything Kesel and Immonen offer here is PART of what I’d like to see, I miss the rest. This is 20% of what makes the FF great… and the guys got that 20% dead right, nail-on-the-head correct. But that is not enough.
Why the heck can’t somebody please give this book the level of writing we have on so many other Marvel books at this time – Spider-Man has brilliant writers, the Hulk is magic, the Ultimates are surprisingly wonderful, one of the best mainstream books… and all in all the new Marvel makes DC look old and slow. And I think that the FF, once one of the best books Marvel had, should be brought back into the light. Not with 9 cent gimmicks, not with a writer who is best known for being a tad retro (and who did nothing at all for me when he followed Grant on JLA), but with somebody who’ll shoot Marvels first family straight to the top. Someone who conveys the marvellous powers of these beings, the completely gaga way of life they lead, in a new and innovative fashion, so that all of us readers go Ohh and Ahh again and look at them with awe and wonder. Bruce Jones brought the Hulk back to basics and still made it feel modern and fresh and different and hip… can we PLEASE have something like that for the FF?
The Filth #1
Written by Grant Morrison and Illustrated by Chris Weston
Published by Vertigo/DC Comics
Reviewed by Aaron Weisbrod
New-age comic guru Grant Morrison has been tight-lipped about THE FILTH for months, revealing only that the 13-issue maxi-series was originally created as a NICK FURY/S.H.I.E.L.D. proposal and that readers should “expect the unexpected.”
Quite frankly, the first issue left me with just as many questions as it did answers, but here’s the skinny as I saw it: a middle aged-man suddenly discovers (or re-discovers, depending how you want to look at it) that he is really a secret agent for an ultra-high tech, super-shadowy, and overall freakish organization known as “The Hand.” Describing what makes “The Hand” so surreal would be giving away a lot of the inherent shock value of the book, but if you can imagine the result of blending S.H.I.E.L.D., the Matrix (or would that be THE INVISIBLES?), and a lot of LSD, you’re on the right track.
Although the story is already intriguing and Slade’s character is already interesting, I’m probably going to wait for the trade on this one. By the end of Issue #1 it’s obvious that there’s going to be a lot going on in this book, and I think I’ll enjoy it more if I sit down and read it all in one sitting.
However, it will be hard for me to stop myself from flipping through the monthly installments just to glance over Chris Weston’s beautiful artwork. Although his work has always been technically proficient, I have also found his style (especially his renditions of people) very ugly in the past (his rendition of Hell in the first LUCIFER story-arc was almost unforgivable). His work in this issue shines, though, and I’m anxious to see what other tripped-out things Morrison will have him bring to life by the time the series is over.
Greyshirt: Indigo Sunset #6
Written by Rick Veitch and Illustrated by Frank Cho and Rick Veitch
Published by America’s Best Comics
Reviewed by Aaron Weisbrod
Since debuting in the pages of ABC’s anthology title TOMORROW STORIES, the GREYSHIRT stories have impressed readers with their blend of old-fashioned crime comic sensibilities and Eisner-ish layouts. When I heard that writer Alan Moore was going to be handing the reins of a six-issue GREYSHIR mini-series to GREYSHIRT co-creator/illustrator Rick Veitch, I was cautiously optimistic. Although he has been writing, illustrating, and creating various comic book titles for decades, I had never read anything Veitch had written. Naturally, a question arose in my mind: “Would the GREYSHIRT stories still be as good without Moore?”
Much to my surprise, over this mini-series’ six-issue run, the stories have been just as good as those in TOMORROW STORIES, and oftentimes better.
With the final issue of the GREYSHIRT mini-series readers are treated to two tales. “Shroom!” is a modern-day pirate story with a horrific twist written by Veitch and illustrated by LIBERTY MEADOWS creator/cheesecake artist dejour Frank Cho. Along with Art Adams, Cho draws some of the sexiest women in the industry, and he by no means denies readers plenty of panels featuring voluptuous women in this tale of pirates, fungus, and a foul-mouthed parrot.
“The Last Mile,” the second story of the issue, serves as the final chapter to the saga of Franky Lafayette, Johnny Apollo, and The Lure. In this tale the identity of “The Fanman” is unveiled, the origin of The Lure is revealed, the true effect of Johnny’s childhood encounter with The Lure is exposed, and Greyshirt’s family tree is shown to have a few more branches than originally surmised.
When all was said and done, GREYSHIRT: INDIGO CITY proved itself to be a gem of a book. The back-story of Johnny and Franky was interesting, well-paced, and relevant to his current adventures; the modern tales were engaging and oftentimes innovative; and the occasional guest artists helped inject some extra spice into this already full-flavored package.
However, what really stole the show were the both covers and the “Indigo City Sunset” newspaper editions that ran with each issue. Much like the “extra” features at the end of each issue of WATCHMEN, the newspaper stories were well-written, clever, and (more often than not) hilarious. In a true sign of professionalism and care, Veitch also managed to subtly wrap-up any/all dangling plot threads, no matter how minor, in the final edition of “Indigo City Sunset.” Great, great stuff!
Fans of the crime comics of yesteryear, Will Eisner, WATCHMEN, or the various works of either Veitch or Moore would be well-advised in seeking out this six-issue mini-series. I haven’t heard whether or not this story will be collected as a TPB (or even a hardcover, for that matter), so, although it goes against my “less issues/more trades” stance on comics, I would suggest any interested parties seek out the back issues of this hidden-gem. If nothing else, at least check out the cover to Issue #6: it has stolen my vote for best (and funniest) cover of the year.
Murder Mysteries
Based on a story by Neil Gaiman; Adapted and Illustrated by P. Craig Russell
Published by Dark Horse Comics
Reviewed by Aaron “Vroom Socko” Button
I am a Neil Gaiman Junkie. Anything he does, I gobble up like peanuts. Hell, if he actually started selling peanuts, I’d buy them.
The latest Gaiman-snack is an adaptation of his short story Murder Mysteries. While it’s not my all time favorite short story of his (there’s just something about Being an Experiment… that I love, especially after hearing Gaiman read it aloud,) it is one of his best. This is a dense tale, featuring a Londoner stuck in Los Angeles, an old man who is more than he seems, and a story of a murder in Heaven. The story and the comic both benefit from rereading, revealing more details and insights the second time around.
After reading this book, I’m tempted to start an on-line petition calling to ban anyone other than P. Craig Russell from drawing Heaven in a comic. The Silver City and its inhabitants look absolutely beautiful, especially the doomed Lucifer. The most impressive visual is that of the angel of vengeance, Raguel, assuming the power of his position. He looks both wonderful and horrible, as I imagine an angel would truly look. The look of present-day L.A. is much duller and drabber by comparison.
One of the best things about the presentation of this book is the cover. This is the second Gaiman story to be published by Dark Horse (the first, Harlequin Valentine, is also worth a look,) and they both feature a glorious hardcover design. The look and feel of these make so-called Prestige books look like, well, over-glossy paperbacks.
This is Gaiman at his best. This is Russell at his best. You buying this book would be for the best.
The Path #3
Written by Ron Marz and Illustrated by Bart Sears
Published by Crossgen Comics
Reviewed by Aaron Weisbrod
For months, there have been two reoccurring complaints about Crossgen comics: 1) their lack of non-fantasy titles, and 2) the “glacial” pace of some of the stories.
With books like THE PATH, RUSE, WAY OF THE RAT, NEGATION, and the upcoming ROUTE 666, the first complaint has become much less valid now than it was a year ago today. As for the second complaint, well, yeah… many of Crossgen’s books may seem a little slow to readers who are looking for “villain of the month” storylines. Mind you, there’s nothing wrong with “villain of the month” storylines (hell, THE FLASH is quickly becoming one of the better books on the market using this formula), but the creators at Crossgen have been taking a more novel-like approach to their storytelling. Thus far, most of their books I have read (which, admittedly, is almost exclusively their “second generation” titles) are emphasizing the journey as much as they are the destination, and this “epic” style of storytelling is especially true with Crossgen’s Samurai saga THE PATH.
THE PATH revolves around a monk named Obo-san, a man of peace whose faith was shattered when the gods he once worshipped (that would be THE FIRST, natch) killed his brother in the field of battle. However, as he perished, he passed the “mark of the gods” (aka: the sigil) onto Obo-san, who was then somehow able to use it, along with a powerful sword known as the “weapon of Heaven,” to chase the gods away. Wanting the “weapon of Heaven” for his own sadistic purposes, the Emperor Mitsumune demanded that Obo-san give it to him. When he refused, Mitsumune ordered his death. This resulted in Obo-san’s warrior friends Aiko (a female samurai) and Wulf (a samurai of European descent) helping him flee Mitsumune’s evil clutches.
Issue #3, deals primarily with the conflicted nature of Obo-san: he is both a monk who has forsaken his gods and vowed to destroy them, as well as a peaceful man now driven to fight for not only for his freedom, but also to keep the “weapon of Heaven” away from the corrupt leader of his country. Furthermore, the nature of Obo-san’s newfound powers is revealed: he has the ability to speak with “the power of the gods.”
Is this story starting to sound a little familiar to some of you out there?
With this issue the path of THE PATH has truly began to take direction, and it seems like it has been heavily inspired by a certain fan-favorite series from a few years ago: PREACHER. Let’s see: the man who has lost his faith in his god(s) is now blessed by a miraculous power from him(them)? Check! Wandering companions that include a strong European and a feme-fatale? Check! A horribly scarred military general sent to pursue and capture them? Check again! A hilarious “Lone Wolf and Cub” cameo? Well… OK, maybe PREACHER didn’t have one of those, but you can see the pattern here…
Mind you, I’m not pointing this out in order to say THE PATH is a bad book, because it’s not. It’s actually been, thus far, a pretty darn good series. However, with the revelation of Obo-san’s powers it became exceedingly obvious that writer Ron Marz has been, whether it be intentionally or not, inspired by PREACHER. Does it borrow too heavily from the series that made Garth Ennis a household name among comic fans? I don’t know yet… only time will tell.
That being said, the intriguing characters (especially Obo-san) and the beautiful eastern-influenced artwork from Bart Sears (rather than the George Perez style he uses on more super-hero-oriented books like THE FIRST) make this book one I look forward to every month. Here’s to hoping that the story continues to unfold in ways that will shake-off any future comparisons to its predecessor. Personally, I think it will, but again, only time will tell.
Ruse #8
Written by Mark Waid and Illustrated by Butch Guice
Published by CrossGen
Reviewed by Elliot Kane
Master detective Simon Archard and his assistant Emma Bishop are in the small town of Telestroud trying to track down the enigmatic Lightbourne, Simon's ex-partner. But first there is the small matter of a town of people who avoid daylight as if it were fatal to them, and a few missing gypsy girls. Everyone but Simon believes that the undead are risen to prey upon the living, and he is never wrong... is he? And can Emma evade the villagers' clutches, or will she suffer the same fate as the missing gypsies?
Month after month, Ruse continues to be one of the best titles on the market. Waid's writing always concentrates on his two main characters, but never forgets the plots and mysteries that surround them. Sherlock Holmes is undoubtedly the greatest fictional detective ever created in any medium, but Simon Archard is one of the very few who comes close to challenging him, and in Emma Bishop he certainly has a more interesting assistant.
There are some nice touches in this issue. The plot summary usually takes the form of 'The Penny Arcadian' – the main daily newspaper of Simon's home city of Partington. As the action in this issue takes place in Telestroud, the plot summary takes the form of 'The Telestroud Nightly'. A small thing, but it adds to the atmosphere, reflecting the villagers' view of events thus far. It is this kind of attention to detail that really makes the world of Arcadia come to life.
Butch Guice is one of less than half a dozen genuine contenders for the title of 'best artist working in comics today'. Combine his work with that of colourist Laura DePuy, and you have an unbeatable combination. Everything from elaborate costumes to background scenery gets the same care and attention to detail.
If you like detective fiction, excellent characters or great artwork, you should be reading Ruse
Ruse #8
Written by Mark Waid and Illustrated by Butch Guice
Published by Crossgen Comics
Reviewed by Aaron Weisbrod
RUSE is, hands down, one of the prettiest books on the market. With its gorgeous pencilling and top-notch coloring, it’s easy to just sit there and stare at each page endlessly, slowly soaking it all in.
That being said, I’m glad that the story is finally starting to get more interesting.
Sure, the one and two part mystery stories have been descent vehicles for character exploration/development, but I’ve been chomping at the bit to get to “the next level” of the story behind Emma and Archard for months… and with Issue #8 that journey has finally begun.
In this issue Archard and Emma figure out the mystery behind the disappearing citizens of the quaint village of Telestroud in a true Sherlock Holmes manner. The explanation is both unexpected and interesting, although I couldn’t help but get the impression that Waid was trying too hard to show that he was the most intellectual comic writer on the block when he devised this scenario. (To be fair, he pulled it off well, but Alan Moore is still the king of this mountain.)
What’s most interesting in this issue is the epilogue to their adventure, in which we begin to learn a little more (and, at the same time, a little less) about Archard’s mysterious past. It’s now been discovered that Emma might not be the only one with some sort of mysterious powers…
Issue #8 had revitalized my interest in RUSE, and also makes the perfect end-cap to what I would call “Chapter One” of the series. The characters and setting have been established, we’ve learned what motivates most of them, and a “bigger picture” is starting to unfold. I can’t wait to see where this book is going next.
Spider-Man: Blue# 1
Written by Jeph Loeb and Illustrated by Tim Sale
Published by Marvel Comics
Reviewed by HD Schellnack
After Daredevil: Yellow, the Team that brought us the fabulous Batman-Halloween issues and Superman for all seasons turns to another Marvel mainstay and offers us their take on Spider-Man, and as Loeb assures us in many Interviews, the Blue in the title has very little to do with the colour scheme of Spidey’s costume but rather with the blue mood the heroes going to be in during this mini series.
Aptly enough the comic starts with all-blue-coloured pages that bring us Spider-Man on Valentines Day laying a single rose onto the bridge Gwen Stacy died at, while Peter obviously is dictating some kind of letter to the deceased Gwen onto a tape recorder. In many ways this is almost exactly the same technique Loeb exploited in DD:Yellow, and like in that series we get a Flashback to the Spider-Man series during the John-Romita-days shortly after Peter left high school. From a recounting of his fight against the Green Goblin to some background if why he bought the motorcycle, got to know Gwen and Harry better, we get a bit of what Kurt Busiek did earlier in Untold Tales of Spider-Man… Loeb and Sale fill some holes left by Lee and Romita, flesh things out, and give us some more details. The artwork, eerily enough, reminds me more of Ditko than of Romita, although to me personally, this phase in Peter’s life, this shift in the series as a whole – from nerdy High school kid to the more accepted college PP – was very much due to the visual style Romita Sr. and Jim Mooney brought to the book. Speaking of the artwork, it isn’t as fabulous as in DD: Yellow, sometimes even feels decidedly rushed, but Sale still brings a lot of impact, emotion and artistic abstraction to the printed page, coupled with a sense of design and layout that give you quite a lot of powerful panels and money shots for the $ 3.50 fee of entry.
The writing, well… it feels too much like Loeb is following a set formula here, a formula that is fine once but bores you a bit when overdone. I mean, Superman for all seasons was heavily going back to ideas John Byrne developed for his Man of Steel series and didn’t really go far beyond these concepts. DD: Yellow harkened back to the Lee-Daredevil and also added a bit of depth here and there (not hard with the very early DD), but still didn’t feel very independent or fresh or new. And with Spider-Man: Yellow, this sense of deja vu is even worse, especially as Loeb goes back to a period in which the original series was very strong and moving forward with leaps and bounds – and frankly, his dialogue isn’t even half as good as the original dialogue Lee scripted for Spidey during the days of Amazing Spider-Man 50+. I miss the fact that Lee made Peter more open, more communicative, using some of the snappy dialogues that – with Ditko aboard – were completely reserved to Spider-Man. After High School, Peter opened up and generally became less of a social loner – but his dialogue in Blue feels more like he’s still that high school kid. Maybe that’ll change as the series progresses, maybe that’s part of Loeb’s point… that getting to know Gwen Stacy helped Peter open up. We’ll see.
Basically the book offers little beyond nice art and a story I’ve already read for the most part. For almost four dollar, that really isn’t enough. Anybody interested in a good retro story set it PP’s past should check it out of course, as it is set in one of the best periods of the character and Loeb and Sale deliver top-quality work, but if you don’t already have them, I’d recommend getting the Essential Spider-Man books and reading the original stories… nothing’s better than that! My main gripe is the price tag. At least Untold Tales came at 99 cents, and Busiek always was clever enough not to actually re-tell anything but opted for a slightly different approach than Loeb does… and that was what made Untold such a wonderful concept. Blue, however, so far offers to little new ideas for the hefty price tag, and thus was a bit of a disappointment.
Star Wars Tales #12
Written and Illustrated by Various Creators
Published by Dark Horse Comics
Reviewed by Aaron “Vroom Socko” Button
The wonderful thing about a good anthology is the diversity of the stories presented. Even if one of the stories is a dud, there’s usually an exceptional one to pull up the overall average.
The first tale, A Day in the Life, follows Rouge Leader Wedge Antilles through, obviously, a day in his life. This is a rather slight installment, but it does have a rather amusing line; “Note to self-never accept a drink from an Ewok wearing a Stormtrooper helmet.” If not for another story (that I’ll be discussing in a moment,) this would be the funniest line of the comic.
One of the standout stories is Once Bitten, involving Obi-Wan telling a story of his youth to Han Solo while en route to Alderaan. Not only is it a treat to see two of my favorite characters interacting in this way, but also the art by Makoto Nakatsuka is a visual treat that is not to be missed. The lightsaber battle presented here is both visually dynamic and very slick.
The one story that stands above all the others, however, is The Revenge of Tag & Bink; Kevin Rubio’s follow up to his so-funny-it’s-hernia-inducing two parter, Tag & Bink are Dead. Once again the two moronic rebels are disguised as Stormtroopers, once again they run afoul of Boba Fett, and once again there’s more throw away gags lurking in the corners of the panels than I want to count. The last two panels are simply the funniest Fett related dialogue I’ve ever read, and are worth the cover price alone.
If you’re a Star Wars fan who doesn’t read this, pleas contact me and tell me why
Thunderbolts #65
Written by Fabian Nicieza and Illustrated by Patrick Zircher
Published by Marvel Comics
Reviewed by Tim Schnurr
"No one ever said you had a choice..." - Hawkeye
Is it me or is Fabian out there the only one who can truely write a better Hawkeye? I can't think of any. Thunderbolts #65 is the starting point of the Thunderbolts bi-weekly event leading up to issue #75. Again...is there any writer out there that is capable of writing a comic book that is bi-weekly other than Fabe? Anyway, Thunderbolts #65 kicks off the bi-weekly series with part 1 of "Becoming Heroes". (Note: All odd number issues of Thunderbolts will be about Hawkeye and Songbird on Earth for the "Becoming Heroes" story, whereas the even number issues of Thunderbolts will be about the missing Thunderbolts and Zemo on counter-Earth. The story is titled "Becoming Villains".)
So "Becoming Heroes" starts off with Hawkeye, Songbird, and Plantman hunting down old villains who had worked for the deceased Justin Hammer. Without spoiling too much let's just say that Hawkeye wants the villains to work with him rather than the Crimson Cowl.
Only Fabian can provide the depth and interest in such lame villains like Plantman, Cyclone, Gypsy Moth, Man Killer, and Cardinal.
Actually I'm more interested in what Fabian is doing with Plantman. This guy has been this interesting....well ever. Also, the narration of Hawkeye only seems to add to Hawkeyes motivations here. Why he likes Moonstone so much is beyond me. (which is really my only issue I have ever had with the Thunderbolts series).
Patrick Zircher is of course on his game with this issue. Ever since Mark Bagely left many moons ago, Patrick has been a decent replacement and on-going artist. And he seems to improve on each issue. And I love the look of the new Machinesmith....less human looking and more machine. Although his look almost remindes me of Jocasta too much...maybe add in some color to his new look? And the cover art by Zircher I would love to have as a poster for my office.
Now all I got to do is wait two weeks for the next issue. I think I can live with that.
Transformers G1 #1
Written by Chris Sarracini and Illustrated by Pat Lee.
Published by Dreamwave Comics
Reviewed by Tim Schnurr
"Come dog. You want to learn about evolution?" - Megatron
It's 80's retro time! Although really the Transformers have lasted into the 90's....with the Beast Wars show that used to be on. But I'm getting off topic here. Pat Lee was destined to draw the Transformers. His style is perfect for large transforming robot warriors. I can't think of too many artists that can beat Lee's Transformers (sorry Herbe Trimpe). The Transformers are more 3-Dimmensional now...and shiny. Yes...shiny. These are metal robots mind you, they should shiny and colorful, which Pat Lee has done.
Sarracini's story is also starting to heat up. The first issue was a great starting point, the second issue sort of slowed, but we finally got what we wanted....Autobots versus Decepticons. And robots beating the tar out of each other is a good thing. The story is good, as we see Megatron lose from his captors, and Prime leading the few Autobots he has under his command to take on the Decepticons. But the humans have motivations of their own, as they are tired of being stuck in the middle of this war. And fhe final page will leave you hanging.
I bought the Autobots cover. It shows all the smaller Autobots like Bumblebee, Brawn, and my personal fav --- Cosmos. That's a joke of course, because I still can't figure out why he would be a UFO? How is being a UFO going to disguise you on Earth? Still I like all these smaller Autobots, I just wished they would've showed up in the issue. This is poster material for sure.
And don't think of this as 80's retro...the story is better than any of the fluff Transfomers stories in the 80's
Ultimate Spider-Man #23
Written by Brian Michael Bendis and Illustrated by Mark Bagley
Published by Marvel
Reviewed by Elliot Kane
Last issue we discovered that ruthless industrialist Norman Osborn – AKA the Green Goblin – knows that Peter Parker is Spider-Man. This issue we find out how he means to use that knowledge – and trust me, the Kingpin could take lessons from this guy! Meanwhile Gwen has problems of her own, and needs a friend. Much to Mary Jane's chagrin, Gwen turns to Peter. But hey, things could get worse, right? That's OK, because they do...
Normally I avoid superhero titles. Most of them seem to think that action is more important than characterisation, and actions should have consequences only until the next story arc. Nothing wrong with that, but it is not an approach to story telling that appeals to me.
USM is different. It is the story of Peter Parker and his friends and family as much as it is the story of Spider-Man. The characters learn and grow. Their lives and relationships change. Brian Michael Bendis (BMB) carefully uses each story arc as a stepping-stone to the next without making his stories uninteresting or miring them in continuity.
A comic with a single main protagonist stands or falls by the quality of the supporting cast, and USM has one of the best ever assembled. BMB has done an exceptional job of crafting a number of unique and interesting characters, from the dim witted and easily led Kong to the highly intelligent but unpredictable Gwen Stacy. They all feel like people you might meet, whether you would want to or not.
This issue is one of BMB's best. His Green Goblin is genuinely evil and chilling – a monster in and out of his Goblin guise. His Gwen hides her vulnerability behind a tough outer shell, but it is still apparent to the reader. There is a genuinely touching moment between Peter and Aunt May. And the ending... well, I won't ruin it, but I for one am really looking forward to the next issue.
Any title stands or falls by the quality of the artist as much of that of the writer, and USM is well served by Mark Bagley. Much of USM relies on facial statement, particularly with Mary Jane, who tends to communicate by look almost more than she does verbally. Peter may be blind to her thoughts, but they are transparent to us because of the art. Bagley’s emotional work is a really nice touch that really adds depth to Mary's character.
Bagley's teenagers actually look like teenagers rather than the usual twenty-somethings that are supposed to pass for teens in many comics. His adults have the heavier build you would expect, and there are clear similarities between relatives – even the blonde Gwen and her brown haired father, which takes some doing.
If you're a fan of superhero titles, you're probably already reading this. If you're not, you should give it a look anyway. It really is that good.
TRADE PAPERBACK REVIEWS:
100 Bullets TPB: Hang Up on The Hang Low
Written by Brian Azzarello and Illustrated by Eduardo Risso
Published by DC
Reviewed by Chaos McKenzie
‘K, I’m shouting this one out to my boys out on Ain’t It Cool. Gon’ try to give it to you philosophical.
This is the third volume in the series I lovingly refer, as “I still can’t believe I didn’t buy this off the shelf”. 100 Bullets, is yes hitting shock value buttons, and yes it is playing up on current market trends. That is the result of publishing, motion pictures, television, and entertainment in general the world over. The people who create it aren’t to blame, really in truth we are, as consumers we ultimately control the flow of marketing and commercial trends. There is a reason 100 Bullets is coming to us now, and not then or sometime later, the characters and the stories which create the concept which is 100 Bullets, all rely upon the trends of today. Let’s face it this story is a product of the very trends it is cashing in on.
For those of you out of the loop, 100 Bullets is a chain of stories where ordinary Joes are given extraordinary power over the law in the name of opportunity and a very long list of hidden agendas. This trade focuses solely on a young, up and coming hood living in the city of brotherly love and a father he never knew but always worshipped. It is painstakingly accurate to the social conditions of those places in America, who do read comic books, it appeals to them like X-men does to suburbia (no disrespect, I’m a product of suburbia too). It’s because of 100 Bullets brilliance though, that it has risen from being an obscure genre book to being a critically acclaimed success. And yeah it doesn’t hurt that the world is suddenly hip to urban culture, but the cats in 100 Bullets are bouncing their heads Junior MAFIA style not any that Ja Rule stuff.
The thing I realize is that a lot of people don’t believe these pieces of the world exist, it is a result of something becoming trendy, we forget to realize that the marketing people had to inflate the image from somewhere. People do live like this, and the situations offered in 100 Bullets are surreal to any urbanite who has lived in Harlem or Philly. (I have a best friend who live in Haiti and South Compton in Cali, I mean she could tell you a few stories…)
Azzarello and Risso are products of a different generation (ummm, I’m actually not sure about Risso, but I’m on the nose with Azz), one that I’m a part of. We haven’t read as many of those big time classics as they rest of you, but we’ve discovered new classics. There’s no disrespect or down play to the original classics, any creator knows they must pay respects to the architect; it’s just that the classics are more like myths to us now and we are living in a world of fable
Richard Wagner’s The Ring of The Nibelung Volume One
Adapted by P. Craig Russell
Published by Dark Horse Comics
Reviewed by Chaos McKenzie
Opera, after hip-hop and hollywood soundtracks, is my all time favorite music. I’ve based my epic comic adventure IMPERIUM (www.goldenbulletstudio.com - coming soon!!) around the adventures of a spy/opera singer. One of the hardest things for me while writing the scripts was interpreting the audio sounds of the opera into the script for then an artist to bring to life. People like P. Craig Russell are gifted with skills like this, he has a creative spirit that is woven within all of the arts, and he seems able to express them in all in a painted medium.
Though I’m more a fan of Italian opera, the story of Siegfried and Brunhilde is one of my favorite myths of all time. The Germanic people who crafted the original lore, had a vision for epic, and above all I’m a fan of epic. The story unfolds slowly, things that happen in one place, effect things a long the way, there is never a quick pay off. It all requires your attention to unfold with all its details.
But enough about the story, Wagner’s opera has been around awhile and most agree the story is brilliant. The issue at hand is what Russell has done with it visually. Can you draw me the sound of your breath? Can you paint a picture of the sound the rain makes falling against the window? Can you make me feel those things purely visually? That’s what Russell has done, by the beats found in the panels; to the layouts of the pages he has created a visual sensation of an orchestra and choir. I actually found this book kind of emotional, it pulls at you like music does, and the rhythm is so essential to the read of the book that it does come off like other comic books, where as the reader you can usually establish the beat, with this book, the beat controls you.
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