Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
This is a big giant hunk of reviews today, including three exclusive first looks. I’ll let you get right to it...
Hi Gang. Andrew from GHMOnline here with a new batch of recommendations. The entire GHM team stepped up to the plate and contributed to the quest to give Moriarty carpel tunnel this week. We can’t very well go on with 5 or 6 reviews a week when our friends at the League of Extraordinary @$$holes is pushing hard a couple times a week now, can we. Here are a healthy number of looks at some books that came out over the past couple of weeks as well as a glimpse into the future with ‘First Looks’ at X-Statix #1 (the comic formerly known as Prince, I mean X-Force) , the nine cent Fantastic Four #60 and Uncanny X-Men #410 with new writer Chuck Austen. Have at em.
THE AMAZING SPIDER-MAN #43
Written by J. Michael Straczynski and Illustrated by John Romita Jr.
Published by Marvel Comics
Reviewed by Aaron Weisbrod
After reading AMAZING SPIDER-MAN #43 I found myself thinking “Well, that was a pretty decent issue, BUT…”
At first I couldn’t quite put my finger about what it was about the issue that bothered me. Was it the appearance of Dr. Octopus? No… not really. The continued focus on Peter and M.J.’s estranged relationship? No… Was it the introduction of a new-fangled successor to Doc Ock? Well, that was sort of lame, even though it’s he’s only temporary…
Then it dawned on me. It wasn’t any ONE of these factors alone that bothered me, but rather the combination of all of them mashed together in one issue. Mind you, that’s not to say that I disliked Issue #43… because that’s not true. Overall I found it to be a decent issue with one brilliant standout moment that literally made me howl with laughter (the scene with Aunt may and Peter at the airport security checkpoint is superb). However, that being said, after reading this issue I realized why I never bought many mainstream super-hero books until Marvel started recently re-launching them all “baggage-free.”
And that’s the key word here: “baggage.”
My wife likes to read some of the comics I read. She loves PREACHER and digs several other books such as Ennis’ PUNISHER, Ellis’ PLANETARY, and, yes, Straczynski’s AMAZING SPIDER-MAN. However, that being said, I can just see her dread in reading this issue. She doesn’t know who Doc Ock is, she knows of MJ primarily from the movie, and the idea of another villain stealing a previous villain’s gimmick only to update it for himself is one of the most clichéd (read: lame) super-hero gimmicks of all time. In fact, I’m almost 100% convinced that, had anyone else written this issue, it would have been a complete disaster.
However, that being said, Straczynski’s fine ear for dialogue and excellent sense of dramatic pacing managed to keep this issue from turning into a train-wreck. I was especially pleased with how he introduced Doc Ock and his powers without too much overtly expository dialogue. I also would have liked him to spell out how much of a villain Doc Ock has been in the past, but I’m sure he’ll be getting to that around part three of this story-arc when Spidey and Doc Ock have their routine verbal sparring match.
In the end, Issue #43 is a decent issue that serves as a set-up to a much more grandiose tale. Sadly, I feel like I already know how where this whole story-arc is going, but I’m remaining cautiously optimistic that Straczynski has a few twists and tricks up his sleeve.
Of course, only time will tell…
BONEYARD #7
Written and Illustrated by Richard Moore
Published by NBM Publishing
Reviewed by Aaron Weisbrod
For those of you who haven’t been exposed to BONEYARD yet, here’s the “high-concept” in a nutshell: Michael Paris is a man who inherits a graveyard full of monsters from his estranged grandfather. After initially facing pressure from the town mayor to destroy the graveyard, Paris was able to convince the townsfolk that the various monsters and other undead creatures that resided in the “Boneyard” were actually pretty decent folk who meant them no harm.
Issue #7 deals directly with the fallout from Issues #5 and #6: Paris has found out that, as the new owner of the cemetery, he owes the IRS a lot of back taxes. Furthermore, a few of the monsters (Ralph the leather jacket sporting werewolf and Sid the gambling skeleton) just crashed Paris’ car into a prominent statue in the center of town. Due to mounting bills (and a lack of any real income) Paris and his cohorts agree to give the people of Raven’s Hollow what they want to see: a benefit “Celebrity Boxing” match pitting monster vs monster.
Although the premise of the issue may sound a little too topical, Moore pulls off the story without going for any parody-style “current event” gags. Instead, in keeping with every issue of the series to date, the humor and story is solely character-driven: the small demon Glump is still trying to over-compensate for his seemingly “soft” stance on humans (aka: “worthless scumbags”), Nessie the nymphomaniac swamp creature is more worried about being the ring girl than she is her ailing boyfriend Brutus (think “Frankenstein’s monster”), and Ralph is busy arrogantly explaining to Abbey (the petite vampire who holds their mini-society together) how to box so he doesn’t “beat her too badly” after she agrees to take Brutus’ place in the boxing match.
In fact, much like the characters in “Seinfeld,” virtually every character in this book is a self-absorbed narcissist (with the exceptions of Paris and Abbey)… but that’s part of the casts’ charm. They’re not a cruel or malicious bunch… they’re just delightfully quirky. The end result is a book that can be best described as LIBERTY MEADOWS meets “The Simpsons” meets “The Munsters”— fans of monsters or off-beat humor alike will find there’s nothing to dislike in this book!
Along with a rich blend of quirky characters, virtually every page showcases Moore’s great sense of comedic timing, whether it be through the use of a sight-based or verbal one. Furthermore, Moore manages to work in the jokes without taking away from the smooth flow of the issue’s overreaching story. When I tried to pick one specific joke to use as an example I found that I couldn’t do it since there were so many good ones to choose from (although the one with Glump selling refreshments for “$10 and your soul” is priceless).
The bottom line is that BONEYARD is an entertaining and relatively continuity-free comedic story about neurotic monsters that doesn’t sacrifice engaging story-arcs for cheap laughs. Fans of any LIBERTY MEADOWS, the Bongo line of comics (or anything else by Matt Groening), “The Powerpuff Girls,” and/or “Dextrer’s Laboratory” would do well in exploring this hidden gem of a series.
Thus far all seven issues are still available through NBM Publishing (www.nbmpublishing.com), and Issues #1-4 have been collected into an oversized (8”x12”—big art is good!) TPB collecting the first four-issue story-arc.
If you’re looking for a fun and refreshing comic that will appeal to both you and your non-comic reading buddies and girlfriend alike, look no further than BONEYARD.
CODENAME: KNOCKOUT # 14 “H.E.A.V.E.N. sent”
Written by Rob Rodi, Illustrated by Amanda Conner and Jimmy Palmiotti
Published by Vertigo/DC Comics
Reviewed by HD Schellnack
Is there really a writer names Robert Rodi? Jeez, THAT really sounds like a pseudonym to me. Although there really would be no reason to hide behind a nom de plume here, as this book seems to be written fast and furious, poking solid fun at the clichés that come with a female heroine secret agent that looks like a bombshell. From Charlie’s Angels to Danger Girl, the old plot of the blonde Ãœber-Babe kicking ass isn’t the most acute invention we’ve come across, yet the execution here is very relaxed, very sexy and quite funny. If I had to compare it to anything, I’d say it feels like Peter David writing for an adult audience. There’s that sense of not taking stuff too serious I get from Captain Marvel, the funny-meets-spy-thrill concept from Spy Boy, combined with the ability to flesh out an otherwise pretty two-dimensional character with a few words of dialogue. It feels good to read this book, especially as it doesn’t take itself serious at all, as most “good girl art” books should, as you possibly cannot write a serious cheesecake book.
Maybe it’s just Amanda Conner’s artwork that makes this Peter-David-on-Viagra parallel so likely, as she collaborated with the man on “Soulsearchers” and her way of mixing realistic detail with quick and simple, almost cartoonesque protagonists, reminds me a bit of that title, only we get a good deal more nudity here. Which isn’t a bad thing for a cheesecake book, I think.
All in all this isn’t the book that makes the earth stand still, and it doesn’t make a fuss about that fact. It’s fast, it’s funny, and it’s well drawn and written with a sense for witty dialogue and hilarious timing. There have been so many Female-Spy-spoofs in recent years that you may wonder, if we need YET ANOTHER book like this, but all things considered, it is one of the better spoofs, so yeah, maybe we do need it. It’s better, much better, than Danger Girl, so go out and give it a try, fan boys!
“SNEAK PEEK”
FANTASTIC FOUR #60
Written by Mark Waid and illustrated by Mike Wieringo
Published by Marvel Comics
Reviewed by Andrew Goletz
In Stores August 28th
Like Batman, the 10 Cent Adventure and Gen 13 for 13 cents before it, this edition of Fantastic Four can be yours for a mere 9 cents. That’s right, 9 cents! Pick up 25 of these puppies for the same cost of one edition and give them away. Whether or not you’re an FF fan is pretty much besides that point. Batman, Gen 13 and Fantastic Four are 3 different types of books that may appeal to people even if you don’t particular like the book. I know that after giving away a few hundred copies of those other books around our neighborhood quite a few non comic fans asked me how to get more comics (to which I was more than happy to help). So I’m not asking for you to get a couple hundred of these like me (or 200,000 like the retailer in Baltimore who’s adding them to the local newspapers) but if we all do our part, we can help expose more people to our ‘secret’ industry. And maybe, if we’re lucky, we’ll be able to count on publishers to offer these types of deals more often. This issue also marks the debut of the new creative team of Waid and Wieringo.
I’m not a Fantastic Four fan usually. I enjoy the early run from Lee and Kirby and still feel that John (please continue collecting his run, I beg) Byrne’s tenure was the best ever and have picked up scattered issues from DeFalco and Loeb’s run, but I’m not a huge fan of these cosmic sprawling epics. I can respect the appeal of the Silver Surfer, Galactus, and the like, but when it comes to costumed heroes, I like mine a bit more grounded. That said, this is a very good introduction to who the Fantastic Four are. It carefully explains the origin and characteristics of the quartet without slowing the pacing or being redundant and also clarifies their motivation in a way not touched on for the older FF fans.
Reed Richards, aka Mr. Fantastic and head of the family has hired a PR group to help the team out. A consultant is assigned to tag along with the team and through him, Mark Waid reaches out to the readers. Waid does a good job of addressing the criticisms/questions about the team for both long time fans and the potential new readers who’ll be checking the book out due to its price. In doing so, he also establishes a break in point for what Marvel hopes will be a long and defining run for the new creative team.
Who are these people that have the audacity to call themselves the ‘Fantastic’ Four? Why, in an age where readers want to see the bang/crash action of Authority or Ultimates or even Avengers and X-Men, should we pay attention to a family of four (plus the Richards’ two young children)? All of these questions and more are answered and I don’t think it’s a spoiler to reveal that Waid establishes the Fantastic Four, not as a team of superheroes, but as a group of explorers who happen to also step in and meet the challenges that await them. The appeal of the Fantastic Four is that they’re willing to step out into the unknown. They, as led by Reed, want to know what’s on the other side of the wall and go on through.
Equal time is given to all four main characters. Generally, the members of the Fantastic Four are handled about the same regardless of what writer is guiding their adventures. This time, things have become a little more defined. Reed is made a lot more interesting with a look into his motivations and a concluding segment in the book, which wraps up exactly what Waid is trying to say with these characters. Ben Grimm, aka, the Thing, is probably the one character that seems the same so far, although he also has the least amount of ‘screen time’ in the book so we’ll see what future installments have to say. Johnny Storm, aka the Human Torch looks as if he’s been de-aged, in terms of personality, at least. His bickering and whining about everything makes him come off more like Franklin (the young Richards’ son) than a 20 something hero. But when he ‘flames on’ and gets into hero mode, the attitude drops and he steps into his own, making for an interesting dichotomy. The character with the most focus in this issue is Sue Richards, the Invisible Woman. The plethora of single characters and men in comics lead readers to suspect that married characters, female characters and God-forbid, married female characters, are boring. Waid has to be given credit for building Sue up to the dominating figure in this issue, along with Wieringo who draws her sexier than she has been without resorting to gratuitous T&A shots of carving holes in her costume. Wieringo’s art on the book was the true highlight for me, after an all too brief stint on Superman.
As a book for people who don’t usually read comic books, I think this issue accomplishes just what it needs to. To comic fans who don’t usually get the book, like me, there are enough treats and great moments to hold our attention, entertain us and invite us back for more. We aren’t bogged down with continuity or Waid showing how clever he is. It’s a straightforward story showing us the team through the eyes of an outsider, and makes us want to see more.
THE FILTH 1 & 2
Written by Grant Morrison, Illustrated by Chris Weston
Published by Vertigo/DC Comics
Reviewed by HD Schellnack
When Grant Morrison tells you that this is the book in which he can work out the ideas he couldn’t realize in a more mainstream title like X-Men, you know The Filth is going to be special. And you won’t be disappointed. Just as Morrison was a quite terrific storyteller on the Spandex JLA-title in one way and this wonderfully trippy headkick on The Invisibles, we now have him as the soap-on-hyperspeed storycrafter doing the X-Men, while Filth starts to move on where The Invisibles stopped. Only it feels more accessible, more back to Invisibles Vol II than Invisibles Vol III. The Filth feels like Grant is just popping out his weird notions and ideas – many of which reflect ideas he has sold us for years now and which also showed up in The Invisibles – in a very relaxed and creative, almost fun manner. Where Invisibles felt more serious, this book seems to be able to have fun with its own concepts. The way Grant plays with everyday life – and the idea of secret groups moving unseen in our midst –, with time, with propaganda ideas, with sex and roles and identity and Wilsonesque psychedelic late-60s reminds me a LOT of The Invisibles. I think at the end of the series, we will be able – as with The Invisibles – to reread the whole set and find the little time-loops, segues and cut-ups Grant did and we will have a gorgeous puzzle like with that other title. So, if you liked The Invisibles, you should get this book (and you probably already have :-). From my point of view, The Filth feels less heavy. Whereas you almost couldn’t penetrate Invisibles without annotations and without having read lots of books that featured ideas Grant worked into the title, you were pretty much lost. Sandman was a simplistic read compared to Invisibles, from my point of view. Filth, on the other hand, is more accessible, without really feeling like a step back. It feels more cohesive, more focussed, more like Grant is in control of what he writes, almost as if he’s revisiting old ground first in order to prepare us fort new ideas that will come later in the series or at least in the next thing he does. There’s a level of maturity, of serenity here that tells you that Morrison doesn’t need to search as much, experiment as much as in The Invisibles or Doom Patrol, he’s more at ease with what he’s trying to convey here. It feels like a band covering an original old song it wrote some years back, playing it with perhaps somewhat less intensity but with more professionalism, with more control, with more dynamics and subtleties. It feels good.
The art echoes that. Many Vertigo books suffer from unclear pseudo-adult messed up art in which graphic coolness overpowers and kills the simple art of simply moving a complex story forward. Not with Weston. Graphic, three-dimensional, realistic and detailed as hell, he guides us through Grant’s weirdness and makes it look simple and real. This guy can make blue and green toupees and the other high-tech weirdness of The Hand look as solid and real as the cat and the rest of Greg Feely’s drab life at the start of issue # 1. Matt Hollingsworth’s stunning colour and digital design work compliments that perfectly, from the nice 70s wallpapers to the more hyperrealist look of LePen. The colours are vibrant and detailed, yet never as fake and photoshoppy as with some other colourists. A special compliment goes to whoever does the cover designs – is that Weston? It looks a lot like Rian Hughes – for their simple, stark, graphic and wonderfully minimal modern design. This is what McKean was to Sandman. This is modern art/design applicated to comics. You basically SEE a Flash-Site designed for the Filth like this. This is political, this is propaganda, this is the whole Wallpaper schematic people look turned on its ear. This is evil and wonderful. This is perfection. I have no idea how to keep this concept alive for 13 issues, but I hope they will.
The Filth, if you can say this after just two issues, will be important. The Invisibles were one of the most intriguing, important comics of the last decade, textured and rich and satisfying, the first comic since Alan Moore’s Watchmen that, in my opinion, took the medium and did something unique and wonderful with it. I’m a bit afraid that The Filth will only be a repetition, an echo, of The Invisibles… but I trust Morrison enough to hope that it will be the next step in his evolution as a writer. Don’t miss this
JSA #38
Written by David S. Goyer & Geoff Johns and illustrated by Steve Sadowski
Published by DC Comics
Reviewed by Aaron “Vroom Socko” Button
Even the worst creators can make a halfway decent action story; the mark of a great writer or artist is how they handle the slower moments, when characters are simply going about their lives. Roughly two thirds of the stories presented in this manner seem to fit in two distinct categories. The first is the filler issue, done by a “special guest” creative team to give the regular writer/artist a break. This type of work often tends to, shall we say, stink. The second is the come down issue, an epilogue of sorts to an important (or at least lengthy,) storyline. This issue is of the second variety, and while most of the time type two can be as rough as type one, this book manages to be better than I expected.
Set during Father’s Day, this book is focused on the two team members with the most difficult paternal relationships. Rick Tyler can only see his father, the original Hourman, for a total of one hour, after which he’ll return to the second of his death. Jakeem Thunder doesn’t even know who his father is. Of course, his thunderbolt can take him to his dad with one wish. And Rick can use his hour with his father however he wants.
The Jakeem portion is a bit clichéd, true, but it is redeemed in part by Johnny Thunder’s presence. This issue is the first time we’ve had a chance to see Johnny have a little fun with his new existence as an electric pink genie. I must admit I like what’s happened to the elder Mr. Thunder. Of all the changes that various DC characters have undergone (I’m looking at you Hal Jordan,) this is the one that makes the most sense.
The Hourman portion works, not only because Rex Tyler’s cosmic “office” is super retro cool, but also because there haven’t been many conversations like it. There aren’t many superheroes that have actually passed on their identities to their genetic children. That alone would make this conversation special, but throw in Rex talking about how Extant is going to be killing him in an hour, and you have a discussion like no other.
The only major complaint I have is about the cover. The one shown here is what was used to solicit the book. It’s a terrific cover. (Oops, wrong character.) It gives a real sense of what the book is going to be about. Instead we get, well, I’m sure you saw it. EVERY SINGLE MEMBER, living and dead, is shown standing around both Hourmen. I don’t know why the switch was made, but it was a really bad idea. The unused cover is an attention getter; this one just sits there on the shelf like a chameleon.
Still, don’t judge the book etcetera etcetera. JSA is probably the best book coming from DC right now. This issue isn’t necessarily the best one yet, but JSA at it’s worst is still better than some books at their peak.
THE LEAGUE OF EXTRAORDINARY GENTLEMEN: VOLUME TWO #1
Written by Alan Moore and Illustrated by Kevin O’Neill
Published by America’s Best Comics
Reviewed by Aaron Weisbrod
Before I get into the contents of the issue itself, I think it’s worth mentioning that this is the 80th(!!!) book to come out under the ABC banner. With the exception of the six-issue GREYSHIRT mini-series (all of which were written and illustrated by Rick Veitch), the three issues of TOM STRONG’S TERRIFIC TALES (Moore shares writing duties with one or two other writers on this anthology book), THE ABC 64 PAGE GIANT (another anthology title), and the ABC Sketchbook (duh!), every issue under the ABC line has been written exclusively by Alan Moore. Remember that the next time you think that Moore hasn’t been doing very much lately. (And thank Paul Shiple for helping me do the math, if you’re ever unlucky enough to cross paths with him)
Part of the fun of the LoEG titles is the process of discovery you go through as you read each issue, so if you want to delve into this issue completely blind, skip down past the following…
***** SPOILERS ALERT*****
The issue opens on the planet Mars as Gullivar Jones, riding his flying carpet, meets with an eighteen feet tall, hooded, four-armed reptilian-looking Martian who is one of the Hither People. After a brief conversation in Martian (sorry, no translations are given) Gullivar goes inside and meets with the human warrior John Carter. After briefly discussing, among other things, Michael Kane from Negalu and the ancient ruins of Varnal (aka: “The Green City”) the two join the Hither people in a last ditch effort to stop the “Molluscs.”
On their way to the Mollusc fortress they are spotted by a Tripod, and are saved only when the Sorns (incredibly tall and spindly humanoids with extremely long legs) march in and disable the Tripod. With the combined forces of the Hither people and the Sorns, Gullivar and John are able to penetrate the first wall of the Molluscs’ fortress just as they are fleeing Mars in escape pods that are launching into space.
It is then, with extreme horror, that John and Gullivar realize that the Molluscs are headed for Earth.
The end of the issue takes place on Earth as the League hastily arrives at the scene of an unusual “meteor” site. The group seems extremely nervous in the few silent panels they are featured in, and not without good cause. After all, Moore himself has stated that the team will not make it intact through this story-arc. Let the speculation begin…
*****END SPOILERS*****
Even though about 1/3 of this issue is written in Martian, and it primarily serves as a set-up for the rest of the mini-series, the story is already incredibly engaging. The League’s presence, although somewhat short in this first issue, contains a gravity not felt in even the darkest moments of LoEG: VOLUME ONE, and this only adds to the impending sense of chaos fans of H.G. Wells’ WAR OF THE WORLDS are rightfully expecting as the series goes on.
Although I was never a fan of Kevin O’Neill before LoEG, his artwork on LoEG: VOLUME ONE absolutely blew me away. This being said, his artwork in LoEG: VOLUME TWO is even better. It’s cinematic, stylized, and fits the storytelling like a glove. He’s doing the work of his career on this series, and is also apparently so far ahead of schedule that the book will actually be coming out on a *gasp* monthly basis! Keep your fingers crossed!
Finally, each issue of this mini-series will contain text-based chapters of the LoEG “New Traveller’s Almanac” (much like the “Allan and the Sundered Veil” text pieces in the back of LoEG: VOLUME ONE—if you never got around to reading it, do so right now for some clues about the events in LoEG: VOLUMES TWO and THREE). This particular installment of the “Almanac” features a prologue that contains information on at least two past incarnations of the League and the various discoveries (ranging from the mythological to the supernatural) they have uncovered throughout the years. While this issue’s installment focuses specifically on discoveries in The British Isles, future editions will feature the “hidden histories” of other countries.
If there’s anyone out there who has been waiting for the TPB to read LoEG: VOLUME ONE (and hey, I don’t necessarily blame you, although the HC format suits this book extremely well…), I would suggest that you pick up a copy as soon as possible. It easily ranks as one of Moore’s finest works and deserves a place in every comic reader’s library alongside other Alan Moore classics such as WATCHMEN and MIRACLEMAN.
Now, as an extra-treat for those of you who have already read LoEG, go to www.geocities.com/jessnevins/leauge1.html. This website, run by a swell chap named Jess Nevins, has a compiled panel-by-panel(!) appendix for the whole first series, the first issue of Volume Two, and all other LoEG appearances. It’s a mind-boggling list that exposes the thousands of “Easter Eggs” present throughout the LoEG series to date. After reading the series for the first time without such helpful notes, I found a whole new level of joy in being able to completely understand all of the little nuances and cameos.
Finally, as for my own personal predictions of upcoming “guest appearances” in this series, I’m betting that astute readers should keep an eye out for Sherlock Holmes (duh!), the return of “The Doctor” (in his true form, perhaps?), and Doctor Moreau (who else could have fused wings to that Sorn?).
LUCIFER #28
Written by Mike Carey and Illustrated by Dean Ormston
Published by Vertigo
Reviewed by Elliot Kane
Gaudium the fallen cherub enlists the aid of his sister Spera to help him find an artefact that just may be capable of returning teenage Archangel Elaine Belloc to life. Naturally, such a device is heavily guarded, and the road to it is fraught with peril...
Writer Mike Carey has a habit of taking characters who other writers may leave in a perpetually supporting role and elevating them to what is almost a 'main protagonist' status. First the exceptional Elaine Belloc, and now Gaudium, who could easily have been allowed to fade out of the series entirely.
The introduction of Spera gives Gaudium a confidante and ally that he can bounce ideas off and generally open up to, which lets us into his mind as well, of course. The fact that Spera herself is also a very interesting character is an added bonus.
I sometimes wonder if Carey ever creates even the most minor character without knowing their entire life history. His skills at characterisation are such that I would certainly believe it.
Artistically, Dean Ormston is in his element with the deformed and twisted landscapes of the hellish regions through which Gaudium and Spera must travel. His style is deceptively simple, conveying far more by impression than by detail, which works well for this story.
Overall: Month after month Lucifer continues to be the best comic on the market. This stand-alone issue is a good 'taster' for anyone thinking of trying the series, and a good story about an engaging member of the supporting cast for those of us who are already hooked.
THE METABARONS Vol 2: Blood and Steel
Written by Alexandro Jodorowsky and Illustrated by Juan Gimenez
Humanoids Publishing
Reviewed by Chaos McKenzie
Okay, so the only thing keeping this epic quest from being the type of thing I love to death, is a couple of hack wired robots, who got old so fast that they’re beyond irritating. Getting that off my chest, I think I realize why they’re there and maybe what they’re purpose is… The Metabarons is a concept created by Alexandro Jodorowsky and Moebius for the acclaimed series INCAL. They are a warrior cast, a single bloodline of the universe’s greatest warriors. This second installment follows the adventures of the second Metabaron, and takes a decidedly dark turn as we are introduced to his descendant the third of the line.
Jodorowsky has an incredible visionary story on his hands, and I bet there were a lot of long nights between editor and writer, trying to decide which pieces can stay and which must go. We aren’t just following the huge history of the central characters, but of an entire universe. It’s overwhelming, but Jodorowsky tries to make things easy on us by focusing on the emotional and human elements of the huge space opera. This volume explores more in-depth, the Metabaron’s unique extraterrestrial society with a poetic style that is breath taking.
Poetry brought to life is responsible of Gimenez, who’s painted style is very traditional in it’s approach to fantasy, but is far more sophisticated with it’s intense colors and visuals. The strength of this story is the detail of it, not the least of which can be found within Gimenez paintings.
I think I like Vol. 1 better, but I pass that off as a slow chapter in the epic…
NEW X-MEN 127 & 128
Written by Grant Morrison, Illustrated by John Paul Leon and Igor Kordey
Published by Marvel Comics
Reviewed by HD Schellnack
A double double dose of Grant Morrison this time – first with two X-Men books, then with his new Filth project. Morrison has been writing the X for a while now, making one of the best selling titles in the US a true can’t-miss-book DESPITE the commercial success. Fresh off the giant Cassandra-Nova rollercoaster-arc, issues 127 gives us a small break and focuses on Xorn, a new character created by Grant, in a small and poignant story that the old tradition of a small personal X-Men-story between the bigger mega-storylines is still very much alive and in good hands. Morrison’s sparse prose moves the plot along just nicely, offering us small bits of writing that just won’t let you go. I love writers that are able to hit you very hard with a few words, and Morrison can do it just nicely, thank you. From the usual one-sentence-splash-page opener to the fitting counterpart on the last page, this isn’t something entirely new – we had the “monster” bit done to death in the pages of the X-Men, but the perspective of Xorn is unique and the end of the story is simply beautiful.
Leon’s very Euro-style art fits the scale of the story perfectly, dark a moody, sketchy and gritty, it fits this story firmly set in a more realistic setting, and even the muted colour palette fits nicely. A great art job for this standalone issue.
Now, the very next issue shows you another aspect of Grant, and if you compare 127 to 128 it feels as if the books have been written by completely different people. As I haven’t read Uncanny X-Men, much plot material here is a bit wasted on me, as I don’t know zip about the whole X-Corps storyline. But the idea of the X-Men expanding their goals and operations works without that, I think. Grant offers a bit of explanation, without bogging the main story down, in a beautiful scene with Charles Xavier and Jean Grey talking about the current affairs of the X-Men, which nicely segues into a closer look at the recent return of the Phoenix. I feel as if Grant is somehow toying around with continuity here, as I remember the whole Phoenix gig a bit differently and don’t see how that power could re-emerge in Jean, but hey, the page when the Phoenix power speaks to Prof X is so wonderfully obscene that I don’t give a damn.
All in all we get introduced to yet another new X-men subgroup – or probably a lot of dead bodies by the end of this issue – and to what might turn out to be another enigmatic villain – although I still don’t know why the guy poured that mineral water over his head. As a bonus we get yet another look at the strange triangle relationship between Jean and Scott Summers and Emma Frost. There’s a lot of stuff going on in this book, and as usual, Grant simply scribbles his plot and dialogue, leaving you more than enough room for your own interpretations and images and ideas – a great strength of his writing, I think.
Well, although Igor Kordey shows that he understands how nicely perverted this book could be (or he simply plays to the teenage male audience…) with the pages of Jean-as-Phoenix and the final splash of Emma, and offers some great panels, his overall style just isn’t my cup. I think that this book needs modern and hyper crisp art. Frank Quietly is the right guy for this kind of book, but Leon and Kordey feel entirely too moody and dark for the avant-garde theme of the book. This isn’t noir, this is new pop. It should be clean and simple and maybe plastic-shiny and of course sparse and cool and well designed like a new operating system version, not gritty and realistic. Kordey may be great for Daredevil or Batman, but he’s wrong on this title. Leon fitted the bill for the single Xorn story, but overall this just simply isn’t the way Grant’s writing makes me feel the X-Men should be visualized.
I know there are people who think that Grant is wasting talent on a commercial book, and these people are just plain wrong. As with JLA, this feels like a very relaxed Grant Morrison having fun putting a lot of weird notions into what once was a very straightforward book. You get a lot of the usual Grant ideas, but you also get a lot of nice character bits and warmth – and this sometimes tends to get lost in books like Invisibles or The Filth, were Grant aims for other goals. This isn’t Morrison wasting his time, but simply stretching other muscles, and I personally dig that a lot. I liked writers like Alan Moore focussing on characters like Superman or Batman, and I absolutely love what the twisted mind of Grant Morrison is doing with and to the X-franchise. Way, way beyond any other trend we currently have in other “hip” comic-books like Ultimates or X-Force, who still more or less follow the example set by Waren Ellis on Authority and Planetary (and Warren’s Authority was somewhat inspired by Grant’s JLA, I think)..., Grant (ab)uses the X-Men to carve a completely new style of superhero comic book writing. Plot, characterization, dialogue, overall tone and design – this is like no other mainstream book at the moment and it makes most other titles look old and slow.
NOBLE CAUSES “Preview” and Issues #1-4
Written by Jay Faerber and Illustrated by Various Artists
Published by Image Comics
Reviewed by Aaron Weisbrod
After hearing about how NOBLE CAUSES is being plotted as a continuous flow of mini-series (much like HELLBOY and SIN CITY) I decided to wait until the first story-arc was finished before subjecting it to a review. Optimally I would have liked to have waited for a collected TPB, but Image’s record concerning TPBs has been somewhat spotty in the past. Considering this, I decided to bite the bullet and scoop-up the first five individual issues rather than wait for a TPB that may never materialize.
The basic premise behind NOBLE CAUSES is so simple yet so brilliant that I can’t believe no one thought of it before: imagine a large dysfunctional family (such as the Kennedy’s) with super-powers. They know they live their life in the public eye, and they know that as a result the proper “spin” must be put on everything they do. While the general public idolizes this seemingly perfect and valiant family, the truth is that most of the family members don’t get along, and they “play nice” primarily for the sake of the seemingly ever-present cameras. Of course, once they’re behind closed doors…
As the series begins young Race Noble has finally decided to settle down and get married. His mother Gaia and father “Doc” both speculate about what sort of exotic girl has finally snatched their son’s heart (An alien? A super-heroine? A princess?), and they (as well as the rest of the family) are extremely shocked to find out that he has decided to marry an ordinary bookstore owner named Liz Donnely.
The Noble clan begrudgingly accepts his choice (all the while secretly talking about her behind her back, of course), and by the time Issue #1 rolls around they are indeed married. Race’s demonic best-friend Krennick (the son of the Noble clan’s arch-enemy Draconis) gives a stirring and poignant toast, and then Race are off to celebrate their honeymoon on a deserted tropical island.
Then a giant laser from space burns Race to a husk.
Yes… you read that right. Race is killed at the end of Issue #1.
The remaining three issues of this first story-arc deal with a number of themes, not the least of which include solving the mystery behind Race’s death (of course), Liz’s place in a family that is now forced to accept her as one of their own, and how his passing affects the already fragile family dynamics. Truth be told there are also approximately another half dozen subplots running rampant through these issues, but giving them away would ruin too many of the surprises. However, much like the very nature of this character-driven book, most of the sub-plots stem from non-forced character-driven conflicts rather than random attacks by previously unmentioned villains.
In only five issues Faerber manages to create a fairly large and extremely well-rounded cast. Through various subplots and numerous conversations he manages to flesh out interesting personalities and motivations for all of his characters. Even characters that don’t get much screen time in this first story-arc are given so much personality that I actually found almost disappointed that I didn’t see more of them by the time the story was over.
Furthermore, unlike the characters in so many other “team books,” each one of Faerber’s characters has a distinct look and a non-“stereotypical” personality. Even the few characters that are, on some small level, built off archetypes of other characters (“Doc” Noble being based on Reed Richards and Race Noble being based on the Flash are the only two that are really obvious) are fleshed out to such an extent that any initial assumptions concerning similarities between them and their “prototypes” are virtually non-existent.
Aside from an overflowing main story, each issue also features a shorter “back-up” tale that contains a “flashback” story (via the “Untold Tales” often featured in TOM STRONG) detailing events such as the first meeting between Race and Liz, the birth of baby Race, or the attack on Rusty that left him permanently disfigured. While the main story of each issue is packed to the brim with drama, these “flashback” stories provide interesting looks at the life the Noble clan has led prior to our first exposure to them.
Much like LEAGUE OF EXTRAORDINARY GENTLEMEN, ASTRO CITY, POWERS, and the aforementioned TOM STRONG, NOBLE CAUSES is another fun and entertaining book that spins the way we look at super-heroes. More so than the others, NOBLE CAUSES is unapologetically set-up like a soap opera (any of you old-timers out there remember “Dallas”?) and, oddly enough, it works extremely well.
The rich and entertaining cast, solid storytelling, and non-pretentious drama make NOBLE CAUSES one of the most refreshing books I’ve read this side of HELLBOY and POWERS. If your local comic provider doesn’t have the necessary back issues on hand, tell him to order them from Image while they’re still available—and also tell him to add NOBLE CAUSES: FAMILY SECRETS to his ordering list. It’s the next four-issue story-arc that begins in October (and it sports some spiffy Mike Avon Oeming covers to boot!).
Now if only Image would move forward with a NOBLE CAUSES collected TPB collection…
RUSE Trade Paperback
Written by Mark Waid, and Illustrated by Butch Guice
Published by CrossGen Comics
Reviewed by Chaos McKenzie
Okay, so a few of you have emailed me and asked why it is that I don’t like CrossGen comics. That couldn’t be farther from the truth, I’m overjoyed each month by the strength of difference that resonates from CrossGen each month. My problem – for lack of a better word – is that though each story is interesting to me (CrossGen has more female leads than anywhere else), I’m often distracted by the creators who seem to not mesh so well. Case in point is the Disney style art of Meridian mixed with the strong, independent storytelling of Barbara Kesel, which I find just don’t sit well together. I have different opinions of each book, but finally with Ruse it seems I’ve found a pure winner. I’m not a fan of Waid, I find his writing stiff (so shoot me, I have an opinion) – but I find the blend of art and story found in Ruse to be captivating.
Ruse is set in a Victorian world, following the adventures of a super-Sherlock Holmes and his even more so super-assistant Emma Bishop. It’s a great world well shaped and defined, things we’ve come to expect from the boys down south. The story is smart, and doesn’t ever attempt to dumb things down for the reader which is nice of them, as you find detective stories do get kinda dumb when it’s all spelt out for you, no?
Thing I really loved about this series was the multitude of double page layouts, utilizing a longer versus taller storytelling that suited this story incredibly well. Guice’s pencils are a real treat with that mainstream realism that is by far more captivating than a lot of things out today.
Still not sure if my relationship with Ruse will go beyond this trade, but I did enjoy this taste of it, and I would recommend anyone in the need for a From Hell-esque fix to check it out for the story alone, and those in need in some refreshingly simplistic graphic storytelling well, go no further.
Alright… I’m out… (oh yeah, I created a web site … CLICK HERE TO SEE IT - shameless plug, so shoot me…)
Cheers
SIGIL #26
Written by Chuck Dixon and Illustrated by Scot Eaton
Published by CrossGen
Reviewed by Elliot Kane
As the Human home world, Gaia, nears its end, the Humans prepare to take the war to the Saurians on their own home world of Tcharun. Sam comes up with a desperate plan to save as many Gaian lives as he can, but the odds are not good... Also featuring the first ever CrossGen backup story, for a total of thirty pages of story in this issue.
After the last all-Saurian issue, Dixon does his best to remind us that the real protagonists are still the Humans. Personally I still prefer Tchalusarud after the terrific job Dixon did on him, but Roiya and Sam do have their moments.
Sam is certainly developing well as a character, both mentally and emotionally. His plan to help with the evacuation of Gaia is a very good one, and represents a considerable risk to himself. The actions of a responsible hero in fact, which is a good thing.
Roiya as always is left with having to think very fast on her feet as a result of Sam's absence, and she's very good at it. I wish she would tell the nigh-omniscient (though emotionally blind) JeMerik that she really isn't interested in him though, as her constant sniping at him is starting to annoy me. If Dixon is hinting at her being emotionally immature, he is certainly doing a good job of it.
I am sure that artist Scot Eaton's dream project involves a million spaceship battle between a thousand different races, as the more crowded the battle scenes get, the better he likes it. The amount of detail in some of the panels of this issue is amazing. You can literally count the rivets on some of those space ships. His humans are very well drawn too, but the sheer spectacle is what will grab you.
The eight page backup story is written by Dixon and drawn by Rudy Nebres, and concerns Sultan Ranolo's flight from the anticipated vengeance of Sam against him. Not the last of him we'll ever see I'm sure... Backup stories like this are a good way to develop future plots and give greater attention to characters without interfering with the main story, and I hope this is only the first of many from CrossGen. Nebres' art is solid, and I'm sure we will be seeing more from him soon.
Overall: a solid issue which advances the plot and sets things up nicely for the future on several levels. Add in eight extra story pages with no added cost and it's hard to go wrong.
SOJOURN #13
Written by Ron Marz and Illustrated by Greg Land
Published by CrossGen
Reviewed by Elliot Kane
In this issue, commander Bohr, loyal troll lieutenant of the undead tyrant Mordath, takes an unsanctioned trip home to visit his family in Grinbor. The story covers both the trip itself and what happens when he gets there.
Marz's writing gives a real insight into just who Bohr is, as a warrior and a person, and also gives us some good looks at Trollish culture. It's an excellent character development issue, and makes Bohr into a far more sympathetic and relatable character. He is far from being the traditional fantasy 'Evil Lord's Henchman'.
There are also hints of exactly why the Trolls follow Mordath in the first place, which is certainly good for the series as a whole.
The artwork is of course exceptional, being perfectly normal for Greg Land. This issue provides us with a good mixture of environments and character scenes, with an emotional moment that he handles particularly well by capturing the mood as well as the postures and expressions of his Trolls.
Overall: this is probably the best written issue of the series so far. Marz really has a feel for his Trolls, and Bohr especially. It's a good stand-alone issue which serves to move commander Bohr well beyond the archetype from which he sprang. If Marz can do the same for main characters Arwyn and Gareth, Sojourn may just fulfil its considerable promise.
ULTIMATE SPIDER-MAN # 23 + 24
Written by Brian Michael Bendis, Illustrated by Mark Bagley and Art Thibert
Published by Marvel Comics
Reviewed by HD Schellnack
This book is so good, it’s unbelievable. The Bendis and Bagley team manages to bring us a character that is well over 30 years old and makes him new, fresh, innocent and interesting again – and they don’t even seem to break a sweat doing so. The reaction this younger “Ultimate” Peter Parker shows, the uncertainty, the fear, the sheer emotional impact this book delivers, is stunning. Bendis has found a way to re-invent the strength of the original Stan Lee Spider-Man – a normal kid gaining unbelievable power and stumbling through a strange world from that moment on – in a fashion that makes the original series seem stale in comparison. The power of this book is that Peter Parker and most of the supporting cast feels so completely real, that the interactions, verbal and non-verbal (in this books, and this is a rarity in comics, the things not said are often more important than those we read in the speech balloons), are so absolutely believable that you can’t help but be sucked into the emotional turmoil of the main character. As a reader you cannot help but identify. You feel the same strange hate/love towards Aunt May, you can’t help but be helplessly enraptured by the warmth and wit of Mary Jane, yet you feel somewhat perversely drawn to the dangerous and borderline-psychotic Gwen (and hey, does she work for the Goblin…?) … and Osborn, Osborn is simply frightening you to death. God, this book is so cool.
From Doc Ock and Kraven to the Green Goblin, Bendis finds ways of making the old Spider-villains work in a more believable (and more movie-friendly) way, and I still feel his Dr. Jeckyll-take on the Green Goblin would have worked smoother on the screen than the strange lifeless mask we actually were given by Raimi.
The artwork by Mark Bagley is brilliant as ever. He simply has taken this concept and made this version of Spider-Man his own. I never really loved his work on the regular Spider-Man series, but the way he shapes these characters and conveys the emotions and the action are leaves no room for doubt that every other artist on Ultimate Spider-Man will forever be measured by this standard. This is outstanding work and Bagley is one of the reasons this series feels much more realistic and three-dimensional than some other comics out there. He’s not artsy, he’s not concerned with stunning the reader with anything, and he almost becomes invisible behind his ability as a storyteller, never gets between the story and the reader, and thus does a perfect, flawless job, while at the same time adding massively to the contemporary feel of the Ultimate Spider-Man. If John Romita Junior is my absolute definitive Spider-Man artist ever, Bagley is the Ultimate Man.
If you’re somehow interested in Spider-Man and haven’t given this book a try so far, you first get your head checked somewhere and then go and buy this book, from the first trade paperback to the last actual issue. You will not be sorry. Even with top writers at the elm of the regular MU Spider-Man books, even with any reservations one might have in regards to the whole Ultimate shtick… this book is the single best Spider-Man book you can buy at the moment. One of the best mainstream books available. If you don’t read it now, you miss out a simple and honest and direct and very special book. And you will be sorry later.
“SNEAK PEEK”
UNCANNY X-MEN #410
Written by Chuck Austen and illustrated by Ron Garney
Published by Marvel Comics
Reviewed by Andrew Goletz
In Stores August 7
I can count how many times I’ve picked up this title with the hopes of it being interesting and having my hopes dashed. There was the Mutant Massacre storyline: my first mutant experience, which was thrust upon me by my cousin, a die-hard X-fan who convinced my Spider-Man loving self to try the story. Try I did, and after reading his copies, never bought one myself. Then I picked the book up again when Chris Claremont made his much hyped return to the books, I didn’t care for the first issue, but decided to give the benefit of the doubt (I usually give a book 3 tries before giving up all hope), which it never repaid to me. Then last year, I gave it one more shot when the entire X-Books underwent their big revamp. Grant Morrison won me over. Sadly, Joe Casey did not. I think Casey’s Wildcats is one of the best books on the market and think he does a better than average job on Superman, but his X-Men did nothing for me.
And here they go again. Chuck Austen is one of my favorite writers and not just because his name reminds me a bit of the 6 Million Dollar Man. His US War Machine for MAX Comics was one of the biggest treats of my comic reading life. If you haven’t checked out US War Machine (now available in Trade Paperback) please do so. It’s an entirely creative and twisted take on the Iron Man ideal. Chuck is also writing two of the excellent Call of Duty books (The Brotherhood and The Wagon). I also thought Ron Garney’s art was pretty nice, so I was interested in picking this up anyway.
Finally, they got it right!
The issue begins with Sammy (who I want to call Fish-Boy, because he looks like a fish) walking home from school and being humiliated by other kids. They tease him and hurt him because they know he won’t do anything about it. And he doesn’t. We get inside Sammy’s head and understand the pain. He isn’t like Iceman or Jean Gray or Wolverine. He looks different. He looks like a fish. He’s a freak. And he realizes that his ability to breathe underwater isn’t exactly the type of power that is going to make his attackers back off in fear. He’s a sad little boy who can be helped by no one and decides to help himself. We see the gun. Is Sammy going to use it on himself or become another statistic on teen violence by bringing the weapon to school and fighting fists with bullets?
We don’t need to worry about the horrible ramifications because before Sammy can do anything, his mother announces that they have a visitor, Professor Charles Xavier. Professor X makes his grand appearance and sits to talk with Sammy about other choices that he can take. Watching Sammy get recruited…the hope in his eyes as he listens to what Xavier has to say…Austen strikes a chord here and follows it with Sammy’s inevitable introduction to Beast. Beast is one of the few people who know what Sammy is going through, to have to wear their masks 24/7. Grant Morrison has been doing a good job of introducing new mutant characters in New X-Men, and now Austen has made an addition of his own, which hopefully will be a lasting one. I’d like to see how the team, Professor X in particular, handle the arrival of this young boy and help him adjust to himself.
Before we get more into the relationship between Sammy, Xavier and Beast, Austen knows he has to give the die-hards their money shot and the action switches to the rest of the X-Men team, now on a mission so guarded that not even Xavier shares all the detail with. Soon enough, the communications break down and the X-Men are cut off from Xavier. How? Why? That would be telling. Even without a PHD in X-Men history the last page made me gasp, so I know that long time fans are going to be climbing the walls for the next issue. It’s a one page tease, but as illustrated by Garney (who is doing amazing work here) it’s a cruel, tantalizing tease indeed.
Uncanny X-Men now has a creative team that matches the hype and praise that it was given last year. With Ron Garney’s gorgeous illustrations and Austen’s masterful use of dialogue and pacing, Morrison and company better watch their back because the original X-Book is coming back strong.
WAY OF THE RAT # 3
Written by Chuck Dixon and Illustrated by Jeff Johnson
Published by CrossGen
Reviewed by Elliot Kane
Thief and reluctant pawn of destiny Boon Sai Hong searches for the mystical Phoenix Heart gem; Judge X'ain, ruler of the city of Zhumar, desperately seeks Boon as his plans unravel before his eyes; and the Tartar hordes gather in readiness to bring blood and death to the city of Zhumar. Meanwhile, Po Po the talking monkey gets a huge hangover...
Chuck Dixon continues to build a world that is at once familiar to us, yet subtly different. There is no Great Wall to keep the Mongol hordes out of this version of China (Called Shinacea), but magic is clearly a very real force. If Bhuto Khan is anything like Kublai Khan from our own world's history, Shinacea is in for some real trouble, magic or not.
Dixon does not forget his main characters in this build up, with Boon beginning to at least sneak around the edges of acknowledging his destiny and Princess Zheng and Tei Su appearing just enough to remind us that they are important cast members.
Artistically, Jeff Johnson is not required to do any of the wonderfully kinetic fight scenes that are his speciality, but his excellent character renditions and beautiful snowscapes mean this is still a very impressive issue to look at. One of the new characters is a Russian, and you only have to look at him to know it, which is always a good thing, and strangely rare among comic artists.
Overall: this is a story development issue that serves to advance the plot in many directions, some of which are quite subtle. If you read it, look closely at Bhuto Khan's hand and draw your own conclusions. I know I have.
“SNEAK PEEK”
X-STATIX #1
Written by Peter Milligan and illustrated by Mike Allred and Darwyn Cooke
Published by Marvel Comics
Reviewed by Andrew Goletz
In Stores July 31st
Generally, I’m not a fan of series being relaunched with new first issues just for the sake of slapping a ‘first issue’ banner on it. But, if these renumbered and retitled starts for X-Force, Cable and Deadpool help find the books some new readers, then I’m all for the idea.
X-Statix is the new series featuring those pop mutant heroes formerly known as X-Force and the transition is a smooth one. Allred, most of all, seems to be at the top of his game, working the book to one of the more amazing art jobs that I’ve seen from this talented illustrator. It’s the best work of his Marvel career.
X-Statix begins with a look into the world of Arnie. Arnie was a big fan of X-Force, but he’s kinda worried about this new change with the team. I mean, first Arnie had to accept that the new X-Force had members that he’d grow to care about who would possibly end up as casualties after only a few adventures. He came to accept and understand that it was something that happens. But now these people that he followed for the last year are so are taking on a new name? It’s something that he’s skeptical about. Never mind the fact that he’s still reeling over that fact that his favorite member of the team, Edie, was killed a short time ago. Arnie doesn’t know how long he can continue to support and follow a team like this.
The comparison between Arnie and the typical comic book fan isn’t a subtle moment in the book. It’s easy to see who Arnie represents here, but Milligan does it in such a way, integrating a typical comic fan’s concerns into a character within the book with grace. Arnie’s a character with a distinct personality and he’s headstrong and stubborn enough to give the idea that we’ll be seeing him again in these pages, soon.
This first issue isn’t about Arnie, though. That subplot is dealt with pretty quickly in the opening pages and we move back to our heroes who are still coming to terms with Edie’s death, the publicity over the name change and the fact that it’s recruitment time again. There are two people that look to be strong contenders for membership. The first is Venus Dee Milo, a beautiful woman who the team’s handler thinks is a perfect choice. She fills the void left by Edie as a female on the team and quite possibly the heart of Edie’s ex. The second contender is Corkscrew, a very powerful mutant with a flaw. In what is described as being Code X, Corkscrew is showing signs of being mentally unstable. Will it be enough to keep him off the team, though?
The recruitment process and internal strife between team members is a great look inside the mechanics of having a superhero team, particularly one that seems so rooted into the fabrics of celebrity. Unlike the other mutant teams, this group is liked. And unlike groups like the Avengers and Fantastic Four, the X-Statix seem willing to make team decisions based on how their fans would react.
We also get a backup story in this issue illustrated by Cooke and featuring the popular lima bean looking Doop and a potential X-Statix recruit. This is one of the darkest stories I’ve read in a mainstream comic for quite sometime. Milligan is no stranger to this type of story, but I certainly didn’t expect to read it after the main story, and never with Doop as the central character. I’m not going to say anything else about it and ruin the fun, but you’re not going to look at Doop the same way again, that’s for sure.
After a year of the Milligan/Allred reconstruction of the superteam genre, the concept is as fresh and exciting as ever. X-Force is no more. Long live the X-Statix!
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One day, when the muscles have simply stopped working in my forearms, I plan to have each and every one of the comic reviewers working in shifts to wipe my ass for me. Carpal... tunnel... cramps... COMING... AGAIN...
"Moriarty" out.
