Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
Both of the comics columns are frickin’ huge today, so I’ll just shut up and let you dig in...
Hi Gang. Andrew from GHMonline.com with a big batch of recommendations for you this week spread out into two columns. Here’s the gathering of greats shipped over the last couple of weeks and be on the lookout for the other installment of GHMonline featuring my in-depth reviews of Marvel Comics’ 3 U-Decide Books: Captain Marvel, Marville and Ultimate Adventures.AUTOMATIC KAFKA #2
Written by Joe Casey, and illustrated by Ashley Wood
DC: WildStorm: Eye of the Storm
Reviewed by Chaos McKenzie
Better get used to it folks, it’s my new official mission for the homeland, to make sure I stuff the genius which is Automatic Kafka down your throats. I’m personally taking challenges, anyone who doesn’t think this book is highly underrated, highly overlooked, and simply pure gold running through your veins, please drop me a note and I’ll be sure to explain it to you slowly, and with small easily absorbed words.
When you sit down to read Automatic Kafka, tell me you don’t hear some bass heavy, 40’s rare groove, standard turned head bopping, urban strut soundtrack – kicked up in the Dolby Surround Sound of your mind. Automatic Kafka plays like “Pulp Fiction” only better; it’s the JLA for those of you who might feel a little old to that groove, the rare gem for those comic aficionados that have enlightened minds when they are in grade eight writing philosophy papers about the Sandman. In two issues, I’m in love. Automatic Kafka is one of the most brain tickling things I’ve read in so long, it’s impossible to ignore it. It’s the story of a JLA like stereotype stuck in the middle of a mid life crisis, it’s focal point a drug addicted mechanical Pinocchio. The second issue introduces a secondary cast that gives fun, engaging (those words, you know those words…) dialog and pace to the story. I’m intrigued by it, I’m thrilled by it, I’m surprised by it, it actually managed to shock me, and really what more can be said than that?
BUSTER’S NEIGHBORHOOD: Kid Comet vs. The Agents of DOOM TPB
Written by Kaja Blackley, and Illustrated by Alex Hawley
Mutant Toast Productions, Inc.
Reviewed by Chaos McKenzie
It’s hard doing a kid’s comic book, because ultimately you know your audience is still going to be basically the same of the entire comic book community, but if done right it has the possibility of crossing beyond comic book centric and attracting it’s intended audience. It’s rarely done right. A children’s comic book needs to be intelligent. Kids can’t stand being patronized; they get it… so just tell them the damn story. Buster’s Neighborhood is a strong story, fun but not condescending. Still managing to have some minor Sesame Street moments for teaching lessons, Blackley and Hawley have used the sci-fi and action genre as a unique twist for old morals.
Buster’s Neighborhood is the story of child spy prodigy, Buster Jones and his quiet American home. Too quiet. This story has got that Spy Kid vibe, without being so Hollywood. The pace and dialogue is sharp, and other than an occasional oddly placed word balloon, the book is pretty nice to look at. The art has that children’s book illustration feel, with nice animated sequential spreads. You can see the potential for a cartoon, or whatnot… And best off they handled everything smart; by not pressing any buttons it still manages tell a story. And that’s the most important thing.
This book is going to appear in Diamond, in next month’s catalogue, or perhaps the one after. You can also contact the Silver Snail in Toronto (haha, tell them I sent you), OR you could just do the best option and go VISIT HERE (except not with capitols, cool? cool)
FUTURAMA/SIMPSONS INFINITELY SECRET CROSSOVER CRISIS #1
Written by Ian Boothby and Illustrated by James Lloyd
Published by Bongo Comics
Reviewed by Aaron Weisbrod
Since we all know damn well that these two groups will most likely never meet on the boob-tube, I’m glad to see that creator Matt Groening has finally decided to let the cast of these two hilarious TV-shows meet in the pages of a two-part comic book crossover. While nothing would be as good as seeing the two groups collide on air, the FUTURAMA/SIMPSONS INFINITELY SECRET CROSSOVER CRISIS is still a funny, although ultimately comic-book-centric, read that provides numerous laughs and several hilarious character gags.
Naturally, the first obstacle the writers had to overcome was how these two casts would meet. After all, FUTURAMA not only takes place a thousand years in the future, but it also takes place on “our” Earth… while the Simpsons inhabit an animated parallel universe all their own. (Remember the hilarious ending to the classic “Tron” episode?)
So how does this epic encounter happen? Aside from the fact that it involves giant floating brains that zap the cast of FUTURAMA into a copy of a SIMPSONS comic book, you’ll get no spoilers from me. However, as can be expected, I will confirm the fact that hilarity ensues as the cast of FUTURAMA forgets who they really and try to find their respective stations in life amongst the population of Springfield. In doing so each character meets his otherworldly counterpart with humorous and oftentimes clever results. Furthermore, the writers even managed to slip in a funny bit that I suspect is an homage to Dino’s first appearance in THE FLINTSTONES. (Hey Talkbackers: am I the only one who knows/remembers that Dino can talk?)
Wise collectors know that Bongo back-issues can be extremely hard to find (and that Bongo Comics has a spotty reprint/TPB history), so don’t dawdle if you would like to read this much-anticipated crossover. After all, this may be your only chance to get it without paying a greatly inflated price on Ebay
HUNTER: The Age Of Magic #14
Written by Dylan Horrocks and Illustrated by Richard Case & Chris McLoughlin
Published by Vertigo
Reviewed by Elliot Kane
The Order Of The Lotus has begun its all-out war on any who might oppose them, but one big thorn still remains in their side – Tim Hunter, the Merlin, avatar of magic. But Tim has a big problem of his own in the shape of his one true love, Molly O'Reilly, who he knows that the Lotus will use against him if they can...
Dylan Horrocks really raises the stakes with this issue. The Lotus have always been more manipulative than aggressive up until now, but when they take the gloves off – as they do here – they are clearly a force to be reckoned with. Tim is obviously about to be challenged on many levels, and the cost of victory may be very high indeed.
There is a reasonable amount of character development in this issue too, and the introduction of a rather interesting new villain who promises to create all kinds of trouble for Tim.
The art is once again the work of two artists - Richard Case & Chris McLoughlin – each of whom is working on a different part of the story. Their styles continue to mesh well, with no sudden jarring changes that would take the reader's focus away from the story.
Overall: Hunter is a good solid read, and well worth your time, especially if you like stories of modern day magicians.
THE INCREDIBLE HULK #44
Written by Bruce Jones and Illustrated by Stuart Immonen
Published by Marvel Comics
Reviewed by Aaron Weisbrod
Bruce Jones has finally completely sold me on his take of THE INCREDIBLE HULK.
As a fan of Peter David’s prolific run on the title, I was as disappointed as most readers were when he unceremoniously left the book after a decade-long run that transformed HULK from a title about a mindless brute to one of the most captivating superhero yarns on the mainstream market. A small sample of Jenkin’s run (the prolific writer who had the daunting task of following David) proved unpalatable to me, a person who was never much of a superhero fan—or, oddly enough, a fan of the character The Hulk. All things considered, I had no intentions of ever picking up the title again until I heard that legendary horror/sci-fi writer Bruce Jones would be taking the reins of the book under the editorial guidance of Axel Alonso. After all, with a top-notch suspense writer and a seemingly infallible editor at the helm, how could THE INCREDIBLE HULK be anything less than excellent?
Upon beginning his run on the title Jones dropped readers into the middle of a plot that involved Bruce Banner trying to avoid capture by a group of mysterious government(?) agents who wanted to capture him (more specifically: the Hulk) for unknown purposes. Coming into the middle of a seemingly pre-existing storyline is never easy, but over the past year Jones has done a masterful job of providing background information about the “men in black” (no, not THOSE men in black!) and their shadowy motivations for wishing to capture the Hulk while simultaneously moving the story forward into previously uncharted territory.
This is a noteworthy feat, especially considering the fact that the Hulk is rarely seen in the majority of any one issue, and that he has yet to speak one line of dialogue in any of his appearances. This “less is more” technique has been quite refreshing as it adds a previously unfelt sense of gravity to the book. Although the Hulk may make only a fleeting appearance in any one issue, his looming presence is now felt in every panel. Rather than continuing the tradition of this book as a superhero slugfest, THE INCREDIBLE HULK now reads more like a well-crafted thriller or suspense novel.
Continuing a string of non-Hulk-centric storylines, Issue #44 focuses on Banner’s friend (and occasional nemesis) Doc Sampson. Last seen being incapacitated by the Hulk in Jones’ first story-arc, this issue details Sampson’s attempt to once again contact his friend, all the while unaware of the fact that the “men in black” are monitoring Sampson’s actions through an undetectable recording device they placed in his eye while he was still unconscious from his beating at the hands of an the enraged Hulk.
My only complaint with the otherwise extremely engrossing issue is the use of an unexplained group of children who apparently have a highly sophisticated underground base they use as a hideout/fort in the middle of the dessert. I’m not quite sure who these children are, how Sampson knows them, or how they have come to man the high-tech compound in question, but I have little doubt that all will be explained before this new story-arc is concluded.
With regular installments of great storytelling, great interior art (this story-arc is proving to be no exception with phenomenal artwork by Stuart Immonen), and fantastic covers by Kaare Andrews, THE INCREDIBLE HULK is shaping-up to be one the must-read books of the year. If you haven’t been reading this title (don’t believe the naysayers who claim the book is simply re-treading the path laid out by the TV series of the 1970s—it’s simply not true), give Issue #44 a shot. It’s a perfect “jumping on” point that will give you a chance to start enjoying one of the best titles Marvel currently has to offer.
LUCIFER #29
Written by Mike Carey and Illustrated by Peter Gross
Published by Vertigo
Reviewed by Elliot Kane
Amenadiel of the Thrones challenged Lucifer to a duel in Effrul a year ago, and the time has come for that duel to take place. Lucifer has lost his powers, but his pride will not allow him to withdraw, so he journeys to Effrul – one of the layers of Hell – to fight the duel, while his ally and consort Mazikeen, war leader of the Lilim, leads her people on a desperate quest to find and restore Lucifer's stolen power before it is too late.
Mike Carey returns to the setting of the 'Dalliance With The Damned' story arc, once more allowing damned soul Christopher Rudd to narrate the story – a device which prevents us from knowing who else will survive this story arc. Not that Rudd can exactly survive anyway, of course, as he is already dead, but still, given Carey's penchant for the unexpected, I wouldn't try to predict anything.
As usual his characterisation is superb, with the internal politics of Effrul creating problems for everyone, and the various factions jockeying for power and advantage – and Rudd caught in the middle.
Peter Gross does his usual fine job of complementing the story with his artwork. There is a particularly fine scene where the Lilim ride through a storm, and Gross captures the intensity of the moment perfectly.
Overall: Still the best comic on the market, bar none. Not very new reader friendly, but worth taking the time to get up to speed with
THE PRO
Written by Garth Ennis and Illustrated by Amanda Conner
Published by Image Comics
Reviewed by Aaron Weisbrod
Anyone who is more than a casual fan of comic books can tell you that there are two works that permanently changed the face of the superhero genre by showing how superheroes could be used to tell stories geared towards “mature” readers.
One of these works was Alan Moore and Dave Gibbon’s WATCHMEN, a brutal dissection of the superhero genre that portrayed a group of “real-life” superheroes as a patchwork society of tragically flawed human beings (ranging from neurotic to sadistic to psychopathic) who donned costumes and paraded around in the middle of the night trying to convince themselves that their paltry antics were helping to make the world a better place.
The other was Frank Miller’s brutal Batman epic THE DARK KNIGHT RETURNS. While WATCHMEN used previously “unknown” characters as its protagonists (although a minority of well-versed readers instantly recognized them as carbon copies of the Charlton Comics superhero roster), Miller took Batman, one of the most recognized pop-culture icons of the 20th century, and turned him into a grim, battered, and bitter middle-aged man who desperately strove to save Gotham City from becoming overrun by a gang of hostile disenfranchised youths known as “The Mutants.”
Both works changed the industry forever, and will most likely remain two of the single most influential works the comic book world has ever seen because, among countless other reasons, they showed the decidedly human side of the superhero genre.
Just like Garth Ennis and Amanda Conner do in THE PRO.
Is THE PRO of the same literary caliber of the aforementioned two sagas? No, it’s not… nor was it meant to be. Rather, THE PRO is a vile, raunchy, and ugly, but ultimately touching and poignant, story about an unnamed prostitute who is given superpowers by a powerful voyeuristic alien as part of a bet with his robot companion.
The results are simultaneously horrible and hilarious as the woman is contacted by The Honor League (a barely-veiled riff on DC’s Justice League) to join them in their “never-ending battle against evil.” Although initially unimpressed with them (after they rip her apartment window from the wall and offer her a place in their roster she nonchalantly tells them “I’ve got a kid, a nine-hour shift at Denny’s… and a fun night of hand-jobs to look forward to. So f**k off…”) she finally agrees to take the gig after finding out that in doing so she will be paid a handsome stipend.
But of course, neither the stipend not the costume she is now expected to wear stop her from both returning to the streets at night to extract revenge on a particularly despicable non-paying “John” as well as using her newfound powers to service a thousand clients a night.
Ennis pulls no punches throughout the story, whether it be when depicting the less-than-glamorous protagonist, skewering the childish absurdity of superhero teams, or delivering emotional testimonials about the true duties of real “heroes.”
All of these themes are ones Ennis has explored numerous times in the past (with the most similar example being the drunken/hobo “superhero” Sixpack in the extremely underrated and under-appreciated DC series HITMAN), and yet again Ennis makes his point through the use of familiar Ennis-archetypes such as the sadist (a particularly violent client), the wanker (the Superman spoof character The Saint), and the tragic hero (the unnamed protagonist herself). However, as is usually the case with Ennis, he spins these familiar character-types into a story that proves unique, hilarious, surprising, and entertaining.
While some fanboys may be displeased with Ennis and Conner’s extreme depictions of vulgarity, their ruthless parody of super-team books such as JLA, and the piercing closing rochambo-style critique to older fans of such “childish” genres, those who allow themselves to see past the nudity, violence, grime, and farcical gags should find THE PRO a touching, heartfelt, and ultimately much-needed testimonial concerning the nature and purpose of super-heroes to an aging readership.
Oh yeah… there’s also a great piss gag about half-way through the book that shouldn’t be missed.
SIGIL #27
Written by Chuck Dixon and Illustrated by Andy Smith
Published by CrossGen
Reviewed by Elliot Kane
Sam races against time to save the population of the doomed planet Gaia, whilst Zanni leads her strike force in a desperate attack on the Saurian homeworld of Tcharun, and Tchalusarud leads his own force of rebel Saurians in an all out attack on the temple base of Khyradon, the mad Saurian leader who threatens his people. All this, and character development too!
Chuck Dixon once again skilfully creates a fine blend of 'Superheroes In Space' and proper Science Fiction. By separating Sam from his supporting cast for the duration of the action, he allows both to shine. Dixon also drops hints at future problems for Sam, and gives us a little more information on the Saurians.
Andy Smith is not a bad artist – in fact he is pretty good – but I definitely found myself missing Scot Eaton on this issue. Smith does some great planet and spaceship scenes, but his people look slightly too awkward or too posed in places, and his battle scenes are nowhere near as detailed or as frenetic as Eaton's.
Overall: A great story, let down a little in places by the art. Still the best sci-fi comic on the market.
SPIDER-MAN/BLACK CAT: “THE EVIL THAT MEN DO” #2
Written by Kevin Smith and Illustrated by Terry Dodson
Published by Marvel Comics
Reviewed by Aaron Weisbrod
Not to put too fine a point on it, I thought that the first issue of SPIDER-MAN/BLACK CAT was terrible.
I thought that Kevin Smith’s take on Spider-Man read more like Batman than Spidey, I didn’t like the overly-cartoony art, and I thought that the story itself was little more than a series of events that had the sole purpose of stringing together one cheesecake image after another.
Although I had no intention of picking-up SM/BC #2 when I entered the comic shop this week, I did so anyway based solely on the fact that if, by some miraculous turnaround on Smith’s part, it was actually good, I might have a hard time securing a copy of it later.
Besides, it was a light week.
Well, much to my chagrin, I must admit that SM/BC #2 is actually pretty damn good. While the horribly immature first issue was filled with cheap and gratuitous T&A shots, Issue #2 is filled with strong characterization, solid dialogue, and honest-to-goodness sexual tension. (This is a scenario even the best writers have a hard creating well. The last good example that comes to mind is the Nite-Owl/Silk Specter dynamic in WATCHMEN, and that was published in 1987!)
Longtime SPIDER-MAN readers are well aware of the fact that Spidey and Black Cat have a long and intimate history together that includes (as Smith deftly explains in this issue) the two of them shagging on the rooftops shortly before Spidey decided to rekindle his relationship with his future wife Mary Jane Watson.
While Spidey truly loves MJ, Smith explores the fact that Black Cat represents something his wife can never be: a superhero. Although Spidey loves his (currently estranged) wife with all his heart, he also knows that the two of them will never be able to frolic in mid-air while swinging through the city the way he can with Black Cat.
Furthermore, the Black Cat, who is now realizing what a mistake she made in blowing-off Spidey the first time (claiming that while she loved Spider-Man, she was less than enamored with his “boring” alter-ego Peter Parker), is aware of the fact that Spidey knows she offers something his wife cannot, and deep down she would love nothing more than exploit this fact in an attempt to rekindle her relationship with him. After all, a good man is hard to find… especially if your fantasy mate is one who can engage in mid-flight romping forty stories above Park Avenue.
Although the crux of the issue is the sexually charged interaction between Spidey and Black-Cat (which, thankfully, is done with a minimum of cheesecake shots), the mystery surrounding the unusual deaths of some mutual acquaintances creeps to the forefront when a surprise appearance by an old-school female villain inadvertently leads them one step closer to learning the identity of the mysterious killer Mr. Brownstone.
Although the issue is interesting enough at face-value alone, savvy readers may also notice that the appearance of the evil Garrison Klum bears an uncanny resemblance to Crossgen Comics CEO and Publisher Mark Alessi. Think it’s just a coincidence? Take another gander at the title of this issue (“A RUSE by Any Other Name…”) and then try to tell me there’s not any ribbing going on here. Besides, it’s not like Smith is above playing games with titles: both “The Evil That Men Do” and “Mr. Brownstone” are also names of semi-famous heavy metal songs… (Iron Maiden and Guns n’ Roses respectively, natch.)
Although Issue #1 was a complete stinker, Issue #2 has given me a renewed faith in this mini-series… as well as Smith’s ability to pen a decent Spider-Man web, er… yarn. (I would also be remiss if I didn't mention that Dodson’s art grew on me with this issue.) Although I’m still not happy about the proposed plan to replace Straczynski and Romita Jr. on AMAZING SPIDER-MAN with Smith and Dodson while giving the former a new Spider-Man series (someone please tell me why it isn’t the other way around), I am now sold on the fact that SM/BC may indeed be worth reading until the very end.
And to think I almost used Issue #1 as toilet paper
WAY OF THE RAT #4
Written by Chuck Dixon and Illustrated by Jeff Johnson
Published by CrossGen
Reviewed by Elliot Kane
The city of Zhumar is besieged by the Tartar hordes of Bhuto Khan, and everyone – both within and without – seeks The Ring Of Staffs and the head of its wearer, Boon Sai Hong, a thief of humble origin. A fine time indeed for Boon to decide to become a hero...
Dixon has created a very interesting situation for his reluctant hero, and a fine supporting cast as well. The Russian gunnery expert who seems to view his cannon as an extension of his manhood is particularly amusing, whilst Bhuto Khan and Judge X'Ain, ruler of Zhumar are both powerful and ruthless villains. And who could resist the talking monkey?
Jeff Johnson's art is beautiful, capturing both the balletic grace of martial arts combat and the snowscapes and cityscapes of Zhumar and its surround with equal facility. Almost uniquely amongst comic artists, he actually draws the faces of his characters so that they look like the nationality they are supposed to be.
Overall: Writing and art are both superb, and WOTR has the funniest letter column in comics too. Whether you have any interest in martial arts adventures or not, you should be reading this
Here’s the second column that Andrew sent along, a special look at something Marvel’s up to:
I-Decide
Hi Gang. Andrew from GHMonline.com here with a special Marvel Comics’ U-Decide installment of the column.
Several months back, Marvel Comics announced that they were saving three acclaimed but low selling books (Black Panther, Spider-Girl and Captain Marvel) by increasing the price by a quarter for those titles. Peter David, writer of Captain Marvel, had objections with the move and voiced his displeasure in his column for The Comic Buyers Guide. This led to an online war of words with Marvel President Bill Jemas and EIC Joe Quesada that resulted in a contest. Jemas said that he could do a Marvel book which would sell more copies and after a 6-month period the loser’s book would be canceled. Then Quesada said that he could come up with a book which would do even better than the other two, enlisted Ron Zimmerman as writer for the project and the contest turned from canceling the losing book to having Jemas risking a dunk tank or Quesada getting a pie in the face. The only book in danger of cancellation would be any that didn’t sell enough to sustain costs.
Dubbed U-Decide, the contest in which readers would vote with their dollars on who the top creator was, the titles were announced: Peter David would relaunch Captain Marvel with a new first issue, complete with alternative covers by Alex Ross and Joe Jusko. Bill Jemas Marvel turned into Marville with old fave Mark Bright on pencils and featuring 3 alternative foil covers. Zimmerman would launch a new Ultimate title called Ultimate Adventures with Duncan Fegredo on pencils.
Fans and critics speculated on the merit of the contest and who would wind up on top. While we’re going to have to wait a little longer on the sales figures for the first round, having read the first issues of each of the books, it’s time for me to weigh in on the U-Decide contest.
CAPTAIN MARVEL #1
Written by Peter David and illustrated by Chriscross
Published by Marvel Comics
Reviewed by Andrew Goletz
The problem with Captain Marvel has always been that it’s Captain Marvel. Of the 3 books that were on the chopping block six months ago, Marvel seemed to be the only one without purpose. Black Panther is an acclaimed book with a longstanding character that also happens to be a character of color that is written with dignity and respect. Spider-Girl gets the benefit of being under the Spider-group of titles, and offers a young female heroine when none are to be found in this industry. Captain Marvel is the son of a character more remembered for his death than anything done in his life.
The fun of reading Captain Marvel was in the character’s co-existence with Rick Jones, awful puns and genuinely silly misadventures while poking fun at pop culture and making insider jokes along the way. The problem is that the book became too insider for a while and new readers didn’t get the jokes.
Now, Captain Marvel is re-launched with a new first issue and a new direction. From Alex Ross cover featuring an armor clad hero, its evident that the book is changing course and the new tone is much more accessible and interesting (at least so far) than the previous run.
Let me say that I was a fan of the first 35 issue run of David’s Marvel, but one of the things that intrigued me most early on about the character (his Cosmic Awareness) was shoved to the side to make room for different elements that seemed out of place in the book. It’s evident from this issue that the Captain’s Cosmic Awareness and coming to terms with that special power are going to play an important role in the future of the book.
The issue is told from the point of view of Marvel’s shared body, Rick Jones, who begins by describing a bad dream. You know something bad is going to happen and you want to stop it, but you’re unable to do so. Everything moves in slow motion. You can’t speak. Things are happening around you and you’re powerless to do anything about it. ‘That’s kind of what happened the night Captain Marvel went nuts’, says Jones. Sold!
After a brief reintroduction to Rick and Captain Marvel, along with how they ‘share space’ together, the book goes back to focusing on the more brooding, serious, seemingly possessed Captain Marvel, with Rick observing the action from his spot in the microverse. Captain Marvel streaks across the skies to stop a drug deal, only to reveal the dealer as an alien. While he battles the alien, Marvel gets another flash of awareness about someone strapping explosives to themselves and disposes of the alien, permanently, before heading off to avert the next disaster. There is just too much going on for the hero to waste time asking the alien about his motivations and purpose, so he simply destroys it.
Marv, or Genis, then goes off to prevent a terrorist disaster and soon has a tough decision to make as he becomes aware of two different conflicts arising. With only enough power and time to intervene in one of the situations, he makes a decision with ramifications that could haunt him forever. David doesn’t provide any easy answers here. He’s given Genis some incredible odds to face, not only in his opponents, but also in his own self-determination. Genis’s Cosmic Awareness is only as good as his ability to act in time and when he isn’t able to, then he has to face the consequences with his own conscience. While there is a bit of humor in the book, as most Peter David fans would expect, it’s subtler this time around. Much was made of Genis’ inexperience in volume one and jokes were had at his expense. Now, however, it’s Genis who is the one giving Rick something to think about, as he brings in a newcomer’s approach to the typical way of looking at things and it’s with a more philosophical look as opposed to being childlike as he was in the first volume.
Chriscross is in excellent form here, giving the book a dynamic new look. That’s not to say that the style has particularly changed since the last time CC was providing the illustration, but there’s something to say about the larger scope of the story in general and the way that the art compliments David’s script.
The book has switched gears from telling goofy cosmic stories with a backdrop set in and around a comic store in California to a high end introspective character study showing the effects that having limitless power can do to an individual. Genis is a relative newcomer to the world of heroics and in trying to live up to the legacy of his father, the possibility for mistakes and subsequent failure are high. Who knows what David has in store for the rest of the initial arc, but this first issue definitely puts things on the right track and is the best issue this series has seen since its beginning. If nothing else, this U-Decide contest has given David an excuse to go back to the well and pull out some of the best storytelling of his career.
MARVILLE#1
Written by Bill Jemas and illustrated by Mark Bright
Published by Marvel Comics
Reviewed by Andrew Goletz
Next we have Marville. This was the wildcard in the bunch. We knew what Captain Marvel is about and a lot has been made of the Ultimate Adventures concept with its take on the superhero sidekick but Marville was somewhat of a mystery. Cover images showed a shot at Smallville, a bikini clad lady getting out of a car and giant transforming robots holding what looks to be DC characters in their grasp.
Marville is a parody book. It opens in the year 5002 with a man celebrating the fact that after 3000 years, the comic industry has finally recovered after Ron Perelman bankrupted Marvel. When a meteor hits the Earth, a wealthy man named Ted deduces that a giant asteroid is heading towards the planet and will destroy Earth, or AOLon as it’s now called, in 5 minutes. His wife Jane worries about the fate of their young son, KalAOL, but Ted has created a ship capable of sending the boy back in time where he can be safe.
Kal asks what will happen to his parents and Ted tells him the brutal truth that they and everyone else on the planet will be dead in just a few minutes but that their tragic deaths will give Kal a heightened sense of responsibility. Ted gives his son a special time travel suit (featuring the word Marvel on it) and when asked by Kal what ‘Marvel is’ Ted reveals the fate of the historic company. Years ago, his own comic book company sucked, so he had to buy Marvel and when Joe and Bill took cashed in their options and ran, Ted had to put Kal’s uncle Paul in charge of Marvel. Kal wonders what uncle Paul did since no one in their era has ever heard of Marvel and says goodbye to his family, reappearing in present day New York. His dog, AOLstro is sent back in time to be his companion and Kal also has a run in with a cabdriver named Mickey, a level headed street smart young woman who helps Kal adjust to 2002.
The rest of the first issue follows Kal’s misadventures at being 3000 years in the past with no concept of how things work in our time and no powers to speak of. He comments on how the yellow sun has no affect on him whatsoever.
It’s great to see Mark Bright doing comic work again. Bright has been in the industry for a long time and has had runs on everything from GI: Joe to Batman and Green Lantern. He was an inspired choice for this series and his artwork is the highpoint of this first issue. His art style has always been grounded in reality, more like a Mark Bagley than an Ed McGuinness and it serves the series well, especially in light of the ‘real life’ cameos in this first issue. Few artists seem to have the ability to just be able to draw simple human anatomy and do so with people not in spandex, but Bright is one of those who is able to give a realistic look to anything he pencils.
As I mentioned before, this is a parody book. The problem with Marville, like any parody book, is that one needs to have a pretty good understanding of the source material to truly appreciate a parody. Even then it’s a risky proposition. Is there any buzz or does anyone ever talk about the latest MAD or Cracked? Doing a book like this is a risky proposition because humor is just so subjective and in this case, the people who would be able to ‘get the joke’ are a vastly limited audience of fanboys who spend their time online reading columns like my own, or Bill’s and have paid attention to all of the jokes and bickering between the comic companies.
One of the reasons this whole contest started was because of Captain Marvel’s falling sales and one of the biggest reasons attributed to the slide was that Peter David spent too much time on continuity and in-jokes, making the series a fun ride for longtime fans but pretty impenetrable for new ones. Marville has the same problem. How many people will be able to understand the Uncle Paul joke (one which made me laugh)? And even if you are able to understand the joke because of your knowledge of the industry, there are a few gags that go on a bit too long.
The Ted and Jane scene was longer than it needed to be. Neither is interesting enough in real life to deserve attention, but there were more than enough pages devoted to their back-story here before we get to KalAOL going back in time. The AOL bits were a little much, too. Again, I get a laugh when Bill or Joe refer to DC Comics as Time/AOL comics or AOL Comics in public, but reference upon reference in this title of things being renamed with an ‘AOL’ added to it just seemed overdone.
The key to the series is going to be in what happens next. I don’t think that I could deal with 6 (or more) issues of AOL this and AOL that with non-too subtle digs at Marvel’s distinguished competition, but I know Bill and have faith that he can turn this around. A biting satire on the comic industry could be fun, but too many in-jokes and repeating the same jokes would be grating before too long. And for the typical fan, a joke about Superman being corny or Batman being too dark is something they can understand, but the behind the scenes people like Paul Levitz or Ted Turner is probably going to go over the heads of more people than not.
The potential is there. With Bright offering some of his most promising work and some fun bits, Marville could turn around and end up offering readers a fun look at the world they participate in. If it doesn’t happen soon enough, someone could end up with egg, err, pie on their face.
ULTIMATE ADVENTURES #1
Written by Ron Zimmerman and illustrated by Duncan Fegredo
Published by Marvel Comics
Reviewed by Andrew Goletz
Ron Zimmerman offers up the best work of his comics’ career thus far with Duncan Fegrado providing a dark, urban style landscape giving the book its gritty and realistic feel. The two creators have combined to offer up one of the most enjoyable comic books of the year and easily win round one of ‘U-Decide’.
Zimmerman has his share of critics online due to his outspoken nature and the infamous Jay Leno/Spider-Man backup, but all of that is going to end with this series. Undoubtedly, the book will be ordered lower than Marville and Captain Marvel, and soon word will get out after the first issue that ‘eh, the book wasn’t so bad’. Not many online are big enough to admit their mistakes and give Zimmerman the credit that is certainly due here. Rumblings will occur and soon people will start to check it out based on the lack of criticism. By issue 4, the orders will start to grow as more people check out the book based on the actual merits of the story and art and not with the unjust anger directed at the writer. By the time this series reaches its 8th issue, the book should be leading its other two competitors (if the quality holds up).
Sorry about the rant there, but after seeing so many people pan this book before any preview was put up online, it was getting too frustrating to bear. Online armchair quarterbacks can have all the fun they want posting anonymous jabs at creators, but truly, most of them don’t know what they’re talking about and if I can try and weed through the BS and convince you to try this book because it’s a great book, then that’s what I’m going to do, even if it takes 3 paragraphs of exposition to set up the recommendation.
Ultimate Adventures tells the story of a young boy named Hank Kipple. He’s has been living at St. Fredrick’s Orphanage for his entire life and it looks like he’s going to remain there until adulthood. Most prospective parents are looking for the younger kids, the cuter kids. Hank’s a teenager and the years at the orphanage haven’t done much for his personality. He’s understandably bitter. A smart ass that uses sarcasm and disrespect to hide the pain within him that comes from knowing that he was never wanted. His only real joy comes from his gifted ability with mechanics and repairing things. He made a ‘clapper’ for the dorm lights that has irritated Father Joe, but Hank defends his actions saying that if there’s ever a fire, they’ll thank him. Sure he’s got an attitude and a witty comeback for everything, but that comes from the environment. The world of St Fredrick’s may try to keep him on the right path, but just outside the walls of the orphanage exists a world of crime and darkness. Hank’s aged more than his 14 years show. Kids and parents came and went countless times and still Hank was left behind, growing older. Growing colder.
Much to the dismay of Father Joe and Sister Mary, Hank is also the role model for the other children in the orphanage. He’s the oldest and since he’s been there the longest, the kids assume that he must also be the wisest. And while Hank doesn’t really treat the kids with the same affection that they do him, he does indeed care for them in his own way and would do anything for them. One night, the children hear noises and Hank jokes that there’s probably a robber inside due to the fact that they live in a high crime area. Sure enough, two dangerous criminals have snuck into the orphanage to evade capture from police. Hank’s mouth almost gets him (and possibly the other kids) hurt, but someone other than the police have been tracking the crooks, and he’s found them.
Hawk-Owl.
Lurking in the shadows on the ceiling, the vigilante causes one to recall classic images of a Batman or Spider-Man. Some of the children think it is Spider-Man at first. Why not? Just because these kids may have heard about Spider-Man doesn’t mean they’ve ever seen him or interacted with any hero. The vigilante engages the two-armed men and with the help of Hank’s clapper lighting system and the Hawk-Owl’s fighting prowess disaster is avoided.
The next day, a wealthy socialite, Jack Danner, his driver, his butler and his aunt pay a visit to the orphanage. The interaction between these four make the book. Everyone is a bit angry and concerned at Jack for wanting to adopt a child when he is nothing but a big kid himself, but Zimmerman infuses these four people with distinct personalities right from the get go. You can put person A into character type B, etc, but the skeptic aunt, the quietly angry butler and the aloof millionaire are given life and within a few lines of dialogue, we get enough of a back story to find out what Jack is all about and get a pretty good idea as to why someone like him would do something like this, at least from the point of view of the people that surround him.
Jack has come to the orphanage to announce that he is going to be making donations to all of the children’s education funds through his Danner Foundation and it will ensure that all of them can go to the college of their choice on his bill. Revealing himself to be an orphan as well, Jack goes on to announce that he will also be adopting one of the children. As Hank says, ‘He’s selling crap like it’s wrapped in gold’.
Jack’s interaction with the kids, from their ridiculous questions (showing what priorities are in their lives) to Jack’s equally silly, and strange answers are perfect. This is the scene in which Zimmerman’s background in Hollywood pays off the most with the interaction between everyone coming in at perfect beats in a focused rhythm that makes for great reading.
If you know anything about the concept of the book, you’ll probably be able to guess the ending, but I won’t spoil it anyway. Suffice to say, the first chapter closes in an appealing manner and leaves me really wanting to find out what happens next.
What can I say about Fegredo? Everything he touches turns to gold. From his work on the ground breaking ‘Enigma’ for Vertigo to his stories in Tangled Web, Fegredo shows that he can work in just about anytime of story situation and make the world his own, giving life to ideas and concepts on paper. Ultimate Adventures is Gotham City by way of the Ghetto with a bit more darkness and dirt added on for good measure. If nothing else, the U-Decide contest has given readers 3 very nice books to look at, but Fegredo’s style is unmatched.
I’m glad that the creative team didn’t rush in and beat us over the head with the Batman symbolism or focus too strongly on the character of Hawk-Owl. He may play a larger role later on, but this is really Hank’s story. It’s the story of a boy without a home who ends up becoming a part of an extremely unique family with all of the responsibility and weirdness associated with it. It won’t be an easy adjustment, but letting us into Hank’s life and focusing on him nearly exclusively in the first issue helps establish the kid much better.
A lot of you probably already made up your minds long ago as to whether you were going to get this book, or maybe the short preview on Marvel.com swayed you one way or another. Having read the entire issue, it’s my job to recommend to you all, once again, to get this book and give it a chance for yourselves. A remarkable effort by a great creative lineup and a fine addition to the Ultimate Universe line.
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