Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
Some call them @$$holes. We call them friends. And it looks like we’ve been calling on them for longer than I realized. It’s an anniversary of sorts, so let meyou’re you right to it with Cormorant ready to set the stage...
Howdy, y’all, Cormorant here, proud to introduce our 50th mutha-lovin’ column since we first began the torturous grind of compiling weekly comic reviews for the little slice of pop culture that is Ain’t-It-Cool-News! That’s FIFTY weeks we’ve served you, o beloved TalkBackers and random visitors, taking whatever steps necessary to get the column out, whether that meant passing on dates, skipping meals, or even bypassing showers and basic hygiene!
Now the interesting thing is that none of us @$$holes have been keeping track of how many columns we’ve put out, but as I was compiling this latest bloated masterpiece, I did a search for the word “@$$hole” with AICN’s internal search engine and turned up forty-nine pre-existing columns, making this one the magical number! Even more amazing – this is probably the first column ever to feature contributions from all ten @$$holes at once! Sure, we all hang out at the clubhouse, but check-ins with our respective parole officers and VD clinics mean that it’s a true rarity to see us all reviewing at the same time! Some might call it coincidence, my friends, but I call it kismet. Fate. The alignment of some fucking planets or something.
Now what’s that you say? This is actually our 53rd column? Moriarty accidentally spelled “@$$holes” with an “A” instead of a bitchin’ “@” symbol a few times in our column title, and those columns didn’t show in my search as a result? The number’s really fifty-three?!!
Huh!
Well nevermind then.
THE MARVELOUS ADVENTURES OF GUS BEEZER
Written by Gail Simone
Art by Jason Lethcoe
Published by Marvel
Reviewed by Buzz Maverik
Comic books are a way of life. They aren't just a hobby or art form. Most of us want our way of life to continue and many of us would like to see more people get the kind of fun, excitement and joy from comics that we do.
I grew up on comics, as many of you did. My father bought me comics from the Harvey Line (CASPER THE FRIENDLY GHOST; HOT STUFF THE LITTLE DEVIL; BABY HUEY; LI'L AUDREY; RICHIE RICH; SAD SACK), the Archie Line (ARCHIE, LI'L ARCHIE, ARCHIE'S TWO-TIMIN' ADVENTURES, etc.), DC Comics (all the icon characters) and some Marvel stuff that was pretty odd for a little kid (THE INCREDIBLE HULK, CONAN THE BARBARIAN and SHANG CHI: MASTER OF KUNG FU) before I could read. Like many comic fans, I learned to read partially through comics and because of comics.
Despite what those evil folk in The Mainstream will tell you, comics were never just for kids. They are part of escapist literature and art, they've always contained racy and violent material. A lot of servicemen got into comics in World War II and continued reading the E.C. stuff (you know, if they weren't killed). But there used to be a lot of comics just for kids...aimed at kids...that kids would actually enjoy. Now, very few comics meet that description. A few independent things, some manga stuff (the Japanese have a more civilized view of comics than we do in the US, they actually put out all kinds of comics and know that comics are for everyone).
Recently, I was talking to a friend of mine who is a teacher. Yer saying, "You got friends, Buzz?" and "How would you know a teacher?" To which I reply: "Yes, I have friends, jerk! And I know this guy because I used to protect him from bullies when we were in grade school together. One time, I took on five dozen school yard bullies...but I digress." Anyway, this guy is into comics and said that he'd like to use comics for rewards in his classroom (because ever since that stupid Michelle Pfeiffer movie, you have to give kids stuff for learning, I guess -- when we were in school, they just forced us to learn). Unfortunately, even most comics aimed at kids could still be considered inappropriate by some parents or administrators because of language and violence. And the indie stuff and the manga stuff doesn't feature recognizable characters that interest the students. So it wasn't worth the headache.
End of rant, start of review. Marvel Comics has once again come to the rescue with an actual all ages book called THE MARVELOUS ADVENTURES OF GUS BEEZER. The book will appear in a trio of one-shots in March. Gus Beezer is an imaginative boy who lives in the Marvel Universe. He's crazy about superheroes and often imagines himself to be Spider-Man. If you liked CALVIN & HOBBES, you'll enjoy Gus Beezer! Gus finds himself in situations to which many comic fans should be able to relate, such as: on the day the SPIDER-MAN movie opens, Gus' family makes him go to a family reunion. Arrgh! Talk about reality in comics. Even if you're an adult, chances are that work or school could have kept some of you away from SPIDER-MAN, DAREDEVIL or X-MEN on opening day (or should have).
GUS is written by Gail Simone, currently the funniest writer in all comicdom. Usually when a review praises humor for kids, it says something like "jokes the adults will find funny too" which means something bawdy that isn't really appropriate for kids. This isn't the case here! Kids will like Gus' battles with his sisters and his family, while adults will pick up on things like the fact that Gus' speech patterns seems to have been spawned straight for Stan Lee's Soapbox. Personally, I particularly like Gus' Dad, who asked, like a real Dad, "Does he have to talk like that?" and who, when approached by Gus, said, "Not now, Gus. I'm talking. Go find your mother." That reminds me, I gotta call my Dad....Okay, I'm back. He was busy.
The artist, Jason Lethcoe, is a talented cartoonist. He has a whimsical view of reality, sort of a slice of life observed through the imagination. Gus might live in the Marvel Universe, but Lethcoe is also able to illustrate what's in the mind of a kid who is absolutely absorbed with comics and superheroes.
The issue I previewed featured Gus' obsession with Spider-Man. The two other books will center on Gus and the Hulk (my personal Marvel favorite as a kid; I've heard that the Hulk comes to Gus' town and Gus ignores the danger because he has to get a look at the Green Goliath, exactly what any of us would do!) and Gus and the X-Men.
Yer saying, "But, Buzz, I'm sort of a grown up. I read Garth Ennis, fer Christ's sake."
Yeah, but chances are you know a kid, are related to a kid, might even be the parent of a kid (even one you know about). This is a look at comics and heroes that adults will enjoy and that you can give the kids in your life with no reservations.
SUPERMAN: METROPOLIS #1 (of 12)
Writer: Chuck Austen
Artist: Danijel Zezelj
Publisher: DC Comics
Reviewed by Cormorant
First off, late me say that twelve issues seems like an awfully long time to spend with freckle-faced Jimmy Olsen. I don’t care if the guy’s “Superman’s Pal” or not – that’s a goddamn maxi-series, the stuff of which crises on infinite Earths are made!
But what if…Olsen’s kinda interesting? Maybe even cool?
What if the story is actually…intriguing and creepy?
Damn! Color me surprised, but this story has some serious potential, and it opens with a bang – literally. Jimmy Olson is covering the governor’s speech, snapping away doing his photojournalist thing, when suddenly, the governor takes a bullet right to the head and keels over. Portraying a touch of hardboiled drive I usual associate with Frank Miller characters, Olsen instantly vaults onto the stage while everyone else collects their senses. Even as the candidate’s wife looks on in horror, Jimmy climbs the podium to get his perfect shot of the body, his internal monologue revealing an acceptance of the fact that he’s going to be despised for his callous approach:
“People will talk about this for months. But the shot will be remembered for a lifetime.”
What really kicks the book into high gear comes in the next two pages. As the setting shifts to the Daily Planet, we see Jimmy, Lois Lane, and editor-in-chief Perry White going through the business of putting the story together – really excellent dialogue throughout – when suddenly an intern pops in with an announcement: the governor, previously seen to have a giant bullet wound to the head, is somehow alive and wanting to talk to the press. “I love this city,” thinks Jimmy Olson.
What follows falls somewhere between Kurt Busiek’s average man point-of-view stories in ASTRO CITY and the creepiness of an old OUTER LIMITS episode. See, the governor’s miraculous recovery, it’s believed, is related to “The Tech”. The Tech, as Jimmy explains, is slang for a sort of techno-virus that infected Metropolis months back as a result of a failed plot from extraterrestrial bad boy, Brainiac. It affects all things mechanical, from computers to toasters, essentially upgrading and futurizing them with a sort of living technology. Though it’s not stated explicitly, my impression is that since the Tech hasn’t posed an overt threat, and indeed has seemingly made the city better (and cooler-looking), Superman hasn’t been working to eradicate it. Austen’s description of the Tech from Jimmy’s perspective is excellent (“I don’t even trust a laptop anymore.”), and working in conjunction with Danijel Zezelj’s ultra-moody art, it gives the city a presence that’s both awe-inspiring and a little paranoia-inducing.
Now you’d think the grittiness of the art (previewed here would stick out like a sore thumb in a Superman story, but this is more of a suspense thriller than a four-colored actioneer, and it definitely works. When I first heard about the Tech, I thought it was a silly, throwaway plot, but looking at Zezelj’s art and Jose Villarubbia’s textured, washed-out colors, I find that it gives Metropolis a much-needed presence unlike any of DC’s other fictional cities. The giant towers, multi-tiered streets, and monorails dazzle the eyes, and yet…there’s a touch of a spider web’s menace to the interwoven designs. I’d almost like the Tech to stick around, now, or at least cast its shadow for a few years like the earthquake that leveled Gotham in the “No Man’s Land” epic. We’ll see.
As Jimmy follows up on the governor’s miraculous survival, a suspicious Superman joins the investigation as well, and he calls for Jimmy to accompany him to the site of the governor’s shooting. Superman’s got a theory, and he asks for Jimmy Olsen’s famous signal watch to test it. Jimmy gives him the watch, Supes places it up against a nearby wall, and…well, you really should see for yourself. Don’t expect explosive fireworks, but do expect some very interesting revelations about the nature of the Tech and one of the more interesting conversations I’ve seen this side of a Brian Bendis book. In fact, the qualities of SUPERMAN: METROPOLIS are very much from the Bendis school, with low-key events elevated to surprisingly effective heights through sheer strength of writing and several intriguing twists.
Final judgment: Austen has truly surprised me here. I’ve been impressed with his turn as the writer of UNCANNY X-MEN lately, but not so much that I could ever have guessed he could make Jimmy-friggin’-Olsen interesting! Honestly, I have no real complaints, and would even go so far as to say that METROPOLIS was my favorite read of the week. It’s nice to be surprised sometimes, and I happily recommend the series to anyone looking for a little sci-fi/mystery/paranoia to spice up their superhero plate. It looks great too.
Title: DAREDEVIL #44
Writer: Brian Michael Bendis
Artist: Alex Maleev
Publisher: MARVEL
Reviewer: Ambush Bug
Blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, goddamn blah, blah, blah, blah, blah, blah.
Blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, muther fuckin’ blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah.
Blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah. And finally…blah.
That’s this month’s DAREDEVIL issue in a nutshell. Someone please inform Bendis that at one time Matt Murdock wore a costume and did exciting things.
BATMAN #612
Written by Jeph Loeb
Illustrated by Jim Lee
Review by The Comedian
I made a promise on a Grayhaven talkback to rid this website of bland cookie cutter press releases disguised as comic book reviews. By day, I’m some schlep who calls himself a filmmaker even though no one’s actually hired me to direct anything yet. On this site, Fanboys, a fickle and corpulent lot, call me…a dumbas…I mean…THE COMEDIAN.
I know how Buzz would do this review. He’d probably go right into some gonzo shtick about how he once partied a whole weekend in some Tijuana flophouse with Adam West and Christopher Reeve. He’d probably spend 80 percent of the review talking about how Julie Newmar supposedly ate the worm and proceeded to knock three of Margot Kidder’s teeth out in a drunken brawl over who got the last Dos Equis. He’d win you all over with his jolly, brilliant irreverence.
But I’m not like Buzz. I’m an acerbic jerk who uses his reviews to launch cynical, underhanded attacks on pencil-mustachioed Scotsmen and toymakers posing as film producers. Sometimes I make with the Funny Haha, but my crusade to rid this site of dipshits is often too overpowering. Will I ever find peace?
Batman #612 is chapter five of Loeb and Lee’s “Hush” story line and the second part of yet another World’s Finest team up. The plot’s not really all that important and neither is the outcome of the “big fight”. What makes this issue a highlight of this banner run for the book is the characterization and the way that Loeb has turned one of the most cliché character threads of the past 17 years completely on its ear.
The strength of this issue and how it treats the World’s Finest dynamic is that it shows Bruce positively doing the compare and contrast bit that they’ve run into the ground with these two characters. Usually he just berates “Clark” for his qualities and treats them like weaknesses. In this instance Loeb has written it in a more positive light. Batman counts on Clark being Clark as a means to positive end. That just added a whole other layer that we probably haven’t seen since the Pre-Crisis DCU.
The other thing I enjoyed immensely was the interaction between Lois Lane and Catwoman. It was almost like a superhero double date. I kept waiting for Diana to show up and get nasty looks from BOTH of them. Shit, that would have been like a DC Comics episode of “The Fifth Wheel”.
What else can I say? If you call yourself a fan of Superhero comics but you’re not picking up this book than there’s something seriously wrong with you.
HELLBOY WEIRD TALES
“Big-Top Hellboy”—Story and Art by John Cassaday
“Party Pooper”—Story and Art by Andi Watson
“Children of the Black Mound”—Story by Fabian Nicieza, Art by Stefano Raffaele
Publisher: Dark Horse Comics
Reviewer: Sleazy G
This is the inaugural issue of a new bi-monthly series from Dark Horse that follows the characters Mike Mignola created in HELLBOY. Each issue features a revolving roster of writers and artists telling short tales focused to varying degrees on Hellboy and his supporting cast. These kinds of anthology books have had a really tough time in the marketplace for at least the last 15 years or so, which I always find sort of unfortunate. They can be a great way to tell little slice-of-life tales, giving us a chance to peek in on the little moments that we don’t always see in bigger stories. Based on what they’ve done in this issue, they’re off to a really strong start, and I hope this series lasts for a while.
The first story features art by the amazing John Cassaday. I’ve always been blown away by Cassaday’s work, from when I first saw him on DESPERADOES through to his work on Warren Ellis’ PLANETARY. His work here is phenomenal. Equally impressive is that he writes a story that just feels like Hellboy, through and through, while avoiding the traditional trappings Mignola has used. There are no ties to the legends or old myths that Mignola so often references, and there are no Nazis anywhere to be seen. The tale of a haunted circus, though, still manages to be scary and creepy, and Cassaday definitely has the character’s voice nailed. Every line Hellboy speaks just sounds right. I don’t know if this is the first thing Cassaday has written or not, but he does a great job.
The second tale, by Andi Watson, manages to do the unthinkable: it tells a cute, lighthearted Hellboy tale that delivers some chuckles. He still throws in a little twist, but in such a way that it lends a lot of depth to the character. Those familiar with Watson’s work know he excels at these kinds of little character sketches. His art is light and whimsical, but works well with his storytelling style. The story helps remind us of the burden Hellboy carries, but it also reminds us of his attitude towards the whole thing. And I always like stories that end with pancakes, so that didn’t hurt.
The final story by Fabian Nicieza and Stefano Raffaele doesn’t really focus on Hellboy or any of his crew. Instead, it fills in some backstory for us. One of Mignola’s earlier stories had used the ancient Russian folk legend of Baba Yaga, and she is the only familiar character to turn up in the story. It’s a story with a very different feel and tone than anything else I’ve ever read by Nicieza, and it’s pretty impressive. It’s a tale set in turn-of-the-century Russia, where a priest is discussing loss of faith with a seminary student. The priest recounts a terrible tragedy that struck a Russian village years before and how their lack of faith played a role. It turns out Baba Yaga also had something to do with it, and there’s also a bit of a twist with the identity of the seminary student, some guy name Iosif who it’s a fair bet ended up a Marxist revolutionary not much later.
All three stories were well told and well drawn. Knowing Dark Horse’s ability to pull in both independent and mainstream creators, it seems like a safe bet that this is an anthology that will continue to impress. Anybody who’s ever enjoyed Hellboy should definitely put this on their must-read list, and if you’re new to the character it makes for a great way to get introduced because it gives you a look at such diverse facets of the characters. It’s a book well worth picking up this Wednesday while you’re there picking up next week’s new books.
SUPERGIRL #79
Peter David – Writer
Ed Benes – Pencils
Alex Lei – Inks
Published by DC Comics
Reviewed by Village Idiot
“If I ever did marry...it would be to someone super and lovable like...you! We can’t marry because we’re cousins! Though cousins can marry in certain countries here on Earth...we’re both from the planet Krypton, where the marriage of cousins is unlawful!”
– Superman weighs the pros and cons of incest, to the on-panel shock of Supergirl, and to comic readers everywhere, in ACTION #289 (1962)
As most of you know, the “Multiple Earths” parallel universes of the DCU were wiped out in 1985, only to be reinvented by as a new concept called “Hypertime” in Mark Waid’s 1998 KINGDOM COME follow-up, THE KINGDOM. Hypertime is explicitly broader than the Multiple Earths, engulfing every comic story ever written, including “Imaginary Stories” and “Elseworlds,” plus, I would imagine, every possible variation on these stories (it IS supposed to be infinite, after all). So it’s theoretically possible that there is a Hypertime reality somewhere where Superman decides to boldly leave the conventions of Krypton and modern western civilization behind, and tries to get it on with Supergirl.
And then there’s the reality in SUPERGIRL #79 where he actually does get it on with Supergirl.
I’ve been talking about the SUPERGIRL books for months now, describing how really-good-but-not-quite-great they are, waiting for the one I could really sing about. Well, la, la, la, I’m happy to tell you that Peter David and Ed Benes managed to peel off a great one this month. So far, SUPERGIRL #79 is the highlight of the arc winding down the SUPERGIRL series, wild and fun, especially for anyone with an appreciation of Silver Age comics and a sense of humor. It’s a great comic book.
But before we go into why, I need to take care of some business: In my last SUPERGIRL review, I made reference to the fact that aspects of the SUPERGIRL storyline bore a striking resemblance to BUFFY THE VAMPIRE SLAYER, a reference that could be construed as a suggestion that Peter David was doing some borrowing. Well, David responded to the review with a message on the Supergirl message board at dccomics.com where he explained that his comics are written six months in advance; in this case, before the TV season began, and before he could have lifted anything from Joss Whedon. So let me go on record to say once and for all that Peter David is not ripping off BUFFY THE VAMPIRE SLAYER. He’s ripping off STAR TREK. And I forgive him.
Specifically, he seems to be taking some elements from the NEXT GENERATION episode entitled “Inner Light” (I do my research people) where Picard winds up living out the rest of his life on a mental plane, creating a family, etc., when in reality only a half hour has passed in real time. The different plane in SUPERGIRL is the true Hypertime reality of Kara, the Silver Age Supergirl. In the end of last month’s SUPERGIRL #78, we learned that Kara was fated to die in this reality, but in order to protect her, Linda, the Modern Age Supergirl, takes her place.
So in SUPERGIRL #79, the juxtaposition of the Silver Age mixed into the Modern Age from #75 has now been flip-flopped, and now the Modern Age encounters a Silver Age world. Will she find the cornball conventions and clean-cut surrealism of this world, a world so devoid of postmodernism, shallow and empty? Unexpectedly, no. Although she never loses sight of the irony, she loves it: “The heroes are filled with joy over being heroes...The Villains have elaborate plans that we can always foil, and they don’t go around killing people...And my God, everything’s so clean! Like Disneyland!”
And even more unexpectedly, real relationships develop, including one initiated in a near recreation of the scene I quoted in the beginning of this review (the panel composition at least). Years pass, and Linda creates a full and satisfying life for herself. Meanwhile, only a short time has passed in our reality (the Modern Age DCU), with Kara wracked with guilt over Linda’s apparent sacrifice, and beginning to reflect a bit of the tone of the world around her.
Although a fair amount of time is given to Kara’s gloom, most of the focus is on Linda’s sometimes witty, sometimes outrageous adventures in Pleasantville; adventures that poke fun at one of comic history’s silliest but most imaginative periods, playing with it with a modern sensibility, without unduly ridiculing it. Irony with respect. Occasionally the story would dip into self-consciousness, but not intrusively. (The only point at which the self-awareness actually became a problem had nothing to do with Linda’s story, but when Kara remarked to another character that he was just there so they could “bounce off of him,” seemingly describing David’s character development strategy. Way too backstage.) Moreover, in the span of one comic book, David manages to convey a story of scope and feeling. The comic not only feels satisfying, it feels fuller than its 22 pages, with David tricking us into feeling like we’d actually been somewhere.
Benes and Lei’s art was still beautiful; still sexy (without feeling too creepy this time out); with a bit of a dreamy quality to Linda’s Silver Age white skies, and a bit of nightmare to Kara’s black ones.
I realize that SUPERGIRL is still a hard sell for many of you, and I understand why. Admittedly, there’s a lightness, a sweetness to the story that you hard-bitten Mark Millar types might be inclined to dismiss out of hand. I mean, just the idea of Supergirl – the “Roller Disco Queen” factor mentioned by a Talkbacker last time – is enough to scare some of you off. Yes, SUPERGIRL #79 is light, predominately happy, and even a little corny. But it’s also surprising and interesting, and if you sat down to read it, and gave yourself up to the fun, there’s an excellent chance you’d enjoy it.
THE AMAZING SPIDER-MAN #50 (491)
Words by J. Michael Straczynski
Pictures by John Romita Jr.; Inks by Scott Hanna
Published by Marvel Comics
A Jon Quixote Review
Sometimes love and destiny pull you in opposite directions. When they do, the wrenching may require an agonizing choice, and until that decision is made, everything – life, love, prosperity – flounders in limbo, part of a future that’s yet to take shape.
But how do you choose between the yearning of the heart and a life you want to lead, but one that takes you away from that love? Often the choice is unbearable, and therefore postponed. Limbo can prove surprisingly comforting when the alternative is pain and permanence.
This month’s issue of The Amazing Spider-Man finally resolves the Peter/Mary Jane separation, as well as the state of creative limbo that had enveloped the book for so long that it was taking on the feel of a permanent editorial direction. But the problem, that Mary Jane is a liability to the Spider-Man Universe, was not easy to resolve.
At the source of the universal appeal that drives the Spider-Man engine is the ease in which the reader is able to empathize with the main character and his problems. Specifically, his relationship problems, which were often mountainous, as would befit an everyman character who lives an extraordinary life of self-sacrifice. Now, because the core audience for the comic is not people in their late twenties with marital problems, the mere notion of a married Spidey is fundamentally flawed. But have him marry a world-renowned supermodel, a wealthy Galatea of a woman, and suddenly Peter Parker ceases to become a character the reader can identify with, and instead becomes an escapist icon towards which the audience feels not kinship, but aspiration.
With this ring, I thee amputate the very reason for Spider-Man’s enduring, and as-yet unmatched appeal.
This problem is not easily solved. Mary Jane cannot be killed off; marriage aside, she’s too important to the Spider-Man comics – besides, they already did that to one of Spidey’s true loves, and this ain’t Daredevil here. But the editors did not want to pull the trigger on a divorce either. A married Peter Parker in his mid-20’s has already strayed pretty far from the core concept and audience. A divorced Spider-Man would only widen that chasm. The question of how to solve this conundrum seems to be a riddle without an answer, and the man faced with the unenviable task of finding a solution is J. Michael Straczynski. We Spider-Man fans should be grateful that he’s at the helm, because he comes up with the answer that, once spoken, becomes obvious as the only possible choice.
Make it work.
Mary Jane is a fundamental element of Spider-Man’s world and his history. Not just because she’s been around almost since the beginning, not just because the audience is used to seeing her face in the panels. Because she is Peter Parker’s one true love. The yang to his yin, the Gracie to his George, the dill in his pickle. She is also one of the most three-dimensional female characters in all of comics, and, despite the impossibility of her superficial trappings, one of the most grounded, most real.
And, in twenty-three pages, pages that are fun, silly, touching, ridiculous, and poignant, Straczynski opens our eyes to this reality. Mary Jane can’t go anywhere, so the only solution is to make it work. And that’s what the creative team is going to do.
By establishing this resolution, this bold new direction for the Spider-Man comics, Amazing Spider-Man #50 is one of the most important comics put out by Marvel in the past decade. What I haven’t told you yet is that it’s also a lot of fun.
Oh sure, the plot gives new meaning to the word contrived, and the action lacks the gravity to underscore the emotion the way it should, but some laugh-out loud moments, cameos that invoke nostalgia for a Marvel Universe that used to thrive off that sort of thing, and some action sequences that let John Romita Jr. cut loose and flex the muscles that make him the best storyteller in the business, mean that this book is a must-read. If you’re a fan of superhero comics, you got into them for a reason. Chances are, it was an issue like this one that first grabbed your attention.
Fun. Funny. Cool. And it not only resolves a tiresome plot development that’s been begging for closure for years, but makes you realize – if you ever had doubts – just how important a character Mary Jane Watson-Parker really is to the Spider-Man comics.
No matter how you got rid of her: death, divorce, transformation into a super-villainess…every other female character introduced into Peter’s world would still exist in her shadow. And Peter himself would always be empty, as though a part of him – maybe even the most important part – would be missing.
That’s the unfortunate reality of the situation. Peter Parker shouldn’t be married, Mary Jane never should have been written as his soulmate, and true love never should have graced the pages of The Amazing Spider-Man. But he is, she was, and it has.
Sometimes love and destiny pull you in opposite directions. Sometimes loving somebody means you can’t go to the places you wanted to go, or live the life you should lead. When everything sensible inside is screaming at you to plant that final kiss and say goodbye, sometimes the best thing to do – the only thing to do– is to hang on to that love with all the strength and fervor your soul has to offer. And change your plans. Tread a different path, and discover that, in the end, it all worked out just the way it was supposed to. And you couldn’t imagine it ever unfolding differently.
Love’s funny that way.
JSA: THE UNHOLY THREE (Part One of Two)
Written by Dan Jolley & Tony Harris
Illustrated by Tony Harris & Ray Snyder
Colored by JD Mettler
Lettered by Ken Lopez
Edited by Pete Tomasi
Published by DC Comics
Reviewed by superninja
Reading Elseworlds is like a kid buying a box of Crackerjacks. You always open one with anticipation, hoping to get that prize you've always wanted. But sadly enough, you end up disappointed, and with a crappy prize, to boot.
JSA: The Unholy Three is like finding a secret decoder ring in a box of Crackerjacks!
Elseworlds, as most of you know, is a concept by which DC superheroes are taken outside of regular continuity to create new timelines and situations beyond the existing DC Universe. This story takes place post-WWII, told in a grim and gritty noir style where the good guys are science heroes and covert military operatives (in this instance, Batman joined the service when his parents were killed instead of returning to Gotham). Bruce Wayne has just begun his war on crime in Gotham when he's pulled back into service to track a pair of rogue, former KGB agents who have gone on a murderous spree, killing covert American agents in Berlin. Along with his former partner The Clock, and a greenhorn with powers beyond those of mortal men named Clark Kent, Batman heads off to Germany to discover the rogue agents’ motives and put a stop to them.
What I enjoyed most about The Unholy Three is that it's a throwback to the days when superheroes hit first and asked questions later. But when you're up against a nasty fellow like the Parasite, it's a wise choice. It's certainly not the most original retelling of one of Superman's rogues gallery, but it's the most brutal and visually arresting you can imagine.
Some of you may have already read JSA: Liberty File (a two-part miniseries that was the predecessor to this new series). I liked The Unholy 3 so much that I went and picked up Liberty File. The writer and artist have improved on the original, but you need not have read Liberty File to enjoy The Unholy Three.
The art is outstanding and the story slick and well-paced, giving it a cinematic feel. It's been awhile since I've had so much fun reading a superhero comic book, and that goes double for an Elseworlds tale.
And get ready for that mother of a twist at the end. It's a doozy.
AGENT X #8
Writer: Buddy Scalera
Penciler: Mitchell Breitweiser
Inker: Mark McKenna
Publisher: Marvel
Reviewer: Sleazy G
I admit I never knew squat about Deadpool until Gail Simone took over. He was one of those characters I never knew anything about, and while I heard every once in a while that the book was funny or entertaining, I just never bothered to get on board. Then I heard Simone was gonna take over, and since I loved her “You’ll All Be Sorry” column I decided to give it a shot. And it was great. And then DEADPOOL was relaunched as AGENT X, and it was still great. And then there were “creative differences”. Since it was a character I had less than a year’s worth of experience with, I coulda just dropped the book when Gail left with issue seven. I figured what the hell, though—why not give it a shot?
I’ve never read anything before by Buddy Scalera, and don’t really know much about the guy. Based on what I’ve seen in this issue, I’m left pretty unsure of what to think. For starters, the “funny” just isn’t as funny as it was with Gail. Still, it could just take Scalera a few issues to get inside the character and click. There are some other major obstacles, though. One is that there are two characters who supposedly are still a part of Agent X’s team: his friend/secretary and a kid named “Girl Zero” who nobody can see except Agent X. She has some mutant power that makes people not see her—kinda like a Jedi mind-clouding trick or some shit, I guess. The thing is, we don’t see either of these characters turn up this month; they’re barely even mentioned. There’s a bit of a problem with this, since we’ve got a supporting character who can’t be seen and then Agent X is hired to kill a guy who’s invisible. It just seems like there should only be so many characters in the book at once who’re invisible—it suggests a dearth of creative ideas when you get two characters so similar so close together.
There are other problems, too: if you wanted to hire a guy to kill somebody and he hacked both your bodyguard’s hands off, would you still really work with him? Maybe. But wouldn’t you at least tell the guy to knock it the fuck off cuz good staff is hard to find? I also find it odd, since in the intro page Agent X refers to Outlaw as “love-o-my-life”, that on page 6 he cracks a joke about being a john with the Mexican hooker he just met. It just seems like a misfire, and not the only one. Also, I can enjoy “your momma” jokes in the right mindset, but the truth is that comedy writers consider jokes about sleeping with somebody’s mother or wife to be lowest common denominator. I’m not saying I’ve never said it to piss a guy off, just that it’s kind of a cheap, easy shot, and not that funny. They’re small quibbles, sure, and like I said, maybe he’ll get in his groove a little more an issue or two in.
I should probably comment on the art. I really liked the art Udon Studios had been doing previously a lot. I’m not familiar with Breitweiser at all—I’m guessing he’s pretty new. The work in this book isn’t mind-blowing, but it’s pretty good. The coloring makes the book seem much darker and heavier than Udon’s did—their work was much brighter and more open feeling. Since we’ve got scenes in the dark, in bars and alleys and such, the heavier feel and look actually works. It’s not as crisp and clean as I’m used to on the book, but it’s still pretty good, and there are a lot of scenes where the energy and movement can definitely be felt. I wouldn’t be surprised to see his work turning up more frequently over at Marvel.
Overall, I can’t heartily recommend the book but I can’t trash it either. It’s got flaws, but I can see some definite potential. I’ll be sticking with the book for at least a few more issues to see what happens with the characters. I guess what it comes down to is this: if you’re not already reading the book despite Gail Simone’s run, this issue probably isn’t going to win you over. If you’re already familiar with the character, though, and you’re interested in keeping up, it’s worth the time and money.
AVENGERS #64
Geoff Johns: Writer
Ivan Reis: Artist
Marvel: Publisher
Vroom Socko: Bird Brained Reviewer
I’ve always liked The Falcon. One of the earliest Marvel superhero books I ever read was the second issue of his miniseries, where a damaged Sentinel hunted him down. Goddamn but that was a sweet story; easily the best action book that Sam Wilson’s been in. This issue doesn’t quite measure up to that particular miniseries. In fact, it only just measures up to the previous issue.
The bulk of the story deals with Sam’s distrust of the Avengers new UN liaison, Henry Peter Gyrich. For those of you that don’t know the history between these two, Gyrich is the group’s former congressional liaison, who used his position to run roughshod over the team. The Falcon was recruited at his insistence that the group needed more minorities. That’s right, The Falcon got in because of government quotas.
Roughly half of this issue involves these two men rehashing their history with the Avengers. I suppose if you’ve never read the book before the Busiek re-launch this section might prove enlightening, but none of the information conveyed is anything that couldn’t have been given in the first page recap. Having said that, I will admit that while this section offers little (okay, nothing) new, it isn’t at all boring. Credit goes to Geoff Johns for telling me a bunch of stuff I already knew while not putting me to sleep.
And yet, Johns does manage to muck up the second half. You see, Gyrich is currently under pressure from his old contacts in the Justice Department to give them access to the Avengers security files and computer network. Meanwhile, The Falcon has been using his feathered companion Redwing to keep tabs on Ol’ Henry, and is aware of the fix he’s in. Just when he’s about to get Gyrich to confide in him, the Scarecrow pops up. Yes, Marvel also has a villain called the Scarecrow. I think his gimmick is that he’s a contortionist or something, I don’t recall. That’s because his abilities aren’t mentioned, or even shown in this story. The only reason he’s used is for some cheap dramatic irony. Falcon, it seems, has now developed the ability to communicate with every goddamned bird on the planet, not just Redwing. He uses this ability to attack Scarecrow with, you guessed it, a murder of crows. Ho hum. Geoff, I read JSA every month. I have the Flash TPB’s of your stuff. I know you’re better than this.
I haven’t said anything about Ivan Reis art yet, so I’ll say this; if you’re desperate to see as many different splash pages of The Falcon flying as possible, then this is the book of your dreams. That’s all I’ve got to say about that.
If you’re an Avengers fan, there is a bit of plot advancement leading into the Red Zone storyline. I suppose it’s worth buying for that. If, however, you want a kick ass Falcon story, you can probably pick up all four issues of that twenty-year-old mini for the same price.
BRATH # 1
Written by Chuck Dixon
Art by Andrea Di Vito, Brad Vancata, Rob Schwager
Published by CrossGen
Reviewed by Buzz Maverik
I hear voices. Sometimes, my own voice. Sometimes, the voices of others, like the Comic Book Writer or the Young Comic Book Fans. The first issue of BRATH, the new barbarian comic book by Chuck Dixon and Andrea Di Vito from CrossGen made the voices more acute than usual.
"The art is good. So is the writing...what there is of it. I had to count the pages to make sure this actually was a 22 page story. Let's see, there were four single splash pages including the opener where Brath behold the enormous, shadowed crotch of the Stag God. The most useless splash page was page 17 which depicts a witch, who has evil designs on Brath's young son Bryllin (which sounds like the name of a girl in college who you wouldn't want to date) and her genuinely creepy, skull-faced pygmy. Do we really need a full page to show a couple of lurking villains who's existence has no meaning for us? If we found Dr. Doom and the Joker lurking in the woods, that might be a revelation worthy of a splash panel, but an unnamed hag and her troll doll?"
"It's a showcase for Andrea Di Vito's beautiful artwork."
"I agree that the art is really good, but a splash page should be dynamic! It should have impact! There should be a reason for it. This is just padding. Of course, the worst case of padding in the double splash page where a shaman type exchanges a few words with Brath's son. This is what's wrong with modern comics. That could be done in one panel."
" That's called widescreen, man! I'm sick of you old farts bitching about how comics were better back in the Old West or whenever you're from. Comics kick ass now!"
"Translated that means: please, please don't tell us that comics used to be better because these new, crappy comics are all we have."
"Not true. If you try, you might still be able to get ahold of a copy of Marvel's THE ESSENTIAL CONAN."
"BRATH isn't Conan. Just because they're both barbarians--"
"Very true, Comic Book Writer. In the CONAN comics, the stories have a beginning, middle and end and things happened. In this string of splash pages and gate folds, even with some action, things don't add up to anything."
"It's building--"
"Even when a comic is part of a long arc, each issue should have beginning, middle and...you guessed it, end. BRATH doesn't have any of these. Not even a middle. How can you not have a middle?"
"There's the Domnian Empire and the witch and Brath getting the Sigil and his tensions with his allies..."
"Yeah, but so far none of that really involves Brath. He won the battle but it wasn't a struggle. There wasn't any conflict. Nothing really happened to Brath and Brath didn't really make anything happen.
"So, here's hoping that if the Conan rights and Robert E. Howard properties ever get straightened out, Dark Horse will put out a CONAN comic that will have the much missed narrative, conflict, horror and adventure. Until then, every now and then, I'll dig out all those old Marvel back issues of CONAN THE BARBARIAN, KING CONAN, THE SAVAGE SWORD OF CONAN, KULL THE DESTROYER and even the DC Conan knock-offs."
Title: THE GOON: ROUGH STUFF Trade Paperback
Writer/Artist: Eric Powell
Publisher: Albatross Exploding Funny Books
Reviewer: Ambush Bug
In 1999, Bill Clinton was cleared of all charges in his impeachment trial. George Harrison was attacked and stabbed in his Oxford mansion by a loony loon bird. The world lost Joe DiMaggio, Stanley Kubrick, Oliver Reed, and John F. Kennedy Jr. Teletubby Tinky Winky was outed as a homosexual role model. And I was sitting face down in a plate of pistachios after downing shots of Tequila at Schlepy’s International House of Pig Innards right off of Route 95 beside the Burning Knuckle Hooter Bar and Cafe. Some things never change. 1999 was also the year that Eric Powell first unleashed the Goon and his pal Frankie on to the comic book world. THE GOON: ROUGH STUFF reprints the hard-to-find first Goon miniseries. I wasn’t lucky enough to pick up this series when it first came out, but was delighted to find out that these issues were available again in this slick new trade.
This will be my third GOON review. In my previous reviews, I’ve told you all how much fun this book is. I’ve told you all how seamlessly the horror and the humor in this book are melded together. I’ve told you all about my fascination with the Goon’s sidekick, Frankie, and how cool of a character that spindly-armed shit talker is. And I’ve told you that this book is the comic book equivalent of the EVIL DEAD 2. It’s a great read. The black and white art is beautiful. The story is not heavy, but still entertaining. It is what it is – a gory, exciting romp with characters who don’t take too much seriously written and drawn by a creator who doesn’t take too much seriously.
Eric Powell seems like a humble guy. In the foreword of this trade, he almost apologizes for what unfolds in the rest of the book. He says that the art and the story of first mini is not up to snuff with what is going on in the current GOON series. This may be true, but it is still a hell of a lot of fun to read and above par with a lot of the other stuff out there on the racks today. In an industry full of egos the size of …uhm…Ego the Living Planet, it is refreshing to see this talented young creator grow from issue to issue, becoming confident with both his words and art, while staying down to earth enough to rip on his own stuff every now and again. Still, I think the guy is being hard on himself.
The stories and art are, in fact, pretty good. As we follow the Goon and Frankie through a gauntlet of drunk werewolves, giant reanimated gorilla-monsters, zombie gangsters, and poofy-shirted vampire fops, we also are witness to the evolution of a talented writer/artist. From issue one – where the Goon and Frankie take on Joey the Ball, a guy who has had a bowling ball stuck to his hand since he was a kid and now has one gigantic, over-developed arm, through to issue number two where our pair of adventurers take on a hook-handed, Admiral Akbar-lookin’ sea beast, to issue three where we learn the secret origin of the Goon – the stories become more complex and interesting, the pencils become more detailed, the inks become deeper and richer, and the humor (especially the humor) evolves into the laugh out loud material that graces the pages of the GOON’s current series.
To top it all off, Powell makes this trade even more entertaining by adding his own special edition DVD-like commentary track along the side of each page. While the commentary, supplied by Powell and his certifiably insane publisher, Dwight T. Albatross, seldom deals with the actual story unfolding on the page, it adds laughs and a bit of insight as to just what kind of madmen make this gem of a publication possible. Throughout the book, Powell plays straight man, trying to offer behind the scenes facts and interesting details, but Albatross refuses to cooperate and seems set on sabotaging the entire attempt at a serious commentary track with nonsensical questions like “What kind of sandwich is that guy eating?” Fine comedy that any self respecting @$$hole would enjoy.
Powell also adds a few online GOON comic strips and a bonus art section, which shows us some early Goon sketches and the rhyme and reasoning the creator had in his head as the character developed into the man-monster he is today. The entire trade does what few trades do, it adds to the original story by providing interesting tidbits only found in the coolest of DVD Special Editions. This is a truly innovative trade and well worth the slightly high price tag. I’ve been clamoring about this series for a while now. Those of you who were unable to pick up the GOON at your local comic shop, have no fear. THE GOON just got picked up by DARK HORSE COMICS. Let’s hope that the move to this larger publisher will give this comic the recognition it deserves. Search this one out. THE GOON: ROUGH STUFF is worth it.
SUPERMAN #190
Writer: Steven T. Seagle
Artist: Scott McDaniel
Published by DC Comics
Reviewed by Cormorant
In theory, I think Superman has limitless potential for great stories, as befits the single best-known superhero in the world. In theory, of course. In practice, the character has had a lower percentage of good stories during his checkered history of nearly seventy years than Rom the Spaceknight, and typically rates somewhere between THE ANDY GRIFFITH SHOW and owning a Yugo on the Coolness Scale. Still, the handful of Superman stories that’ve hit the mark for me have really hit the mark, from the Richard Donner film of the 70’s to John Byrne’s revamp of the character in the 80’s to the excellent Superman cartoons of the 90’s. With Christopher Reeve’s stirring guest-appearance on a recent SMALLVILLE fresh on my mind, I was moved to give the latest issue of SUPERMAN a look, and here’s what I found…
There’s potential here, folks. This is not a story I can truly recommend, but having overtly disliked most Superman stories I’ve glimpsed in the last ten years, I was pleased just to find some potential. One of the things the book gets right – a quintessential element in my opinion – is making Superman’s powers seem cool. Superman himself may be too “Boyscout” for some readers’ tastes, but even the doubters have to acknowledge that his powers can really create an aura of awe in the right hands. Consider: Superman came up against almost no real physical challenges in the 1978 movie, but the simple act of watching him in action – flying, drilling into the ground, shifting tectonic plates – was an indisputable thrill.
In SUPERMAN #190, as in the ten-cent issue that preceded it and marked Seagle’s new direction, several instances of Supes using his powers are overlaid by captions identifying the power in question: “X-Ray Vision”, “Super Hearing”, “Olfactory Amplification”, etc. The role call of abilities reminds readers of the sheer vastness of powers he can call on, and the focus this issue is on the amazing tracking abilities of his various sensory powers. It seems there’s a rogue maintenance robot loose in Metropolis, and for mysterious reasons it’s targeted a cop for murder. As Superman exercises his various super-senses to pin it down, he hits some of the downsides to his powers, like overhearing disparaging comments from bystanders who think he has no respect for property or personal rights. Lois councils him, “If you don’t want to know what people are saying, you shouldn’t listen.”
But, of course, he has to. That’s the responsibility he’s chosen, even if it means he has to essentially “eavesdrop” on an entire city, sifting through the morass of conversations for emergencies relating to the threat of the day: robots. The robot in question is from the future, part and parcel of all the futuristic technology that now overlays Metropolis as part of some previous plot from the villain Brainiac. Whatevah. I don’t mind the hi-tech makeover of the city, but I did find the eventual explanation for the robot’s sentience and motivation to be very muddied and in need of further explanations. Maybe they’ll be forthcoming in later issues, but the resolution left a bad taste in my mouth, as did Superman’s treatment of this robot which clearly exhibits something close to human mannerisms. Essentially, Superman deals with the robot like a mindless automaton in his attacks, even making a point that he wouldn’t do the things he were doing if it were human – even a villain. This is nothing less than poor writing. Superman’s had years and years of experience dealing with all the bizarre wonders of the DC Universe, but has not the slightest shred of empathy for a machine that outright proclaims that it has a human mind within it? The story also had a few instances of groaner dialogue (“Betray this, cogs-for-brains!” shouts one cop), and a total coincidence involving Jimmy Olson, but it was the inconsistency of Superman’s intellect and compassion that really bothered me.
And yet…I like a good robot throwdown, so it wasn’t a total loss. I definitely enjoyed seeing Superman drawn into a mystery, one of the best ways to test him without resorting to obvious physical threats. He’s also got some good iconic moments interacting with and saving folks, a bit of solid banter with wife Lois, and again…seeing attention called to his myriad powers is pretty neat.
Artist Scott McDaniel isn’t a favorite of mine, but he’s got a particular flair for dynamic movement that energizes the book, he draws a sexy (if vaguely slutty-looking) Lois, and he pulls off a degree of cartooniness without stepping over the line into caricature. In some ways, I liken him to Todd McFarlane, each of them impressive natural talents with similar strengths, and each of whom I feel could venture into greatness if they spent some time honing their craft.
Final judgment: Overall, the book’s too hit-and-miss for a recommendation. Seagle’s got some strong moments, and makes me want to like the book, but it feels as though he’s not thinking the stories through, so no free passes. Kids would probably have no problem with the inconsistencies, and folks like me just jonesing for some solid Superman entertainment might be able to glean the good stuff, but Seagle needs to do more to truly distinguish himself. I’m keeping a closer watch than before, though.
Indie Jones
Even an @$$hole needs a little help once in awhile. You see, I’m on a quest to find the best indie comics currently being published. With the help of the rest of the TL@ gang, I’m looking far and wide for self-published comics worth lining up next to the output of the majors. Unfortunately, unlike the superheroes from which we take our name, I’m lacking in the powers that would allow me to journey to all the numerous recent and upcoming conventions like last month’s Alternative Press Expo and next month’s Atlanta Comicon and Pittsburgh Comicon, events that would give me a chance to meet directly with the small press publishers I’d like to support. AICN readers, this is where you come in – if you have a comic that you’d like to see reviewed on AICN, or if you know of a self-publisher who would, get those comics in to Indie Jones. From pamphlet-size to telephone-book-size, full-color, glossy, black & white, crayoned, Xeroxed, painted, art school, old school, after-school, autobiographical, fantasmographical, sci-fi, lo-fi, why not put a copy in the mail for your friendly neighborhood TalkBackers?
Anyone with a self-published comic of any variety is invited to send a copy our way. Chances are good that you’ll see your name right here on AICN, and there’s a 100% chance of your comic being read and responded to by at least one of the rabid comic book fans that make up the TalkBack League of @$$holes. Just send an email to indie_comics@yahoo.com and we’ll give you the lowdown. If you’re one of the folks that has sent in a comic but hasn’t heard back yet, be advised that the mail has been reeeeeeeally slow of late and your work probably hasn’t reached the appropriate @$$hole yet. With any luck (and the cooperation the US Postal Service) the response time will be improving in the near future.
And now, on to the comics! This week, we have a special guest reviewer with a look at a particularly… unique collection submitted by Neil Swaab, whose work is available for viewing at this website. I’ve read through some of the strips, and I think they’ve scalded my eyeballs…but I’ll let our guest tell you more about that. He’s the one, the only, The Comedian. Take it away… please…
Rehabilitating Mr. Wiggles Vol. 1
Written & Illustrated by Neil Swaab
Review by The Comedian
Neil Swaab probably thinks he’s secured his spot at Michael O’Donahue’s table in Hell with this collection of his sicko comic strip “Rehabilitating Mr. Wiggles”. Appearing weekly in The New York Press and The Real Detroit Weekly as well as monthly in Gear Magazine, “Rehabilitating Mr. Wiggles” chronicles the misadventures of a drug-addled, sodomizing, pederast and murderer who happens to be a Teddy Bear, and his bald self-loathing sidekick, Neil Swaab. This stuff is meant to shock but it gets a little redundant. Though some of it is actually pretty fucking hilarious when Swaab’s not trying so hard to show off what a creep he is.
The bulk of the strips are little conversations between Mr. Wiggles and Neil, lots of little bits about Mr. Wiggles sodomizing Neil while he sleeps or shitting in the sink or Neil bitching about how pathetic his love life is. Some of these are actually pretty amusing. The really sick shit is when Mr. Wiggles is actually in action, kidnapping a Senior Citizen and locking her in his basement as his sex slave until she dies.
Here’s an excerpt.
Neil: “So how’s your senior citizen working out?”
Mr. Wiggles: “Horrible. She shits herself constantly & I’ve had to pull her out of the bathtub twice ‘cause she was too weak to do it herself.”
Neil: “So are you starting to regret your ill-fated purchase?”
Mr. Wiggles: “Not really. She gives great blowjobs. No teeth.”
There’s other sick stuff involving Mr. Wiggles. Like when he invents an ice cream for sex offenders. Or when he kills the bear from the Snuggle commercials and takes his place to manipulate two little kids into…well you get the idea. In Swaab’s defense most of Mr. Wiggles’ behavior is never shown - it’s merely talked about.
So, what about the non-creepy funny stuff, you ask? Those strips are the true redeeming grace of this collection. The “Rehabilitating Mr. Wiggles Presents” strips are hilarious little bits of dark satire like “Subtle Differences Between Guys and Girls”, “Computers Wrecked My Body”, The New Years Eve Strip, and one that actually did make me laugh out loud, “Cats Are Cute”. The bits with Jesus are kind of hit and miss but they work a lot better than the straight up shock stuff too.
Overall, I can’t honestly say that I’d recommend anyone pick this book up unless shock humor is your bag, and even then you might not be all that entertained by the really sick stuff. I think when this guy spreads his wings and focuses his cynicism in other directions this strip really does take off but the majority of them are pretty rank. Perhaps he will get that spot at Mr. Mike’s table in Hell but right now he’s merely skipped Matt Stone and Trey Parker on the wait list.
Still hankering for something a little different? Check these out: