| #51 | 4/19/06 | #4 |
(Click title to go directly to the review)
DAREDEVIL #84
THE GOON #17
IRON MAN #7
JUSTICE #5
Indie Jones presents SUPER BAD JAMES DYNOMITE # 1 & 2
CHEAP SHOTS!
DAREDEVIL #84
Writer: Ed Brubaker
Penciler: Michael Lark
Publisher: Marvel Comics
Reviewed by Humphrey Lee
Really good, but a little too convenient. That is how I found this latest issue of Ed Brubaker's run on DAREDEVIL.
It goes without saying, though, that this is the first time I've felt this way since Brubaker took over the reins of this book after Brian Michael Bendis' almost instant-classic run on the title. So far everything has worked with a very flawless transition, and has led us down some very unexpected roads. We've had a new and unknown man in the guise of our resident Man Without Fear start hitting Hell's Kitchen’s worst with a vengeance. We've had the horrifying death of long time supporting character Foggy Nelson. And we've seen tensions build as we see Matt Murdock trying to adapt and survive locked up with some of New York's worst, a nice sum of whom his alter ego has placed there. So the reason I started off this review saying what I said is because after all that we've seen so far this issue doesn't really push us down these winding roads as much as coasts along one of the straighter parts of it for a bit.
This issue tries to build the tension a bit more by introducing yet another DD rogue into the dank halls of Ryker's, and I'm betting if you know that he's already in there with the Kingpin and the Owl, it won't take much of a stretch to figure out who the newest member of the chain gang is. Lemme give you a hint just in case, he was played by Alexander the Great. It was only a matter of time before it was going to happen, we all knew that, but it almost seems like too much all at once if you get what I'm saying. We've already had a great build up of tension to this point, and now it seems like we're pushing an envelope that really hasn't been opened yet, nor the contents read. There's a lot more that could have been played out up to this point, but thankfully Brubaker doesn't dedicate too much time to this latest development. And it was admittedly a very cool introduction, as Brubaker writes in some fantastic soliloquy from Murdock as he describes the atmosphere of the prison as Bullseye is brought in, despite not even being there to see it firsthand. And it might be clichéd by now, but seeing Bullseye decked out in Hannibal Lecter gear definitely induced a chuckle.
The rest of the floating plotlines develop slightly as well. Ben Urich is slowly working his way towards the new Daredevil on the streets, plus has an entertaining little exchange with J. Jonah Jameson over his treatment of the situation with Murdock in Ryker’s. It's almost like DD has become his new "menace" instead of our Friendly Neighborhood Spider-Man and makes for an interesting little sidebar on the subject of journalistic ethics. And DD personally makes a little more headway from the inside towards who set up the hit on his pal Foggy as he confronts one of the main guards of the facility and also Hammerhead. Again, the actual process of plot development on this is somewhat scarce, but at the same time the tension and drama levels are still played out very high, so they never feel stretched.
And okay, the ending was indeed awesome. As much I'm not too fond of seeing so many characters being thrown into this boiling pot so soon, the developments that play out in the final two pages are indeed a stroke of brilliance. If there was any possible way to make the whole situation in the prison any more of a powder keg, that way was accomplished with the ending of this issue. Kudos, Bru, kudos. Oh, and as if it has to be said, Mr. Lark is knocking this one out of the park as well. The perfect art fit for the story, you can't really put it any other way.
Another quality issue in the bag of what is promising to become another instant-classic run for DAREDEVIL. I just want to see a little more actual development, and a little less shock and awe moments, but given the quality of the writing before us, I'm not really going to make my concern more than a minor quibble. Great writing like this doesn't come along too often in the world of mainstream comics. Gotta sit back and enjoy it while it's here.
THE GOON #17
Writer/Artist: Eric Powell
Publisher: Dark Horse Comics
Reviewer: Ambush Bug
There are those that are saying that this book has lost some steam now that there is more of a linear, multi-part storyline going on. And yes, these naysayers do have a point in that now that these GOON issues are less stand alone, one could say that THE GOON is less accessible. One of the things that I loved about the original issues of THE GOON and the first year’s worth of issues from this current Dark Horse series is the fact that they played out like demented Loony Tunes set in a dark world where tasteless humor rules supreme. I loved the fact that some of the humor made you wince. Some of the gross out comedy was truly gross. And some of the characters were pretty deplorable, yet lovable in the fact that they take pride in the fact that there is no such thing as shame on Lonely Street, the street where a lot of the Goon’s action takes place. Like Bugs Bunny, Daffy Duck, and Droopy, you didn’t need to know the Goon and Frankie’s secret origins to have fun watching them. You just sat back and watched the downpour of insanity and fun rain down.
That said, I’m enjoying this new direction creator Eric Powell has chosen for THE GOON. Powell spent quite a long time establishing these characters, allowing us to care about them or want to see them suffer. And now that he’s done this, Powell has decided to take us on a more extended journey. Although this issue is a part of a larger storyline, I wouldn’t say that it couldn’t be enjoyed if this is the first issue of THE GOON you pick up (and if it is, shame on you). It starts out with a great homage to Hitchcock’s THE BIRDS as swarms of mini-zombies are let loose on the town and our heroes, the rough and tumble Popeye-ish Goon and his sidekick, Frankie, the feisty Annie-eyed pipsqueak, are in the thick of the attack. The Goon and Frankie, joined by the creepy ghoul The Buzzard, fight a bunch of mini-zombies. And if you haven’t read the rest of the storyline, you can enjoy it for what it is. There are some great bits of humor as Frankie and the Goon kick ass. There are some creepy moments as the mini-zombies loom upon the Tippi Hedren-esque woman in peril. And there’s the art which has been consistently good since the very first issue of THE GOON. All in all, it’s an issue that stands on its own two feet in and of itself.
It also advances the storyline as the Goon gets closer to the Zombie Priest, the Goon’s arch-nemesis, and develops suspicions towards his ally The Buzzard. Those who have followed the story from the beginning will be pleased and Powell does a good job of making this fight count in the grand scheme of things.
But the question is, is that what fans want from a GOON series? Do they come here to see the Goon and Frankie’s story unfold or are they there for the more visceral, gut-busting, stomach-churning humor? Well, I think this book has both. I mean, the Zombie Priest wears a female zombie’s uterus as a hat, for god’s sakes. Tasteless? Hellz yes. And I’m loving it. This book has definitely not lost its bite. The gross out stuff is still there. Frankie still kicks ass. Powell’s art is still some of the best you’re going to find. I look at the inclusion of an ongoing storyline as a bonus, not a hindrance to this book. THE GOON is always one of the best books on the shelves. It’s sure to offend the nambies and it’s damn proud to do so.
IRON MAN #7
Writer(s): Daniel and Charles Knauf
Penciler: Patrick Zircher
Publisher: Marvel Comics
Reviewed by Humphrey Lee
Warren Ellis has come and gone, and “Extremis” is finally over, and now Daniel and Charles Knauf, the creators of the much lamented HBO series CARNIVALE, have been passed the writing torch on IRON MAN. Things are different for multi-billionaire industrialist and superhero Tony Stark, and this book is pretty much an exercise in showing just how so.
Ever since the incident with the Extremis Virus, Iron Man has become more than just a man in a high-tech piece of armory. Stark has become much more integrated with his supervillain fighting weaponry, as his armor is now responding instantaneously with his commands, and even allows him to work laterally on other non-suit related things with just a thought. We're shown this for about half the issue as we watch Iron Man fight his old rival, the Crimson Dynamo, and do CEO type stuff at the same time as he's issuing takeovers, working on weapons designs, and yadda yadda yadda. Again, it's just an exhibition in the new and improved Tony Stark/Iron Man combo and meant to show that Tony himself is a bit different because of it all. In fact, he's a bit of an ass now, and there's some tension stemming from it that flows into a little bit of a confrontation between him and Captain America...queue your CIVIL WAR lead-in.
There are some other plot points introduced as we witness a shadowy figure systematically eliminating a list of individuals via computer terminals and some mysterious piece of technology that is apparently somehow related to Iron Man. Maybe an old abandoned suit? Looks like we have a mystery on our hands. And speaking of mystery, we have an encounter between Nick Fury and Tony Stark over his current state of affairs and whatnot, which begs the question, uh, isn't Nick Fury supposed to be incognito in the Marvel Universe right now? Not just chilling on the deck of a SHIELD Helicarrier? Go consistency!
But anyway, this introductory issue is perfectly competent, but I wouldn't praise it as much more than that right now. The writing and dialogue is pretty smooth with the proper amount of drama, a little bit of humor, and the appropriate amount of technobabble. And I'll admit the Knaufs wrote a pretty energetic battle in this issue. The story behind the "laptop killer" hasn't played out enough to be interesting, but it has some potential behind it for sure. And the seeds for CIVIL WAR have been somewhat sewn here, but it was more of just a passing moment than any full-blown conflicts. And Zircher's pencils follow suit in the realm of competency. The action scenes had a lot of energy and great flow, and nice detail to boot with all the debris flying about and whatnot. There are a couple minor trouble spots though with some cases of "over-muscling" that kinda distracted me in moments where Cap and Luke Cage in their little cameos looked like they were almost as wide as tall, and had a bit of what I like to call "Bart Sears jaw". But otherwise the art has the same quality work as I've come to expect after seeing it so much in CABLE/DEADPOOL.
All in all, I'm expecting quality stuff from this creative crew given what I've seen so far. Now that we've laid a little groundwork, it's time to see how well it plays out.
JUSTICE #5
Writers: Jim Krueger (script) & Alex Ross
Artists: Doug Braithwaite & Alex Ross
Publisher: DC Comics
Reviewer: Prof. Challenger
A couple of months back, I delivered a snarky little review of JUSTICE #4 because out of the first four issues, that was the first time I noticed serious missteps in the series. The series had just been plowing down the track smoothly until that issue and it nearly derailed the whole thing for me, especially all the boo-hoo crying from the heroes. So, now JUSTICE #5 has hit the stands. Does it get the book back on track?
Pretty much.
The first page made me groan and that’s never a good thing. Look. If nobody at DC likes the Elongated Man, just put us fans out of our misery and stop using the character. Let him disappear into the ether of the forgotten. But for heaven’s sake stop the self-pitying, self-loathing character assassination that poor Ralph has undergone ever since IDENTITY CRISIS #1! Check out this line of dialogue coming from Ralph Dibny in the first panel: “I know I’m a JLA second-stringer and I’m lucky when I get called to tutor the Teen Titans.”
Uh-uh. No way that the Ralph Dibny I grew up reading in FLASH, BRAVE AND THE BOLD and JLA would’ve ever voiced a line like that. In the era in which this book is set, pre-rape and murder of his wife, Ralph was the consummate example of a hero who was in the game for the thrill and the challenge of it all. He had no hang-ups over his value as a detective or a JLA member. A line like that smacks of writer’s conceit more than character-driven dialogue. In other words, it says to me that either Krueger or Ross harbors disdain for Ralph and perceives him as a second-stringer. To which I have to ask whether that means they see Plastic Man as a first-stringer? The implication is there at least. I mean, Plastic Man is the archetypal stretchy-hero from which all are derivative, but no way no how can the silly and satirical Plastic Man be considered a JLA first-stringer. I’d stack up the years that Elongated Man spent as a front-burner JLA member against Plastic Man’s perpetual backburner tenure in the JLA anytime.
And that’s just the first page. Rather quickly, the book gets back on track and picks up the ball on all the cliffhangers from the previous issue. Superman gets a big save from a surprise reserve member of the JLA who was never a reserve member…at least during the era this is supposed to take place. My fanboy memory seems to recall the reserve members at that time being: Metamorpho, Phantom Stranger, Adam Strange, and Sargon the Sorcerer. Scarecrow conveniently forgot about Black Canary’s sonic scream so that when he causes her to see a dead Green Arrow…well….let’s just say that he and Clayface head for the hills rather quickly. Also, my mistake last issue (based on some unclear art & dialogue but caught by an eagle-eyed talkbacker) in thinking Green Arrow was grabbing a condom, is explicitly corrected here logically within the context of the story. Yep. They were earplugs. Ollie, you dirty bird. A supernaturally weakened Wonder Woman continues to fight Cheetah. Green Lantern is still stuck in the middle of nowhere with power running out on his ring. Hawkman and Hawkgirl crawl out of the rubble of the museum. Poor Aquaman got front-burner focus in issue one but has been relegated to the operating table for four issues now so that Brainiac could play with Arthur’s brain. And Flash is stuck in that running loop going nowhere.
The appearance by Capt. Marvel was a welcome appearance and proves why, when done right, he has just as much archetypal potential as Superman. I thought the way Cap’s dialogue read created an interesting dichotomy to the way Cap looks. It’s not that Cap talks like a little child, but his choice of words at times is immature. Now, given the fact that he looks like a huge bruiser in military garb, this would likely make the other adults around him uncomfortable if they don’t know his secret identity. At the same time, it would likely make Cap seem very approachable to children. Where Krueger and Ross got it wrong was they forgot that Cap has the wisdom of Solomon; which, by the way, seems to be the one aspect of Cap that just about every writer forgets about or ignores. Surely the wisdom of Solomon would be enough for Cap to know not to say “SHAZAM!” in a huge, cavernous Batcave calling down lightning and reverberating thunder. However, again a writer’s conceit issue, this was the event that Krueger and Ross chose to use as a trigger to set off Batman yelling at Billy “Are you out of your mind?! Lightning in a cave?”
A decidedly out-of-character moment for Batman and a signal to both the reader and Superman that something is terribly wrong with Batman. And this provides us with our first WOW! moment of the comic when Superman flattens Batman with a left hook spewing bat-blood everywhere. Looks like the things that bugged me last issue, like Superman crying like a baby, were more than just out-of-character but the result of little microscopic mind-controlling “Mr. Minds” that the villains have infected the heroes with.
Nicely done. Didn’t like having to wait two months for the reveal though. Decompressed storytelling in a bi-monthly should really be avoided.
Now we have to wait two months to see Cap throw Superman into the heart of the sun to try and burn those little buggers out of his head.
Visually, the series continues to be an artist’s feast. I really just love the mad scientist look to Brainiac, which is a throwback to his very first appearances even down to the monkey sidekick. But instead of silly, the visual is downright creepy. The backup fact files feature Superman (in a pretty scary-looking image), Cheetah, Poison Ivy, and the single-best hands-down posed Wonder Woman interpretation I’ve ever seen. This should be on a poster and should be the cover of the new WONDER WOMAN #1. This is why I keep pimping the combination of Braithwaite and Ross. As much love as I’ve got for what Ross does on his own, Braithwaite gives something more to Ross than a photo reference can give and even in this static shot of Wonder Woman, you can see why Ross’s best comic art yet is right here in this comic.
I guess I’m back on board with JUSTICE. It’s not perfect. I wish the writing side would work to avoid self-indulgence and just tell the story naturally and organically, but overall the series hits the target so well in so many ways, that I can’t help but dig it.
SUPER BAD JAMES DYNOMITE # 1 & 2
Written by: Marlon Wayans, Shawn Wayans, Keenen Ivory Wayans, Xavier Cook, and Mitchell Marchand
Artwork by: Robert Reed and Darren Huang
Published by: IDW Publishing
Reviewed by: superhero
OK, so my first question is: it took five people to write these books?
I’ve have to admit, I really wanted to like SUPER BAD JAMES DYNOMITE. See, SUPER BAD JAMES DYNOMITE, if you can’t tell by the cover image, is supposed to be a parody of old ‘70’s blaxploitation flicks. As far as I’m concerned there’s nothing like a good blaxploitation flick. Whether it’s BLACK CAESAR’s Fred Williamson trying to climb his way up organized crime’s ladder of death or it’s Pam Grier’s COFFY avenging her little sister’s heroin overdose, blaxploitation movies have always held a special place in my heart. It’s not because they’re particularly excellent per se but it’s because despite their limitations they’re usually always pretty entertaining. Sure some of them, like DOLEMITE, come off more as comedic gold than as the action thrillers they were aspiring to be but either way most of them were made with such conviction that I can’t help but respect them in some odd way. For the most part when I see a blaxploitation film I at least believe that the filmmakers cared about what they were making unlike the vibe I get from a lot of the Hollywood films made today.
But if I were to be completely honest I would have to admit that there is a certain humorous quality to almost any blaxploitation film as seen through the eyes of the modern viewer. No matter how seriously you try and take them, in the end you have to admit that everything from the fashions to the language are pretty hysterical in a modern context. Sure, Youngblood Priest in SUPERFLY is such a bastard that he threatens to put one of his men’s wives out on the street to make up for the money he owes him, but when you look at that mustache and the clothes he’s wearing you can’t help but not be able to take him seriously. I mean, c’mon, if someone that looked like that came up to you today and started talkin’ that jive you’d probably die from laughter before you popped a cap in his ass, right?
And that’s where the problem with SUPER BAD JAMES DYNOMITE lies. SUPER BAD JAMES DYNOMITE depends too much on that fact that the ‘70’s conventions are funny in and of themselves. It uses those conventions as a crutch instead of trying to be genuinely funny on its own merit. Yeah, sure, all of the elements of ‘70’s blaxploitation flicks are hysterical but they’re not the only thing that you can base your whole book on. Unfortunately that’s exactly what SUPER BAD JAMES DYNOMITE does. Instead of coming across as a coherent and amusing story it comes across as a bunch of cheap and unfocused gags. Not only that, but they’re gags that have been done time and time again. Instead of passing itself off as something refreshing and original like say, I’M GONNA GET YOU SUCKA, this book comes across as tired and, quite honestly, bloated. SBJD isn’t funny in the way it wants to be just because this type of parody has been done to death. There’s nothing really original here. It’s been done before and it’s been done better. Maybe not in comics, but still, SUPER BAD JAMES DYNOMITE doesn’t offer anything new to blaxploitation parody. Not only that but the little bit of story it does offer comes across as tacked on. While, yes, coke sniffin’ pimps with huge leopard skin fedoras are funny, coke sniffin’ pimps with huge leopard skin fedoras alone do not a good comic make.
The other thing that bugged me, and it could be just me, is that in the back of issue number one there’s a “Making of Dynomite” feature. The thing is that it isn’t so much a Making of Dynomite feature as it is a gallery of Marlon Wayans photographs that were used as reference for the lead character’s facial structure. This really just ended up leaving a bad taste in my mouth. Mostly because it gave me the feeling, especially after having finished the first issue, that SUPER BAD JAMES DYNOMITE was nothing more than a vanity project for Marlon Wayan’s ego. It may not be true but that’s how it seemed to me. It’s almost like the whole book was put together so Marlon Wayans could eventually pitch the project to a studio instead of just making a decent comic. In other words, it seemed like the whole reason the comic was put together was so Marlon Wayans could actually capitalize on having a comic character based on himself instead of actually producing one that was fun to read. If there’s anything I don’t want to invest my time in it’s a project that was put together just to fulfill a celebrity’s whim to play a ‘70’s blaxploitation star in a new film project.
What I did like here was the art. Artists Robert Reed and Darren Huang use a combination of artwork, photography and what looks like computer coloring techniques to give the book the feel of gritty ‘70’s era New York. The artwork evokes the feel of a lot of the painted art of the time and fits the book perfectly. While there were times I thought the coloring and airbrush strokes make the look of the book a little harsh it seems like that’s what they were going for. Some panels do look a little cramped and at times some of the cartoon figures can be a bit stiff looking but all in all the book achieves its goal of capturing the era it’s trying to emulate. And as much as I was annoyed by it, they really do a great job of making SUPER BAD look just like the one of the book’s creators. That, to me, is fairly impressive as I’ve seen many comic book artists try render likenesses of real people and fail miserably.
In the end, though, SUPER BAD JAMES DYNAMITE is a disappointment to me. It does seem like it could have some sort of potential but for now it’s unfortunately a one note parody book that really doesn’t come across as all that funny. Hopefully future editions will have a bit more thought put into them because if it’s one thing I’m rooting for it’s a book that makes fun of the blaxploitation genre and is actually amusing at the same time. Too bad this wasn’t it.
Remember, if you have an Indie book you’d like one of the @$$holes to take a look at, click on your favorite reviewer’s link and drop us an email.
Remember, if you have an Indie book you’d like one of the @$$holes to take a look at, click on your favorite reviewer’s link and drop us an email.
SQUADRON SUPREME #2
Marvel Comics
Ok, this issue highlights a chink in JMS’ SUPREME POWER armor. Namely, the fact that he’s been pretty good at telling the story about how all of these interesting characters would come together, but now that they are, he’s having some problems integrating them all together to make one story. Although this group has been assembled, they’re pretty much pairing up and interacting with the same people they’ve been interacting with since the SUPREME POWER series. The closest thing to a new interaction these guys have had so far is when The Dimbulb Shape calls The Aquarian “fishie-fishie” on the flight over to investigate a charismatic African leader named the Voice, who may or may not have supreme powers himself. You’d think that with all of these dynamic personalities assembled in one group, there’d be a bit more to work with, but JMS is continuing the plots established in the SUPREME POWER series as if these guys aren’t sharing the same space. Doc Spectrum is paired with Aquarian. Hyperion only finds friendship with the Blur. Emil and Arcanna share snide words. I understand when a group of people are thrown together, they often tend to congregate with those they are most familiar, but this issue reads like these characters are miles apart. On top of that, despite the effort to make this an all-new, great-jumping-on-point book with it’s new leap from Marvel’s more mature MAX line to the regular all-ages friendly corner of Marvel distribution, a lot of what makes this book special is the fact that longtime fans remember all of the fucked up shit that has happened and all of the fucked up shit these characters have done. Now that referencing the fucked up shit is off limits because of the all-ages banner, I wonder how long this story will have legs when right now it just relies on the memory of being edgy. Those just joining this book may have trouble understanding just how powerful Hyperion really is or the lengths the government will go to make sure he is on their leash, let alone what a supreme powered person can do to people or how dire the circumstances JMS mapped out in SUPREME POWER and its subsequent miniseries really are. It’s like making G-rated porn. What’s the point? And I’m not griping about the lack of boobies, just the dulling down of the edge SUPREME POWER once had. I’m still giving this one a chance, but so far, a SQUADRON SUPREME without a MAX may not be a SQUADRON SUPREME I want to follow. - Bug
JSA CLASSIFIED #11
DC Comics
I was never really interested in Vandal Savage. He always seemed like a bland character to me. Like some boring, second rate Ra’s Al Ghul. But this issue and the last really fleshed out Vandal Savage for me and made him a distinct and threatening villain. Writer Stuart Moore does a good job of roller-coasting the reader into feeling sorry for Savage one moment, then despising him the next. All topped with some pretty effective Paul Gulacy art and this is yet another great issue of a truly great series. - Bug
WOLVERINE: ORIGINS #1
Marvel Comics
The hell?!? This is a way to start a new ongoing comic book? Basically continuing two seconds after the last new issue of WOLVERINE left off? And then in this month’s regular WOLVERINE title we get a stand alone filler issue? Am I missing something? This issue is no different than another typical issue of WOLVERINE. If you like WOLVERINE’s regular title, I guess you’ll like this too, but why buy two comics a month when basically there is no distinction between the two? Did I just step into a time warp back to the nineties when Marvel was over-saturating the market? Why was a new Wolverine series needed if basically the creative team is moving from one title to another without skipping a beat, leaving the previous title to resort to filler? Doesn’t make sense to me. The big distinction is that Wolverine is wearing the ol’ Black and Tan costume, I guess, but it still isn’t enough for me to care. If this had been a series that focused on Wolvie’s origins like the cover says, a sort of LEGENDS OF THE HAIRY KNIGHT type dealie, where we get stories of Wolvie throughout his long life span that he newly remembered, then that’s something different and maybe I’d give a poopin’ crap. But this issue gives no indication of this. It’s simply the next issue of WOLVERINE with a new number one tacked on. I thought this type of paltry Marvel spread-thin character bullshit was gone with foil covers and polybags. Guess not. - Bug
ROBIN #149
DC Comics
Dammit, after a pretty kick @$$ first issue OYL ROBIN, I was completely turned off by this book due to one simple fact: Robin is cornered in the evidence room by a bumbling night-shift guard and instead of tossing a gas pellet and disappearing or deftly removing the firearm from the officer’s hands or simply being skilled enough to avoid detection from said bumbling guard, Robin cold-cocks the shit out of the poor sap! And I’m sorry for getting all “This character would never do this type of shit” on your @$$es, but this character would never do that type of shit! I understand Robin was cornered. I understand that this past mysterious and crazy year did a lot of mysterious and crazy shit to all of our heroes, but Batman’s protégé just wouldn’t do this type of thing to a law enforcer no matter how cornered he was. It’s the type of thing that snatches me by the short hairs and yanks me straight out of the story. After this scene, Robin continues to beat on some more officers as if they were a bunch of adopted Opie Taylors as he tries to escape the precinct. I could see him doing this to the Joker’s thugs, but not honest police officers. To me, this is proof positive that the writer doesn’t really get the character. It’s like when Batman rolled up his cape, fired up a jet-pack, and flew away as he did in GOTHAM COUNTY LINE recently, or when Superman throws a giant S-Shield in SUPERMAN II. Sure, this instance is on a lesser scale, but all of it goes against what’s known about the established character. I understand there’s the philosophy that characters can do anything and that phrases like “He’d never do such a thing” is kind of ridiculous when speaking about a fictional character that can do anything the author writes, but resorting to violence against sworn protectors of the law is just something a character like Robin would never do and someone writing an issue of ROBIN should know that. I don’t care how wild this last missing year was, that ain’t Robin. - Bug
ANNIHILATION: NOVA #1
Marvel Comics
Although his part in the ANNIHILATION PROLOGUE wasn’t very inspiring, this was the first ANNIHILATION miniseries that I kind of like so far. I’m not big on cosmic Marvel sagas (the INFINITY GAUNTLET/WAR/CRUSADE cured me of that), but like fellow @$$hole Buzz Maverik, I have a soft spot for Richard Rider AKA Nova. There’s something about this bumbling doof that I can’t get enough of and Dan Abnett seems to have a firm grasp of the character I grew up reading. Looks like there’ll be a team up with Drax in the future and since that series proved to be pretty good, I think I’ll stick with this one as well. Kev Walker’s art is pretty nice too. It has a gritty Giffen-esque circa LEGION OF SUPER HEROES era feel. Give this one a shot, folks. I’m gonna do the same. - Bug
