| Issue #46 | Release Date: 2/1/12 | Vol.#10 |
Don’t forget to check out the @$$IE AWARDS: Day One—BEST ONE SHOT/ANNUAL/SPECIAL! FAVORITE COMIC BOOK TEAM! BEST COVER ART! BEST MINISERIES!
Yesterday’s @$$IE AWARDS: Day Two— BEST SINGLE MOMENT/SINGLE ISSUE! FAVORITE COMIC BOOK VILLAIN! BEST CROSSOVER/EVENT! BEST ARTIST/ART TEAM!
And today’s the @$$IE AWARDS: Day Three—In Memoriam…Prof. Challenger remembers comics greats who passed in the last year...
And look for more AICN COMICS @$$IE AWARDS all week!
On with the reviews!
(Click title to go directly to the review)
Advance Review: DEADPOOL #50
STORMWATCH #6
AMAZING SPIDER-MAN #678 – 679
REX, ZOMBIE KILLER #1
ANIMAL MAN #6
DEADHORSE #3
Advance Review: BATMAN & ROBIN #6
Advance Review: In stores this week!DEADPOOL #50
Writer: Daniel WayArt: Carlo Barberi (pencils), Walden Wong (inks), Dommo (colors)
Publisher: Marvel Comics
Reviewer: Johnny Destructo
I hate Deadpool. Well, ok…I suppose that's only partly true. I occasionally found his antics amusing in the beginning, but after an issue or two, I discovered that while his witticisms were funny here and there, I just didn't care about any of his stories. Deadpool, for me, works much in the same way as The Punisher, Bullseye…and Ludacris. That is to say, when he shows up in someone else's stuff. He is a GREAT team-up partner and an awesome guest star. Hell, I love him in Uncanny X-Force. He really adds something to that book, but his solo title just never did it for me. And then, that period wherein Deadpool had more comic titles than Jesus? That was just annoying.
Well, here we are at the big milestone issue 50, and I have to say, I didn't hate this as much as I thought I would. It's got Deadpool actively seeking out his own demise, it's got X-Force in all their Uncannitude, and the inappropriately dressed Typhoid Mary.
This was a pretty entertaining read, despite the fact that it wasn't funny in a LOL, ROTFLMAO, giggle-fest kind of way, but in a "heh, that was funny" kind of way. The comment about Psylocke's underwear drawer is a perfect example. I acknowledged that the joke was humorous, but didn't actually laugh. Maybe that just makes me weird. Oh hey! Digression. It was interesting to see DP trying to play several factions against each other and manipulating all the players, but it was also…strange to see it actually working. He's never seemed to me to be particularly cunning. But that underestimation on everyone else's part is what he uses to work to his advantage. Another highlight was only a page, but it took me totally by surprise. Has this seemingly romantic relationship with Death been an ongoing gag, or is this something new? At any rate, I LOVE it.
The art by Carlo Barberi is solid stuff as well. It has a LOT in common with Ryan Stegman over in Scarlet Spider, and is pretty much perfect for this book.
The cover is another simple but effective piece by Dave Johnson, however…instead of calling it lazy Photo-Shopping, I'm going to assume that on the cover, Deadpool has been buried directly next to Frank Castle, since the trees in the background are the exact same "skull-tree" trees copy/pasted from this week's PUNISHER MAX #22. ;)
Also, the colorist seemed to have a hard time deciding whether or not Typhoid Mary was wearing a shirt under her leather jacket or not. It kept switching back and forth.
This is just me being nit-picky though. This is a fun read that even non-DP fans can enjoy!
JD can be found hosting the PopTards Podcast, drawing a weekly webcomic, discussing movies, comics and other flimflam over at www.poptardsgo.com, graphically designing/illustrating for a living, and Booking his Face off over here. Follow his twitter @poptardsgo. His talkback name is PopTard_JD. He is also now co-hosting another Comic Book discussion show on Party934.com alongside Bohdi Zen. They discuss comics and play music, check it out live every Saturday from 4-5pm.
STORMWATCH #6
Writer: Paul CornellArtist: Miguel Sepulveda
Publisher: DC Comics
Reviewer: Optimous Douche
I have more mood swings than an ovulating elephant when it comes to STORMWATCH at the close of its first arc. As much as I try not to compare any of the new DC titles to what has come before, when dealing with a property that I covet, shattering out of my amber cocoon is harder than Superboy Prime trying to punch through a crystalline representation of reality.
Out of all the team books in the New 52, STORMWATCH strikes a huge cord of differentiation. But is this the same STORMWATCH that was made so famous in the early aught years of the new millennium, the one that wrought AUTHORITY? The simple answer is no. The new STORMWATCH is diluted to fit its new mantra of all age accessible. Now, some puritans will grouse at the fact an all ages book shows a healthy homosexual relationship, just as your edgier folks will argue that simply having homosexual characters isn’t x-treme enough. To both groups I say shut your yappers. Welcome to the 21st century, ancient Rome or back when the first boy amoeba accidentally poked another boy ameba. Homosexuality has always been with us. And for anyone that thought the relationship between Apollo and Midnighter is what made the original STORMWATCH and AUTHORITY books edgy, you have my deepest sympathies for missing all of the other wonderful layers that were brought to life in the titles. Past iterations of STORMWATCH were so damn good because, like PLANETARY, they deconstructed what once was. With the new 52 and STORMWATCH’S place therein, deconstruction is not a possibility since it’s the direct antithesis of the worldbuilding DC is trying to achieve right now--which makes me wonder if a better name for them would have been JUSTICE LEAGUE CLANDESTINE.
STORMWATCH has watched the earth for millennia, pulling the strings on events from behind the veil of their reality-traversing slip ship. It’s a melding of AUTHORITY mythology that I’m not sure fits given the relative immaturity of most standing team members and the huge gaping power holes in their roster that have forced them to recruit our aforementioned friends of Dorothy during this first arc.
All of this doesn’t make STORMWATCH a bad book; it is simply no longer the book it once was.
For starters, these folks are not winners. The STORMWATCH and AUTHORITY I remember (keep in mind, I said good-bye to this title well before the decimation of the WildStorm Universe), were always in a position of the upper hand. Even for the brief moments the tables turned, I knew the team could not lose. This new STORMWATCH, though, is rife with rules and overlords; this is not a team that has the same cocksure empowerment to take over the world we saw with past iterations of Jenny Sparks’ crew. This STORMWATCH is ruled by a governing council which has taken their leader, a new face (to me at least) named Adam who is as old as time. Adam is weak in spirit in the same sense the Doctor was from the original series (a character who I do not believe was best replaced with the master of swords and media-manipulating babe). Returning members have changed as well; Jack Hawksmoor’s ability to communicate with cities now comes with a tangible form where he has conversations with avatars of cities in some kind of cosmic fugue state. I understand why DC made his choice to make things more accessible to the masses, but I feel it dilutes Jack’s ability and changes the consciousness of a city to a parlor trick. Jenny Quantum is still surly and the engineer is still…well…metal, so some things have carried over.
Another return in this series is the alien baddies the Daemonites. Turns out the Daemonites are one with the newest slip ship (remember that city avatar thing I just mentioned) and are…wait for it…trying to take over the earth. People always ask me why I don’t read more Marvel books. Mainly because I know the ideas from one house will slip into the other eventually. After all, who needs Skrulls when you have the Ridley Scott version of them in the Daemonites?
Unlike the other “coming together” books like JUSTICE LEAGUE, JUSTICE LEAGUE DARK and JUSTICE LEAGUE INTERNATIONAL, STORMWATCH has a higher level of maturity. This mainly comes from new member Martian Manhunter, who I find a welcome addition to the group. J’onn J’onzz is no nonsense in this new universe; we have yet to see him pine once for Oreos or play “Father Knows Best” like he once did with Booster Gold and Blue Beetle. He uses black ops methodology to meet the team’s needs; a mind wipe is simply all in a day’s work.
Cornell has done a lot right with this book: he presented an epic nemesis for the first arc and did a great job pulling the team together, even if I disagree with the all ages watering down of concepts and content. Especially noteworthy is how he has handled Midnighter and Apollo as new characters; while old time fans know these characters like the back of their hand, Cornell was able to make them seem new without making them petulant morons like we are seeing with other classic characters in JUSTICE LEAGUE.
The second arc looks like it will be a fun romp to find the artifacts that define sentient life in the universe, and with this I fully expect the kiddie version of PLANETARY to crop up throughout the run. With the team now fleshed out and the issue with this shadow council that rules over them sidelined for the time being, I have great hopes for this new STORMWATCH. It might not be the exact team I remember, but I’ll take a watered down STORMWATCH over no STORMWATCH any day of the week.
Optimous has successfully blackmailed fellow @$$Hole BottleImp into being his artist on Average Joe. Look for Imp's forced labor on Optimous brain child in mid-2012 from COM.X. Friend Optimous on FaceBook to get Average Joe updates and because ceiling cat says it's the right thing to do.
AMAZING SPIDER-MAN #678 – 679
Writer: Dan SlottArt: Humberto RamosPublisher: Marvel Comics
Reviewer: Henry Higgins is My Homeboy
I Want The Cover To 679 To Be A Poster On My Childs Wall
In case you’ve missed all of my reviews of various Spider-Man books, suffice it to say I love the little bastard. There’s a reason I review Spider-Man stories so much; I will read almost anything if “Spider-Man” is in the title. That doesn’t change the fact that they have been some of the worst comic book stories in recent memory (seriously, if you ever meet someone that says they enjoyed ‘One Moment In Time’, it’s your right and responsibility as a human being to murder that person). But since Dan Slott has come onto the title, it’s become one of the finest periods in the characters history. And the most recent arc, “I Killed Tomorrow”, is a highlight of the run.
Writing: (5/5) It has all the elements of a good Spider-Man story. Our hero is confronted by a threat much outside his pay grade, and has to scramble to save the day. It also contains Spidey helping a woman give birth, teaming up with Silver Sable to fight Flag-Smasher, and a post-apocalyptic hellscape where a break room should be. It's exactly what a Spider-Man story should be: energetic and fun, while containing a genuine threat and entertaining interpersonal scenes. It's fantastic. If Slott can continue on like this, he'll easily be regarded as one of the best Spider-Man writers of all time.
The threat is fairly original, with a great little drive behind it. Spider-Man gets to see what one day into the future is like without him, and it's a ruined New York. Using a newspaper from one day ahead where things work out, Spider-Man races out into New York to do as much superheroing as humanly possible. It's a great excuse to send Spidey into countless little adventures across town, ranging from mundane activities to stopping a terrorist plot. And throughout it all, Slott writes picture-perfect dialogue, keeping Spidey quippy while balancing this sudden responsibility.It’s a great read, features a little twist ending that captures Peter Parker’s role in the world very well, and is easily one of the most entertaining Spider-Man stories I’ve read in years.
Art: (5/5) I understand there are people who don't enjoy Huberto Ramos's work, but on titles like this, I can't possibly imagine why; to me, he's one of the quintessential Spider-Man artists working today. Everything has a snappiness and cartoonish feel without feeling like it's indulging it; It works for the tone of the story. Scenes such as the opening of the story or the montage of Spider-Man zipping around town are both masterfully done. The action moves fluidly, never losing the focus of the moment, and the smaller scenes with MJ and Julie Carpenter look brilliant as well, managing to give even small conversations a sense of style.
Delgado only helps the appeal of the art, giving everything a very vibrant, colorful feel to it. It catches the eye quickly, and keeps it moving always.
Best Moment: Flag Smasher’s beat down. “Smash McSmasherson” is my new favourite name.
Worst Moment: Can’t really think of one; the ending could be considered a little deus ex machina-ey.
Overall: (5/5) I really, REALLY enjoyed that…what else do you want?
Here.
This is what the story made me do.
REX, ZOMBIE KILLER #1
Writer: Rob AndersonIllustrator: Dafu Yu
Publisher: Big Dog Ink
Reviewer: Mr. Pasty
Remember that movie HOMEWARD BOUND with the dogs and cats traveling across the country to reunite with their lost owners? Well, add a rampaging gorilla with a baseball bat to that equation and you have the cast of REX, ZOMBIE KILLER. As the title would suggest, there’s more than just miles of terrain to overcome; these feisty little critters have also got to keep away from hordes of flesh-eating zombies, making every undead human they encounter sort of a bloodthirsty animal control officer. But getting caught doesn’t put you in the pound; it puts you on the dinner table. Bon Appetite!
Leading the charge is Rex, a super-smart golden retriever looking for the woman who raised him and helped him attain his special mental capabilities. Prior to the outbreak of “Rotters,” the Army whisked her away to a secret facility in Nevada, where Rex was born and must now return in order to be reunited with her. Joining him is Kenji, the bat-wielding ape who, like Rex, speaks English for the sake of the reader -- but I’m pretty sure to the humans in the comic he sounds like nothing more than a grunting primate. He was raised in a “language institute” and has a narrow view of the world. Brutus and Buttercup are both pooches, but the former is a tough-talking pit bull while the latter is a sweet little corgi with a big heart. Snowball, the smarmy cat, rounds out the unlikely survivors, who, like their human counterparts in WALKING DEAD, are on a desperate quest for safe harbor in some mythical sanctuary that may exist only in their minds.
What’s great about REX is that it gives us a view of Armageddon through a fresh set of eyes. This book is at its strongest when the surviving humans and zombies clash and put the animals in a position of fight or flight. Survival is the ultimate instinct, but at what cost? Dafu Yu does an admirable job with his pencil, albeit a little plain-Jane for my tastes, but Kevin Volo really brings out the best in Yu’s work with his coloring. Writer Rob Anderson has a few lessons in humanity expertly woven into the thread of his narrative, but almost blows it with a near-soapbox moment between Rex and Snowball midway through the book. Fortunately, they give Kenji nothing more than a few words about what jerks we (humans) tend to be before they embark on their impossible journey but boy, it was a close call, no question. I appreciate that animals, like humans, will make dumb decisions under stress, and watching this gang of misfit creatures try to navigate danger (survive the zombies, encounter a biker gang) is a real hoot. Anderson whips out a fantastic and surprisingly clever cliffhanger at the end of chapter two, and I can’t wait for the next issue. Like the little animals running through it, REX has a lot of heart and I, for one, am hoping they can live on for many years to come, in spite of their uphill battle against zombies, soulless humans and jaded comic book readers.
Web heads who can’t get enough of Mr. Pasty’s word vomit are encouraged to watch him operate as Nostradumbass over at MMaMania.com here. Love, hate and Mafia Wars requests should be directed here.
ANIMAL MAN #6Writer: Jeff LemireArtists: John Paul Leon & Travel Foreman
Publisher: DC Comics
Reviewer: The Dean
Jeff Lemire is the kind of writer I usually find myself rooting for. His work is consistently solid, and often flirting with greatness (see LOST DOGS and SWEET TOOTH), but he still hasn’t quite broken into that top-tier, superstar talent level yet. This is why ANIMAL MAN is probably the perfect series for him to be on at this point in his career, as Buddy Baker is a character that really hasn’t been claimed like this since Jamie Delano’s run in the early 90s. For this generation of readers, who probably haven’t had the pleasure of reading Morrison’s revival of the character from over 20 years ago yet (over 20 years?!), Lemire will likely be regarded as “the guy who made Animal Man cool,” and this notoriety should bring him greater influence in other DC titles. Well, Lemire’s already been given the chance to grow his presence in the DC Universe with the announcement of his taking over JUSTICE LEAGUE DARK, but in the meantime, I’m perfectly content with him making ANIMAL MAN cool, as he continues to do in ANIMAL MAN #6.
I’m a big fan of interlude stories, which this issue clearly is, but I hate when they’re wasted throw-away stories because the writer/artist or publisher just couldn’t get the issue out on time, and nobody wanted to miss out on my $2.99. With this installment of ANIMAL MAN, Lemire accomplished almost everything I look for in a big story break by growing both the title character as well as the world around them. This growth and development gets me excited for the possibilities of future storylines, and makes the current arc’s eventual conclusion that much more meaningful. I think it’s safe to assume that the majority of readers aren’t too familiar with the Bakers, but I wasn’t expecting Lemire to blend this pivotal “Meet the Bakers!” intro with such an inspired and riveting story for the series as well (though perhaps Scott Snyder is to thank for a good chunk of the story…).
The other great accomplishment of this issue is a better sense of time. Narrations like “One month later…” are fine, but showing the characters in between events like this gives readers a chance to explore the toll having a superhero dad can take on a family, whose only respite comes when traveling from one horror to the next. I’m a big fan of Aronofsky’s “The Wrestler”, and the less than subtle tribute Lemire writes into this issue, “Ryan Darenofsky’s ‘Tights’”, which features Buddy as former superhero turned loser “Red Thunder”, takes up most of the issue. ANIMAL MAN #6 reads as though the whole issue will be devoted to Buddy’s big screen portrayal of the semi-biographical “Red Thunder” until it cleverly interrupts the movie with technical issues, bringing us back into the “real” world of the Bakers and the looming threat of the Rot. Not only is it fun to see Buddy’s work as an actor, but more importantly, we see that this movie about a hero who just doesn’t know when to quit really resonates with Cliff. Just before “Tights” cuts out, Red Thunder’s son delivers a line that really summarizes the Buddy and Cliff relationship that Lemire is developing when he says “I want you to stop, Dad…I just don’t want to see you get hurt anymore.” It would have been easy to simply have Cliff deliver this line in any other issue, sure, but it’s much more rewarding to see Cliff develop allegorically this way, and is a more accurate portrayal, I think, of the unique, understated relationship a boy like Cliff might have with his father. Perhaps it’s obvious that in between horrific events these characters are worrying about their future, and in your standard superhero title, this issue might read like an unnecessary distraction and a bit of a downer. But with ANIMAL MAN, this brief break in the action slowed down the pace just enough to both round out the family dynamics and help readers to consider the events of previous and upcoming issues from various viewpoints.
Carrying on the multi-artist effort this series started last issue, and running through at least issue #8 it seems, ANIMAL MAN #6 features the drawing of John Paul Leon and Travel Foreman. Leon covers the “Tights” portion of the issue, and his simple, gritty pencil work, along with paneling that cuts in close to the characters faces, gives the movie portion of this issue an indie feel to it, which matches the art house feel of movies like “The Wrestler” well. The muted, cool colors from Lovern Kindzierski set an appropriately somber mood for “Tights” and provide a nice contrast to those of the Foreman pages at the issue’s end. My only gripe with the artwork is the occasional odd proportions from Foreman, which make some character’s limbs look comically small in one or two panels. Overall, though, nothing really bad here, as the high quality of the art so far in this series is maintained, with a nice sojourn from the series’ usual look courtesy of John Paul Leon.
The greatest thing I can say about ANIMAL MAN #6 is that it got me excited for the series past the coming SWAMP THING crossover. Lemire’s work on the series has garnered some well-deserved praise from fans and critics all over, but I truly believe the best is still coming. I’m thoroughly enjoying the intermingling of two of my top three from DC right now, but even with the significance placed on Buddy’s daughter Maxine, this is clearly a Swamp Thing story featuring the Baker bunch until this arc’s conclusion. But that’s exactly what makes issues like this one, which focus on Buddy’s family life, so important to the series’ future. Once ANIMAL MAN is free of the Rot and allowed to delve into its own drama featured in issues like this one, I would not at all be surprised to see Jeff Lemire deliver the best writing this new DC Universe has to offer.
DEADHORSE #3
Writer: Eric GrissomArtist: Phil Sloan
Publisher: Self-published
Reviewer: Lyzard
In my last review I said that DEADHORSE wasn’t “pacing too quickly nor lurching forward with agonizing slowness. The stakes [were] continually rising and the characters [became] more interesting and complicated as the story continues. So as DEADHORSE proceeds, I hope that it will remain just as thrilling as the first two issues.” I guess I jinxed it.
DEADHORSE #3 steps away from the action and focuses on being expository. It is a story about characters and learning more about some of them, such as their motivations and connections. However, there is very little in this issue that moves the plot forward.
Again, in my review of issue #2 I said that “Everything Is Going To Be Fine” was also a story that was focused on characters. However, this was acceptable. DEADHORSE #2 introduced us to several new characters such as Elise Green, Zardoz, and the present day Gadsworths. Having their backstories given in “Everything Is Going To Be Fine” was necessary as to avoid telling it later and slowing down the rest of the piece. In “Unexplained Creatures of Mystery” we get Sasquatch’s story, but it seems too long and out of place (though explanations in later issues may resolve this). I had predicted that Sasquatch would have an interesting back-story in my last review, but his past just didn’t live up to my preconceived notions. We also get a flashback to 1972 where Daniel Pike is building a city for the Gadsworth Company. Just for pacing’s sake, I thought that this would have been a time where telling instead of showing would have been best.
I thought that issues #1 and #2 followed a similar structure. Even though the two were similarly built, they worked. DEADHORSE #3 broke the pattern and suffered for it. Whereas the first two books sped towards a climactic and witty scene at the end, issue #3 started off with the jokes and action, only to go downhill from there.
At least the art remains consistent. There isn’t much detail, especially within the drawings of the characters. Instead, Phil Sloan focuses on using vibrant colors, which capture the energy, mood, and setting of the story.
The writing isn’t the problem in this issue. The jokes still work and the dialogue remains strong; it is merely the plot that is the weakest aspect of this issue. However, the choice of songs in the beginning and the end threw me off. A Google search didn’t help me figure out the song the girl is listening to in the car. I guess because she’s unimportant to the rest of the story, so is her song choice. Then there’s the uncle’s rendition of Chris Cross’s “Sailing”. I guess I’m too young to understand the significance of this 1980s hit.
Though I am harping on DEADHORSE #3, I don’t feel as if the series should be abandoned. I see it merely as a low point, but not one that can’t be recovered from. In the end, it is possible that this issue will seem more important due to the information given, assisting in clarifying and/or explaining events in later issues.
Lyzard is actually Lyz Reblin, a senior screenwriting major with an English minor at Chapman University. Along with writing for AICN, she has been published twice on the subject of vampire films.
Advance Review: In stores today!BATMAN & ROBIN #6
Writer: Peter J. TomasiArt: Patrick Gleason (pencils), Mick Gray (inks), John Kalisz (colors)
Publisher: DC Comics
Reviewer: Johnny Destructo
BATMAN & ROBIN has been undoubtedly the best Bat-comic of the relaunch. Detective and Dark Knight don't even exist for me, and Snyder's solo Batman title is a close second, but what pushes BaR over the edge for me is the And Robin bit. I love brooding Bats, perched on a gargoyle, having inner monologue out the wazoo as much as the next geek, but it always takes a Robin to make it great. Especially THIS Robin. Ever since Morrison introduced him, I have loved that under aged boy and I am not afraid to admit it, Megan's Law be damned. And no, I don't really know the difference between him and Jason Todd, who "had it coming"…maybe it's just the writers writing him? He's just as arrogant and mouthy as JT, yet I don't want to beat him to death with crowbars.
The relationship between Bruce and Damian is my favorite part of the Bat-mythos right now. It's incredibly interesting and engaging and brings something to this book that the other Bat titles are missing.
Beyond even that though, is the mystery of the villain, who has been plaguing BaR ever since issue 1 hit the stands. He has been slowly trying to prove to Bruce that his lethal methods are more effective and trying to persuade Damian to leave Batman's shadow and become a killer. He's been making a pretty convincing argument and let's face it that insectile mask of his is creepy as all get-out (though his body suit seems to have a bunch of weird, useless ports strewn all about). We know that the man in the suit is Ducard, but what does he have against Bruce? Why is he trying to undermine him? And just how far down the rabbit hole will Damian fall? Ok, well we all know that Damian isn't going to fall all that far down the rabbit hole, but still, it's a good storyteller like Tomasi that makes you doubt that fact. He's been doing a really amazing job with this title, and it's only been getting better with every issue.
I also have to mention that I laughed out loud when I saw the cover text for this issue. "Above the skies of Gotham…Dark Knight battles DEMON SEED!" Damian is the grand-son of Ra's Al Ghul, "The head of the Demon", and Seed meaning sperm, offspring? Eh? EHH?? GET IT? Ahhh, forget you, you humorless jerk.
This is a fantastic book and if you aren't reading it, you're a dummy.
Proofs, co-edits & common sense provided by Sleazy G
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