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We start our discussion with non-spoiler reviews of the film before falling into a full-on dissection/discussion of the film with heavy SPOILERS. Enjoy!

I’ve been a Marvel fan for the past six and a half years, going all the way back to Bendis’s New Avengers #1. At the time, I never in a million years thought I could pick up a Marvel book, but hey. I got hooked and I’ve been reading your comics in mass opiate quantities ever since.

But I’m going to have to quit you.

I know times are tight and tensions are running high. I know the comics market is shrinking. Individual issue sales are down and decreasing across the board. Having giant movie blockbusters every summer doesn’t seem to be affecting monthly issue sales too much (especially in terms of people coming into the stores). Both you and DC are having a hard time, but that’s okay for you because you guys are the bigger, stronger company at the moment. Your books are dripping with talent and creativity and it’s showing in the numbers.

But I don’t know why you insist on continuing this petty rivalry even in the face of adversity.

I’m all for rivalries. Competition makes the world go round. But when your brand of competition comes out on Twitter and in interviews as jabs and digs, you guys come off sounding petty and immature. Take the September Previews catalog, for instance. You thought it best to take a swipe at DC by advertising your solicitations with tags like  “Uncanny X-Men: Still #543!” or “New Avengers: Still #16!” in some attempt to make yourselves look good in the wake of DC’s complete #1 relaunchment in September. Nevermind the fact that Uncanny X-Men is canceled and rebooting after issue #544 (October’s issue) or that New Avengers just relaunched 16 issues ago (I remember, I was there). Anything to show that you guys are the bigger guy.

And as if that’s not bad enough, you have someone like C.B. Cebulski, a talent scout and widely known, high profile, upper echelon, Senior Vice President at your company, coming out and SLAMMING DC over Twitter for its most recent Green Lantern film by saying:

“Man, DC just loves the number 52, huh? They even used it in their weekend GL movie grosses. Good thing we like bigger numbers at @Marvel!”

I can’t help but get a little offended at the sheer unprofessionalism of his comment. Granted, Cebulski later said it was a “nice little jab” and he was just “poking fun at the competition,” but that doesn’t really sound so much it’s “all in good fun” as much as it is pointing and laughing at someone and using that to brag about one’s own awesomeness. It’s petty, it’s cheap, and it’s kicking the competition when it’s down. Was Green Lantern perfect? Hell no. I’m the first to admit that. But does that mean one of your top guys has to backhand the competition on a bad day?

And fine, maybe that’s just Cebulski talking off the cuff (if Twitter could be considered off the record, which it isn’t), but I don’t really see him apologizing or thinking he did anything wrong. Nor do I see anyone at Marvel saying “the views of Mr. Cebulski are just Mr. Cebulski’s, not necessarily those of Marvel.” No. You must have heard it. Your company’s Twitter account follows him. He got plenty of @replies. He even spent some time firing back a few self-righteous responses. Surely it must be on your radar. Saying nothing tells me that either you’re ignorant of your employee’s actions in the public sector (which in the modern internet age is hard to believe, especially given his high profile) OR that you endorse this rhetoric and behavior (which is unprofessional and immature, to say the least). Given what I know about you as a company, I’m almost certain it’s the latter.

The worst part of all this? This is par for the course. This ritualistic DC bashing is the sort of thing we see from your people all the time at Con panels and on Twitter. When it’s mean-spirited and personal, that’s not you being the cute rival, it’s roasting the competition simply to be a giant dick about it. This isn’t a roast. It’s a place where I expect some modicum of decency in the public sector. Behind closed doors, misbehave, berate, and bash as much as you want, fine. I can’t stop you. But there’s no need to alienate potential fans who like both major comics companies in favor of making the die-hard Marvel Zombies go “Heh heh, yeah. Fuck those guys.”

And if that’s your goal, to make the Die-Hard Marvel Zombie happy, then fine. I guess that’s your prerogative. But I have to ask, do you actually care about the Die-Hard Marvel Zombie?

I ask because at the time of this writing I’m just hours away from finding out what happens at the end of Ultimate Spider-man #160, the purported (but not really because you’re re-launching in September with a new #1, but I’m not here to bitch about that) final (again!) issue of Ultimate Spider-man, despite the fact that the issue won’t be coming out for another couple of days. I know this because Bendis was talking it up on Twitter this afternoon, bragging about how he got off the phone with the AP and USA Today and who knows who else so your company could tout and spoil the ending for Ultimate Spider-man so you can get as many people as you possibly can into the stores come Wednesday.

Fine. That’s business, I suppose. I mean, it worked for Captain America a few years back. And in Bendis’s own words, this is about getting the fans you don’t have, not about keeping the ones you do.

And I get that. You want the sexy chick across the bar, not the one who’s in your lap. But isn’t that basically saying existing Marvel fans don’t matter as much as potential Marvel fans? Isn’t that just kicking your existing base because you know you’ll get away with it?

You’re damn right it is. Because you know as well as I do that your fans aren’t going anywhere. You have enough fans that will stick around regardless of your behavior, fans you guilt into buying more comics so you can keep the existing ones alive, fans who will stick around despite you increasing prices on your books to $3.99 “because you can.” I know, because I’m one of them. Or, I used to be.

So when I hear about you guys doing this, I get outraged. I get livid. I’ve been buying and reading Ultimate Spider-man nonstop for the past eighty issues (that’s double-dipping single issues and trades) despite going through three years of high school and four years of college. And now, on the eve of this long, long story getting to one of its fantastic turning points, you’re going to kick me (a loyal customer) in favor of the hundred or so (max) people who are going to pick up the FINAL issue of your not-in-real-continuity Spider-man and then never pick up a comic again?

And you’re going to get away with this, Marvel. I know because C.B. Cebulski is not going to apologize (nor are you going to pretend to attempt to make him). I know because the people his comments are going to enrage won’t stop reading comics. I know because people are still reading Fantastic Four (even if it’s not called that). I know because this “revealing the ending before it happens” bullshit has become “something we as comics fans just have to live with” because “this is our reality.”

But not for me. I refuse to continue to put up with your bullshit. I refuse to ignore or put up with your immaturity. I refuse to have you spoil the stories I’m reading. I refuse to stand silently by while you kick your base to make a quick buck.

And it’s because of this, Marvel, that I have to quit you. I’ve been a loyal reader for six and a half years. I’ve bled THOUSANDS of dollars into your books since then. I’ve gotten tons of my friends into comics (not just yours, but yours too). I love your properties, I love your stories, I love your comics. I’ve loved, cried, and laughed at your books since becoming a Marvel fan.

But no more. I can’t handle your attitude and I can’t handle the way you treat a fan like me. How dare I decide to support DC’s failed movie so we can get more non-Batman-or-Superman DC movies? How dare I support non-spoiled stories (Super 8 only made $40 million its first weekend. What must C.B. Cebulski think of that)? How dare I demand maturity from a company owned by Disney, who would NEVER allow such discourse from executives or VPs in “more respected media” like film or television?

I think of it differently. More like how dare I continually support your company in the face of all this? I can’t. Maybe if you guys acted with a bit more professionalism, you could help make this medium look a bit more grown up. I’m done fighting against being viewed as immature while your company perpetuates just that mentality.

But that’s okay, guys. I’m sure your massive-and-ever-expanding-and-growing comic fanbase will keep you guys afloat. There’s plenty of fans to keep kicking around while you try to bring in more so you can do just that.

I’m sure I won’t be missed at all.

Sincerely,

Matt Smith

We start our discussion with non-spoiler reviews of the film before falling into a full-on dissection/discussion of the film with heavy SPOILERS. Enjoy!

Welcome back to the latest addition of the five, my top comic books of the week, plucked from my reading stack. It was another light week in the amount of titles released, and unfortunately the quality did seem to (finally) suffer. Every three or four weeks it seems the industry throws out a collective dud, and for me, this week was one of them.

With that in mind, only one title seemed to stand head and shoulders above the rest – Invincible #59. I have just recently found myself getting into Invincible, going back and absorbing the previous five years worth of stories. Robert Kirkman’s Image book does a nice job of nurturing this story. If you have yet to pick up an issue of Invincible, this week is a good starting point.

Invincible #59 is not as much about Invincible as it is the innocent lives he impacts. Every so often you will see a superhero comic present an issue from this point-of-view usually it comes across too syrupy or preachy. Kirkman however found the right mix of motivation and consequence as a new self-named nemesis to Invincible, Powerplex, has entered the scene.

Powerplex gets a true and realistic back story. What Kirkman does is brilliant as you can see the guy is on the fence. He knows what he needs to do, but he is still a nice guy at heart. It is his ultimate battle and the cost of it with Invincible, that seals the deal in making him a Wrath of Khan villain for our hero.

Even if you do not care for the title, you don’t want to miss this issue as it was a thing of beauty.

Next I present what may be a first for me, an Image double-shot and one-two punch at the top of my recommendations in The Great Unknown #1 by Duncan Rouleau. This issue was a terrific premiere as it laid just enough seeds to want me to come back for more, all the while being interesting enough to keep my turning the pages. It did not hurt that Rouleau’s unique artistic style told a wonderful story, as did his words.

From what I can gather, The Great Unknown is about this slacker type dude who is brilliant but so unmotivated (sound like anyone you know?). The first installment introduces us to Zach, who when we meet him is an arrogant lout who does not hold his liquor to well. Intrigued, you should be, because each page just gets that more interesting.

Finally the mainstream companies break into the five. Marvel’s Dark Avengers #2 shipped this week. I don’t know if it was the anticipation of this issue (I was really looking forward to reading it), but the end result wasn’t as good as I hoped and did not knock my socks off.

Definitely an interesting story as Norman Osborn’s new “hero” team starts to figure out how to work, all the while keeping Ares and Sentry interested (which is no easy feat). No sooner does Osborn give a terrific motivational speech (sarcasm!) to his new team than they are thrust into action – isn’t that always the case for superheroes?

Unfortunately, their first mission is “rescuing” Dr. Doom from Morgana Le Fay. I think Cap would have passed on this first assignment, but that is just my opinion. Bendis does a terrific job once again with the words and Deodato’ pencils do a great story.

Superman Batman #55 gets my fourth spot. I am usually a big fan of this book, but have not been loving the current storyline with Batman getting Superman’s powers. It’s a tale that is as old as Superman, take away his powers and give it to someone close to him. In chapter three of SuperBat by the Mike’s Green and Johnson we finally get to see some real impact on Batman’s psyche as his relentless and obsessive self-imposed mission becomes the end all and be all, but with super powers.

Meanwhile, Clark is battling for his life after making the mistake of trying to enjoy a nice normal evening out with his wife. Why is it whenever a hero attempts to be normal, they must suffer? Why are the comic gods so sadistic when it comes to even a little happiness? Anyway, after a lackluster first two issues, part three finally peaked my interest.

Rounding out my five for the week is a reprint (that’s how bad this week is), Ultimate Wolverine vs Hulk #2. Granted it has been several years since Damon Lindelof’s story had seen the light of day, and after this we will finally get to see the end. It may have been worth the wait if the first two issues are any indications of what we can expect.

Issue two is told mostly from the Hulk or Bruce Banner’s perspective, as the latter attempts and ultimately (no pun intended) fails each time to reign in the anger that proves to be a deadly catalyst as the Hulk comes into being. The last panel sets up the next issue perfectly and makes one breathless in anticipation for what should be an awesome smack down between everyone’s favorite Canuck and angry green man.

Before I go, I would like to rail against this week’s issue of Amazing Spider-Man #587. There is a fear in the industry that one of these days the bean-counters at Marvel are going to push for online-publishing only. Well the first steps may have been taken this week as in ASM 587 on page 11, panel four we are prompted to go online to Marvel.com for a free tale that will explain what exactly happens between panels two and four.

I am not a cynical sort by nature, and this type of ploy has been used before, generally to get me to buy another book. But to push the audience to the net, to get them to read a story online (which for the most part has not been done) is a slippery-slope as Captain Mal Reynolds once stated. And I am not liking it … not one bit.

That is it for this week, sorry for the ramblings, and don’t forget to tip your pizza delivery guy … peace.

They say variety is the spice of life. Who are they you ask, good question? That’s not what I am about right now. It’s about the spice. And the variety in my top five books of the week – a little Marvel, a little DC, some Icon (although that is Marvel) and some Vertigo (ditto DC) and a big ol’ IDW to finish things off … enjoy.

First rule about Fight Club is you can’t talk about Fight Club. Second rule about Fight Club don’t fight the God of Thunder. Thor is one bad dude and no more is that evident than in the milestone issue #600 this week. All of J. Michael Straczynski’s slow-burning plotlines come to a head as Odin’s son is outshone by the God of Lies – Loki (she’s back or he, depending on where Loki is).

Thor #600 is a big-budget epic that does not disappoint. Plus, there is more as Straczynski and artist Oliver Copiel (with Marko Djurdjevic) deliver a true spectacular with surprising guest stars and a stunning conclusion. Asgard and Thor will not be the same after this one.

There are a lot of Batman stories floating around in the DC ‘verse right now. And most of them are hard to decipher (with apologies to the brilliant Grant Morrison and Neil Gaiman). That is why this week I am going to recommend Batman and the Outsiders Special #1. This book is a perfect segue way to the comic becoming just plain-old Outsiders (starting with issue #15).

Peter Tomasi (with Adam Kubert on pencils) tells a tale that has been needed since all of this Batman R.I.P. nonsense began so many months ago. Batman is dead, long live the Outsiders. The Special is basically a putting-the-team together book, but it’s a fun one to see who has been placed in charge of Batman’s secret team. And the roster looks like it could be a blast.

Two issues up for Ed Brubaker’s Incognito, and for the second month in a row, I found myself wanting more as Incognito #2 furthers the story laid out in the premiere issue of Zack Overkill and his dreary life in witness protection. Brubaker’s nourish storytelling is perfect for this off-beat tale of a super villain looking to get back in the game, without anyone being none the wiser.

The second issue further develops Overkill while also giving us additional new mysteries like that show on television about the island and plane crash. Brubaker’s partner-in-crime from Criminal, Sean Phillips, art work is a superb compliment and paints a seedy picture that Phillips is quickly becoming the go-to-guy for in comics.

Back in the land of fairy tales, the Fables are still reeling from the events of the War in issue #81. Fabletown has been destroyed and one of their own is not faring too well. On top of that, one of the bad’s which shall not be spoken of is on the loose with only one thing on its mind – fables. Bill Willingham’s story is only getting stronger as it approaches its seventh birthday.

Fables #81 is also notable as it is the last James Jean cover. Jean even adds some dialogue for the first time in this issue (its not what you think) and leaves us with another superb cover that tells a tale within a tale, as only a fable can do.

Last but not least is a guilty treat from Chuck Dixon (take that DC Comics) and Robert Atkins as IDW’s reboot of G.I.Joe #2 arrives this week. The mystery surrounding the final cylon, I meant box, deepens as more characters from Joe lore begin to get introduced.

Dixon has done a nice job two issues in of reimaging the G.I.Joe franchise and fans of the original book and cartoon should not be disappointed. All I can say is I can’t way for the next issue to see what happens with that box, and who else we get to meet.

Until next week, don’t forget to tip your dog walkers on the way out – Peace!

Know the old saying that big things come in small packages? Well, that is how I like to describe the comics that shipped this week. When I first saw the list of what was coming out, there was not too much to get excited about (besides Buffy, which is always enough to get excited about), but all that changed as I continued to read through this week’s pile and strained to pick just five books that I liked.

First, there were not a lot of actual comics shipping this week. It seemed after slamming us for the past 21 days, all the companies were taking a collective sigh to catch their breaths (which as a reader I am quite fond of the lull as well since it also allows me a moment to collect my thoughts and give my brain a break).

With all that in mind I was shocked (SHOCKED!) to find that I had placed 10 comics in my like pile. Generally I may go one or two books over, but 10, and on such a small week. But 10 it was. Ten is a great round number but too many to review so I muddled through to make my recommendations more manageable.

My pick of the week is Adventure Comics #0. The issue is solicited as a reprint of Adventure Comics #247 from back in the day when Superboy first met the Legion of Super-Heroes. But hidden in the back of the book is an original Geoff Johns tale with art by Francis Manapul. The new story sort of feels like it fell from the cutting room floor from the recently-concluded New Krypton storyline. And the best part might not have been the actual yarn itself (which featured Lex and Braniac) but the coming in June part where it was announced that Adventure Comics #1 (I believe with Mr. Johns at the helm writing the Legion, oh yeah!) will ship.

Continuing on the Legion theme, I also selected another Johns’ book this week as Legion of Three Worlds #3 dropped with art by George Perez and Scott Koblish. Perez’s pencils are masterful (as usual) and I don’t know about you but I feel as if this story should have been the main Final Crisis arc. Another piece of good news from DC this week was this mini-series being extended to five issues (here’s just hoping they ship on time). It was breathtaking (and a little confusing) watching all the Legion teams from the different Earths (and eras) come together to fight Superboy Prime (if only they knew back in Adventure Comics #247).

I am tapping one of Duane Swiercyznski’s three comics this week as my third pick, and it might not be the one you are thinking. Both Cable and Iron Fist were solid stories (as usual), but my selection is X-Men: The Times & Life of Lucas Bishop #1 (of 3). Oh how terrific a job you did Mr. Swierczynski as I was riveted to the page watching a young Lucas Bishop born and grow under the persecution of being a mutant. I actually felt for Bishop, and to be honest I have not really liked his obsessive quest to hunt down Cable and kill the red-haired girl. And the last panel, I wonder aloud who that “X-Man” is that meets Bishop – can’t wait until next week.

Dark Reign continues to produce new titles for Marvel as the aftermath of Secret Invasion may have a bigger impact than the Skrulls actual attempt at infiltration (never count on a Skrull to do the job right). Anyway, with a bunch of premiere issues under the Dark Reign header this week the one that stuck out the most was Secret Warriors #1. Nick Fury is back, and he is just as nasty (an even more mysterious) than ever. Brian Michael Bendis plotted this one out with Jonathan Hickman who provided the actual words. Still, Bendis’ impact is felt on every page, especially the reveal on the last panel. Let me just quote the immortal Keanu Reeves, “whoa.” And what is it with Marvel books mastering the cliffhanger so made famous in part I of Star Trek The Next Generation “Best of Both Worlds” episode? Maybe someone at DC should steal a page from this playbook.

My fifth selection was a surprise even to me. I was actually wondering aloud if there was anyone enjoying this book when after I read this week’s issue I found myself in that group. Amazing Spider-Man #585 by Marc Guggenheim and John Romita Jr. finally started to answer some questions that have been around since Brand New Day commenced. And let me tell you, the answers might astound you (they sure did me). Joe Quesada has been saying to trust him with this story that it will pay off in the end, and I think I can see that light at the end of the tunnel. Not that I expect everything to be answered immediately, but this week was a good start. And most importantly, it seemed to make sense (to me). But you will need to be the judge.

Well, that is my five for the week. But as I stated earlier, I had actually picked out a total of 10 books to gush about. So in rapid fire succession, here is my “back” five; Buffy the Vampire Slayer #22 (Harmony’s new-found fame has no limits or effect on the Scoobies), Black Panther #1 (Doom vs. T’Challa, ’nuff said), Soul Kiss #1 (an interesting story from the folks at Image which I want to read more), Bang Tango #1 (the solicitation of this new Vertigo mini-series does not do the story justice. I think it may be a new guilty pleasure), and finally, Ultimate Wolverine vs. Hulk. I know, I know, this one came out so many years ago, but Damon Lindelof finally got around to finishing it and the first issue was so fun, if anyone actually remembers. Plus, it’s got Leinel Yu on art.

That’s it boys and girls, until next week, don’t forget to tip your baby sitter – Peace!

Captain Wednesday – Your Friendly Neighborhood Comic Dude

There is the world, and then there is way that each of us chooses to look at the world. Generally when I look at the world, it is through rose-colored (or Bobby Clarke colored) glasses. It is just who I am. This explanation will serve to rationalize my top five comics of the week (and my surprising rant at the end of my review). Thus without further ado …

How does the old joke go? How about any old joke for that matter? What do you get when you let the lead singer of My Chemical Romance write a comic book for Dark Horse Comics? How about a pretty damn good comic as The Umbrella Academy: Dallas #3 hits shelves this week.

If you have yet to pick up The Umbrella Academy, don’t start with this issue. There is too much history in the nine previous stories before this week that you would be totally lost. Go and pick up The Apocalypse Suite which is now available in trade paperback. Then when you realize that you have been missing out on one of the finer comics in the ‘verse, you can pick up the first three editions of the current run.

I read this week’s issue and as I turned each page I could not believe Gerard Way was capable of such storytelling. This week’s issue (”Television or Are You There, God? It’s Me, Klaus”) is just as much fun as the previous two in this story arc. Ever since they saved the world in Apocalypse Suite, the surviving members of the Umbrella Academy are shells of their former heroic selves, none more so than Space Boy (and wait until you see what happens to him this week).

And before I forget, Gabriel Ba’s artwork is a magnificent compliment to the tale of Number Five, the White Violin and the Séance (just to name a few).

It has been a long time since New Avengers has been good. I am talking the beginning of Brian Michael Bendis’ run on New Avengers oh so many issues ago. The previous arc was okay but felt like filler for Secret Invasion. Now we are into the good stuff as issue #49 finds Luke Cage dealing with the consequences after he just agreed to a deal with the devil (or Norman Osborn for detail’s sake).

Just as he did last week with Dark Avengers #1, Bendis pens a tale where I think one thing is going to happen only be surprised once again, especially by the actions of everyone involved on the last panels. Without giving any specifics away, you have to love when Norman states “Guess who just made the list.” This issue needs to make your list, and fast.

Once again this poor title was way down on my reading list, and once again The Incredible Hercules proved just how incredible Greg Pak and Feed Van Lente are at story-telling in the ultimate buddy book of the millennia.

I have to admit I was a little more than confused as to what was going on but the end was worth my befuddlement. Let’s just say that Spider-Woman, a female Wolverine, Ms. Fantastic and the White Phoenix all make appearances in a topsy-turvy world that is upside down for Amadeus Cho and our hero Herc. Ever since this title was turned over to the God during World War Hulk it has been a solid performer every month. Issue #125 does not disappoint.

Sometimes I think I take Mark Millar and Bryan Hitch’s run on Fantastic Four for granted. Sometimes I feel the story is sort of dragging or not as grandiose as I expect from this duo. But I was reminded today by my friend George just how good and how much we both always look forward to the FF coming out each month. And for the longest time that was not the case.

Fantastic Four #563 hits shelves this week and it’s a nice break from all the commotion that has been going on in the title since the dynamic duo took over about a year ago. This is a classic FF tale with it centering on the family and what is happening in the world as the bread crumbs to the new threat are starting to be found. I think Stan and Jack would be particularly proud of this issue. There are no Earth-shattering moments, just a good-old fashion FF time.

Last but not least, Nova is like The Incredible Hercules for me. The title always works its way towards the bottom of my reading pile, and I am always astounded at how much I enjoy it. This was literally the second to last book I read tonight. It was so much more than where it was located in my stack.

Dan Abnett and Andy Lanning have done a terrific job with the story of Richard Rider, who used to be the sole remaining member of the Nova Corp. In the last few issues, Worldmind has decided to restart the Corps much to Rider’s chagrin. Not being able to do anything to stop an ever-growing powerful Worldmind, you get the feeling reading Nova #21 that things are not going as they should.

Abnett and Lanning allow me inside Rider’s head and I feel the dread he has as the events of this week’s tale unfold on the page. And wait until how the issue ends.

I have never been a fan of the sci-fi comics (Green Lantern, Nova, etc.), which is a real surprise since I am a Star Trek nut. That being said, I need to start moving Nova up higher in the read pile.

And now my rant for the week and if you had not noticed no DC books made it into my recommendations. And there is a reason for that as they dropped the ball, big time. Superman was decent, but really only got going until the end. Batman, which was the second part of the “Heart of Hush” follow up by Paul Dini, saw a disappointing end to what was a very enjoyable eight-issue arc (and a complete waste of a great Catwoman appearance).

But now I take notice with The Powers That Be at DC Comics and ask what were you thinking? I know there are business decisions that need to be made. Books that don’t sell well need to be retooled, cancelled or what have you – and such was the case of the poor-performing but entertaining (at least for me) Legion of Super-Heroes.

Hope was restored about a year ago when Jim Shooter regained the reigns to the title that made him a comics’ legend. DC decided Legion had enough time to prove itself recently and that it was going to end. Shooter’s current story was planned to end around issue #54. DC decided issue #50 (this week’s book) was the end. So this week when I opened up the issue to see that Shooter and artist Francis Manapul were not even involved with the finale’s production and were replaced, I was beside myself. It is insulting enough to not allow Shooter to finish what he started on his terms. Finish the story in an annual or special ala Superman Last Son. Show the man, and book, some respect.

And don’t even get me started on the farce that was Final Crisis #7…

Don’t forget to tip your Starbucks barista – Peace.

Captain Wednesday – Your Friendly Neighborhood Comic Dude

It is a dark time in the world of comics. (I felt like old Ben Kenobi just then, except I am not talking about the Rebellion or the Empire, but then again maybe I am). Anyhow, with both the Marvel and DC comic ‘verses plunged into Dark Reign and Faces of Evil things are just plain bleak right now on some of our favorite comic pages. Thus begins my five picks of the week …

If you are not familiar with my weekly reviews, let me begin by stating that they are always spoiler free. I very rarely get into specifics on the book lest to give something away before the audience gets to read them.

By nature, I am a pretty cheerful and positive sort and all this evil that is afoot and in charge brings me down a little bit. I know for some in comicdom this is a dream come true with the villains ruling the roost. And it’s not like we have not been teased with the “Old Man Logan” storyline or Kingdom Come. That being said, there were some real good stories this week with some real nasty individuals in the middle of things.

My pick of the week is a toss up between Faces of Evil Deathstroke and Dark Avengers #1. I was not prepared to like the Deathstroke book in the least bit and to be honest the only real reason I even gave it a go was because Georges Jeanty was supplying the artwork. Mark McKenna’s inks do not do Jeanty’s pencils justice, but it was still enough to get by. David Hine meanwhile was crafting a masterpiece on old Slade, who last we saw was dying after his encounter with Geo-Force on the pages of DC Last Will and Testament. FOE was a nice follow up to a not so great first story.

For fans of Deathstroke, you will be happy because everyone’s favorite DC Assassin is back baby, and possibly more dangerous than ever when we get to the last page. Of course there are family issues to wrestle out in this one before the Terminator can move on, but honestly, when are there not issues in that family?

Meanwhile, another evil dude – storming Norman Osborn – is just getting started at the havoc he is capable of playing in the Marvel hood. Brian Michael Bendis is at it again. How does someone who writes so many titles get it so right with everything he touches? Mike Deodato’s art works perfectly with this story. To be honest I thought the issue was going to be Tony Stark getting the gang back together to go after Osborn. I could not have been more wrong on so many levels. Trust me this is one issue you don’t want to miss.

Next is another book I was not ready to like. I am not a big Dan Slott guy, just never have been. I pretty much stayed away from his entire run of Avengers Initiative and only grudgingly read his Amazing Spidey issues. This week, the Scarlet Witch was on the cover so I had to find out what’s what. And it looks like Mighty Avengers is going to be existing on its own from the other books for awhile. And from the looks of this week’s issue #21, it is going to be fun. Khoi Pham supplied the understated pencils and did his usual bang up job.

Coming in this week at number four is a shocker as well. I tagged Justice League of America #29 by Len Wein with a story on Starbreaker. The only real reason I liked this issue was because it felt like such an old school tale – might have had something to do with Wein penning the title this month. It was just good to see the old JLA back in action with orange and green uniform Aqauman, pre-married Ollie and Canary, and oh yeah the Atom Baby! But wait, there’s more. As much fun the old tale was, the last two pages and its reveal pay it off even bigger for the next issue. I can say no more.

Last but not least are two titles. That’s right I am going with a tie for fifth place. Unlike my previous occupation which frowned on ties, I am going with the tie. To stay with the theme of this article once again I was so not wanting to read this comic or expecting to like it. Although the latter is a lie but we will get to that in a second. Punisher Frank Castle Max #66 came out this week written by Duane Swiercyznski.

Not to name drop, who am I kidding let’s name drop away. Duane frequents the store I work in a bit. We got to talking and he told me about his upcoming arc on Punisher and that it was going to take place in Philly. Remember how I am not a Slott guy, well I am even less a Punisher guy. The only time in comics that I even liked the character was when Captain America was kicking his ass in Civil War. I just don’t care for the title.

But a funny thing happens to me when the name Swiercyznski is on the cover, I have to read it. I never really liked Cable, but have been enjoying the current run immensely by our aforementioned writer. Iron Fist is immortal, who cares. Well, Swiercyznski makes me care. So there we have it, the slippery slope that is the Punisher. Still don’t care for the character after reading this issue, but loved the story and where it’s going.

What title tied this week for a mention on my Top Five, well that would be Angel After the Fall #16 or Season Five of the television show. IDW has given it the old college try. This title is not as strong or good as Buffy Season Eight, but it still gives me more stories in the world of Whedon and for that I am grateful. This month’s issue sort of hits a reset button and I hope after meandering around for a year and a half that Brian Lynch will finally takes us somewhere. And please keep Franco Urru on the art or bring David Messina over, otherwise just don’t publish for that month because no one else in the IDW pen can really get the likenesses down that well.

That’s it for this week boys and girls. Don’t know if you agree or not, but hopefully they and I will keep you entertained. Don’t forget to tip your barber’s on the way out (I am so going to run out of people to tip ain’t I?) – Peace.

Captain Wednesday – Your Friendly Neighborhood Comic Dude

Frank Miller was on his game in the mid-1980s. There was his Dark Knight Returns for DC, which established Bats into what he is today and set the tone and changed the way authors write everything in comics.

And then there was Daredevil: Born Again, which Marvel has collected (once again) this week as part of its Premiere Hardcover line. Born Again is the seminal moment for “the man without fear.” Just like Gwen Stacy’s death at the hands of the Green Goblin in the 70s established Peter Parker and Spider-Man, Born Again is the blueprint for everything Matt Murdock and Daredevil.

Born Again ran over seven issues and collects all eight Daredevils (#226-233) that Miller and artist David Mazzucchelli collaborated on. This is not the first time Daredevil’s life has been changed by Miller, as it was the writer’s earlier stint that killed off Murdock’s love in Elektra at the hands of Bullseye (in the classic double-sized issue Daredevil #181).

And while Elektra’s death was stunning and heartfelt for the blind lawyer from Hell’s Kitchen, Daredevil went on about his business. His every decision afterwards was not filled with guilt over her death (like Spidey’s with Gwen Stacy). Part of the reason I believe is that Elektra knew the deal when she was putting on the costume.

Born Again is the moment in Daredevil lore when everything changes and it is the ultimate Kingpin story. There is betrayal, loss (and a lot of it) and rebirth. It has Foggy Nelson (of course), establishes Ben Ulrich and reintroduces one Karen Page (and boy have we missed what was going on her life). Why are all the best Daredevil stories with Karen Page (Yellow, Guardian Devil)?

Miller pens a terrific tale of deconstructing a character and then picking them back up. It is a shame some of that beauty can not translate into what he has done recently – i.e. The Spirit and All-Star Batman and Robin.

I have never been a huge fan of Mazzucchelli’s artwork, but in this story it works really well. He has a gritty style that combined with Miller’s hard-boiled story telling becomes the perfect complement to the letters on the page. After experiencing this story all at once (I read the original month-by-agonizing month) and taking in Mazzucchelli’s splash pages, I have to think today’s artists whether knowingly or not took a page (or two) from Mazzucchelli’s run on DD. Simon Bianchi – I ‘m talking to you.

Anyway, that’s all I have for today. Remember to tip your waitress on the way out – Peace!

Captain Wednesday

Your Friendly Neighborhood Comic Dude

What’s there to say? Well a lot actually, but I won’t bore you with all the details. Well, maybe just a little. I am the comic book guy at your local store (but probably not YOUR local store). After a 13-year hiatus where I tried to do the “real” job thing I rediscovered my roots and returned to where it all began – the planet Kyrpton (well, not really). I returned to comic books and the store I worked from 1992-94.

I have been writing comic reviews for the store website for about a year now. In fact, my previous career saw me writing all sorts of articles and such, so I have a little experience in that area.

I am going to get this out of the way right now – I am a mainstream comic book whore. I love my tights and I am not going to apologize for it. The first monthly comic book I actually purchased was DC’s Blue Devil (who SO needs his own book again and a big-screen adaptation). The X-Men followed shortly thereafter and the rest is as they say institutionalization.

I started reading comics during their true glory days (and no, not when Stan Lee started Marvel). I read the Watchmen and Dark Knight Returns as they came out monthly. I was a big John Byrne guy back in the day (not so much now) and will swear by his run of X-Men (with Chris Claremont) and Fantastic Four. And although I do love the big-boy scout, I am not a major fan of Byrne’s time on Superman for whatever reason. have some standards, thank you very much.

So there you have it, my influences in the world of comics or at least my humble beginnings. Nothing classic like watching Gwen Stacy getting thrown off a bridge or romanticizing about Will Eisner’s Spirit, that being said Ben Edlund’s run on The Tick is one of my fondest memories (especially when The Tick discovered his battle cry – SPOON!).

I am also a disciple of Joss Whedon, worshipping at the altar and owning every format of Dr. Horrible that is possible. My mettle for him could be tested one day if the Master decides to write a sonnet about solar energy, but in Joss I trust, so it will be great and is sure to warm my cockles (what exactly is a cockle?).

Today my reading pile consists of a lot of goodness – Buffy (hands down the best comic book of the last two years), Action, Detective, Fantastic Four, Northlanders, Madame Xanadu, I Hate Gallant Girl, Gemini, Powers (Bendis, I need more!), Thor and Legion of Super Heroes (long live Jim Shooter) – to just name a few.

You have stayed with me long enough. I hope you enjoy the weekly reviews, which I promise will always be spoiler free. Don’t forget to tip your stewardess on the way out – Peace.

SUPERMAN LAST SON

Written by Geoff Johns and Richard Donner

Artwork by Adam Kubert

Published by DC Comics

Who is Superman?

That is something that is not easily answered for many a comic book fan. If you were to ask any normal person they might laugh at you and say Clark Kent, and they may be right, however Superman is not any one thing for everyone. Everyone seems to have their own characteristics that make up their interpretation of the Man of Steel, and if there were a team of writers that reflected my own love of Superman, they would be Geoff Johns and Richard Donner.

Already famous as the director of the acclaimed Superman: The Movie Richard Donner has been a fan favorite in the Superman mythos for decades, and so his decision to work on Action Comics in 2006 was met with excitement. Even after the success of the original Superman movie, Donner was removed as direct for all the sequels, a decision that has always been a disappointment for many fans. Like the release of Superman II: The Richard Donner Cut in 2006, Superman Last Son allowed fans to get a glimpse of what could have been, and it was sweet.

The decision to team up with superstar writer Geoff Johns didn’t hurt either.  Fresh off the heels of his popular limited series Infinite Crisis, Johns teamed his writing talents with Donner and their obvious love of the character to bring one of the freshest Superman stories in years. One of the themes of Infinite Crisis was to show that the DC Universe had become stale, and its characters were no longer the beacons of Truth, Justice and the American way they had once been. With Donner, Johns was able to craft a story that would bring Superman back and bring critical acclaim back to the book that started it all, Action Comics.

The story itself is nothing short of a summer blockbuster, worthy of Donner himself. Along with the Man of Steel their are appearances by Lex Luthor, Bizarro, General Zod, Ursa, Non, Metallo, Parasite, and Sarge Steel just to name a few. When a meteor show brings a young Kryptonian boy to Earth it means big things for Superman, but even bigger things for Clark Kent. Convinced that the boy is in danger from not only villains but the government alike, Clark and Lois decide to adopt the young Kryptonian, and Christopher Kent is born. Little do they know that his real parents are on their way and are determined to turn Clark’s world upside down.

When reading the story, I can’t help but be reminded of Superman The Movie, because there are so many similarities in how the characters are portrayed. Bringing back Zod, Ursa, and Non, characters heavily influenced by their appearance in  Superman II, may have seemed risky, but it paid off. They were brought back in a very intriguing way, but it still made sense in the context of the story. Not only did we get to see the return of Zod, but we also saw the return of Mon-el. A friend of Clark’s who is trapped in the Phantom Zone.

One can not talk about this story without taking time to talk about the amazing work of Adam Kubert on pencils. There has been some debate about his involvement on the project since an illness caused the last two issues to be delayed. As a result the story took 19 months to come out in issues, but all I can say is that it was totally worth the wait. I especially love his treatment of Clark and Lois in the book. Lois has been portrayed by many artists over the years, however I really like how Adam handles her, she looks very sophisticated, but at the same time shows the kindness that defines her character. I just love how Clark is portrayed, he looks like a big country boy, but I can see that there is more to him in his eyes, and Superman looks fantastic. A good balance between big and muscular, while not looking obscenely big. Also in my opinion on of Adam’s biggest strengths his his backgrounds, you can see that he spends a great deal of time getting all the details in there.

There is another special feature in this series that makes it unique, chapter four is presented in 3-D. This may sound like a gimmick, and I’m sure it was to an extent, but its explained in the series. In this issue most of it takes place with in the Phantom Zone, and the 3-D glasses act like protection goggles, and give the Zone a nice look to it. It was a really awesome affect, and I hope if we ever travel into the Phantom Zone in a movie, that it is in 3-D as well.

For me this series is all about Superman and how he fits into our world. An outsider from the moment he crashes here as a baby, Clark finds and instant connection to Chris, the boy from Krypton. And even though Superman has saved the world who knows how many times, he is still seen as an alien by the government. No matter how many lives he saves or how many friends he makes, he will always be alone, and that is the tragedy of Superman.

At the end of the day what we have here is just a great Superman story from two of the men that know him best. As Scott and I have said I’m sure hundreds of times anything that Geoff Johns touches turns to gold, and Richard Donner is the man that brought Superman to the world back in 1978. Everyone has their own interpretation of who Superman is and who he should be. I’ve never seen my Superman, but this is about as close as anyone has ever gotten.

I do believe a man can fly.

]]> http://www.geekshow.us/content/articles/review-superman-last-son-dc-comics/feed/ 3 http://www.geekshow.us/content/comic-books/comic-book-reviews/review-spider-man-loves-mary-jane-vol-1-marvel-comics/ http://www.geekshow.us/content/comic-books/comic-book-reviews/review-spider-man-loves-mary-jane-vol-1-marvel-comics/#comments Fri, 19 Dec 2008 17:11:01 +0000 Scott http://www.geekshow.us/?p=1155 True Believers – Book of the Month – December 2008

SPIDER-MAN LOVES MARY JANE VOL. 1

Written by Sean McKeever

Artwork by Takeshi Miyazawa

Published by Marvel Comics

A Review by Scott Carelli

High School.

No two words can mean so many different things for so many people. For some, it was the best time of their life. A time when bills weren’t due, getting a job was an option, and the biggest problems you faced were things like passing that quiz on Friday or trying to pony up the guts to ask that girl (or guy) to the dance. For others, walking the halls each day was like walking through the gates of hell. It was the absolute epitome of misery, isolation, and heartbreak. For most of us, though, it could be either of those things depending on what the high school gods felt like throwing at you that particular day. But regardless of the feelings you may have for those four years, it’s impossible to question their significance. They help mold you into the person you will become for the rest of your life. It’s a bizarre and fascinating time in anyone’s life, which must be why I find it so interesting and tend to gravitate toward the notoriously love it or hate it genre: the High School Drama.

I’ve seen many teen-centric series come and go within my television-watching career, from Dawson’s Creek to The OC to the more recent 90210 and Gossip Girl. I’ve watched them all (and more) and while I’ve enjoyed each of them (to varying degrees) there’s always one thing that they never seem to get right: Being a teenager. It seems to me that the creators of these shows don’t trust the viewers to remember what high school was actually like, and, not wanting to cause them to be disconnected to the characters on screen, they come up with this alternate universe with something that vaguely resembles high school, but is actually far more thrilling and mature.

Now, don’t get me wrong, I’m all for leaving the reality out of my fiction. Some of my favorite writers (Smith, Sorkin, Paladino, Whedon) are all about creating a world where people talk in monologues, at superhuman speed, or in a style that no has ever spoken in reality (until they started emulating their favorite show of course). But it would be nice to see at least one high school series that was a little more realistic. Real high school drama is just a series of overreactions, where every little thing is the end of the world, and the big lesson to be learned is to stop sweating the small stuff.

It may never happen on television, but I finally have the high school story I’ve always wanted in the form of Spider-Man Loves Mary Jane. Of course, it’s pretty funny that the most realistic portrayal of life in high school involves a guy with spider powers who swings around the city in red and blue tights.

Gotta love irony.

Created by Sean McKeever and Takeshi Miyazawa, Spider-Man Loves Mary Jane follows Mary Jane Watson and her band of close friends as they experience high school’s exhilarating highs and devastating lows. But that’s what this book does best. Those “devastating lows” would never be considered the end of the world to anyone other than high schoolers, but McKeever excels at making even the most insignificant of problems feel like the world is caving in. So there you are, reading along, back in high school again, remembering the person you were before you escaped. It’s no small feat, and I applaud McKeever for doing it so masterfully well.

The version of Mary Jane depicted here is that of a sweet but insecure girl constantly struggling to please everyone, no matter how impossible an act it may be. This is quite a departure from the carefree party girl Stan Lee created, but the meek Mary Jane is a far more interesting one. She’s the most popular girl in school but is completely unaware of it. I just love how innocent and naïve she’s portrayed here. But of course she does grow, as any good character does. When the story begins, Mary Jane is harboring a crush on the mysterious Spider-Man, but the end she comes to realize that her dream of a relationship with the webslinger might not be a very realistic one.

Mary Jane is joined by a supporting cast of other Spider-Man alum. Her best friend is Liz Allan, an ambitious cheerleader who is every bit the yang to Mary Jane’s ying. She’s the harsh, unapologetic, and slightly overbearing friend that every sweet girl-next-door type seems to have. Liz is the definition of drama, self-interest and overreaction. She wants everything to be perfect for her, despite what anyone else may want. The guy on the receiving end of most of her self-centered rampages is her boyfriend, Flash Thompson. Flash is a thickheaded and immature jock that tends to be a pummel first, ask questions later kind of guy. He let’s his anger and frustration get the better of him, but more often than not, it comes from a place that is well meaning. Liz seems to be the only one who can take him down a peg, and he resents her for it. Mary Jane describes the couple best when she says that they’re the only two people she can imagine divorced before they’ve even gotten married.

Flash’s best friend, and MJ’s would-be suitor is Harry Osborn, a rich kid who lets his father’s desires overpower his own. He’s been friends with MJ for as long as either of them can remember, and while she’s never seen him in a romantic light, he desperately wants her to. Mary Jane ends up giving him a shot but, as Harry learns, he’ll always be second best to a certain masked crime fighter.

Finally, there’s Harry’s nerdy friend, Peter Parker. McKeever treats Peter and Spider-Man as two completely different characters, never once even hinting that they may be one in the same. Spider-Man pops in and out of the book like a celebrity cameo, with most of his exploits taking place off panel (on news reports and the like) with MJ occasionally getting caught in the middle. As the series goes on, Mary Jane slowly begins to see Peter in a new light through a progression that seems much more natural then any other depiction of their eventual romance.

The artwork by Takeshi Miyazawa is manga-influenced fused with American sensibilities in a way that shouldn’t work in a Spider-Man book, but I can’t picture this series any other way. The art actually changes later in the series, and it proves to be a jarring period of adjustment. Miyazawa’s art sums up the complex spectrum of emotions that all of us go through as teenagers. His updated character designs do a great job of modernizing Spider-Man’s classic characters in a way that makes them feel fresh but still recognizable.

So we may never get a television series about teenagers that actually act like teenagers, but at least with Spider-Man Loves Mary Jane we finally have a realistic look at what it’s like to live and love in high school…

… only with superheroes.

]]> http://www.geekshow.us/content/comic-books/comic-book-reviews/review-spider-man-loves-mary-jane-vol-1-marvel-comics/feed/ 6 http://www.geekshow.us/content/comic-books/comic-book-reviews/sitting-now-comic-review-the-walking-dead-image-comics/ http://www.geekshow.us/content/comic-books/comic-book-reviews/sitting-now-comic-review-the-walking-dead-image-comics/#comments Sat, 22 Nov 2008 21:32:53 +0000 Scott http://www.geekshow.us/?p=687 My second comic review for the site Right Where You Are Sitting Now! has been released The site is an online magazine that explores the latest in alternative, underground and counter-culture. For my latest foray into counter-comics, I chose the survival/horror series The Walking Dead from Image Comics. Like my Preacher review last month, I thought you guys might want to read it so I’ve posted it below.

From the original post on Sitting Now:

After two comic reviews for series heavy in supernatural elements (Preacher, Lucifer), I thought the best choice would be to review a comic that’s much more realistic and profound. The kind of story filled with thought provoking social commentary that causes you to question the very fabric that makes up our society. Something that is so somber and disheartening that you’ll never look at humanity the same way again. Naturally, only one subject immediately came to mind: Zombies.

Yes, you read that right. Zombies, when used correctly, should make you see humanity in a different light. It might not be pretty, but it’s real and it’s honest. The best zombie stories aren’t about the living dead, but instead use that as the setting for a story about people and how they live and deal with an impossible situation. Not since Romero have zombies been used this well. Not until The Walking Dead.

Created by Robert Kirkman and Tony Moore, The Walking Dead chronicles the life of police officer Rick Grimes as he wakes up from a coma to a world he doesn’t recognize. He later happens upon a group of fellow survivors and the series continues to follow these characters as they live and die in a world overrun with the living dead.

The most important thing to note about this series is its realistic approach to the situation they suddenly find themselves in. The circumstances might not be realistic, but the reaction the characters have to it certainly is. A zombie apocalypse is the ultimate extreme situation. I’m not sure that it can really get any worse than that. What Kirkman does here, though, is gives us a natural progression of events that are completely believable. This is what a zombie outbreak would be like to live through. This is how your friends and neighbors would change in reaction to the new world order. It’s the kind of story that makes you seriously reflect on yourself as you wonder what you would do in their situation. It’s really fascinating stuff.

The characters themselves are eerily real. Not only in believability, but I sincerely feel that I’ve met them all before. I’ve passed them on the street, sat next to them at the movie theater, stood behind them in line at McDonalds. They feel like real people. So whenever one of them dies it always grabs you, and I find myself reacting to it in a similar way that I would in reality. It’s usually sudden and really shocking at first, and then it’s sad as it begins to sink it. Death is something that is dealt with very effectively in this series, and it’s dealt with often. If there’s one thing that I want to stress more than anything about this series it’s one simple fact:

No one is safe.

It doesn’t matter who they are. Whether it’s the new character that’s just shown up, the mother of two kids that’s been there since issue two, the main character, or even a newborn infant, no one, I mean no one is safe. And they know it. As you read the series you’ll see how the characters’ hope of survival or salvation is slowly depleted to nothing. They know they’re going to die. It’s not a matter of if anymore, it’s just a matter of when and how. That knowledge within each character grows and intensifies with every issue. You can hear it in the dialogue and you can see it in the artwork.

The artwork in this series is what paints the picture of this world for me so well. While Tony Moore is undoubtedly a fantastic talent, it wasn’t until artist Charlie Adlard came on board with issue 7 that the series really came into its own. Adlard brought the gritty realism that was lacking from Moore’s initial six issues. When Adlard started on the book, I’ll be honest; I didn’t even notice the change. That’s not to say that Moore and Adlard have even remotely similar styles, it’s just that his artwork worked so well with this story that I never questioned it. I think this was always meant to be Adlard’s book, and Moore was just holding his spot.

The choice to color the series with gray tones is an interesting one. One would think that having such a realistic story to tell, Kirkman and Moore would have chosen to do the book in color, after all, that’s how we see the real world. But, this is a series about shades of gray, and I think that the decision to do the book in black and white has a lot to do with that. I don’t think that the characters see the world in color anymore. That’s not the world they live in. Their world is dark and dank and dismal. It’s like a gloomy day that never lets up.

The Walking Dead continues to be a favorite of mine, month in and month out, and I think that there’s something in this book for everyone. You don’t even have to like the horror genre, because that’s not what this is. The title isn’t referencing the hoards of zombies that limp and moan their way through this series; it’s about the people, trying to survive each day knowing that death is all they have to look forward to in life.

That’d be a tough world to live in, but it’s a fascinating one to read about.

NEXT TIME: Ex Machina

EX MACHINA – VOLUME ONE

Written by Brian K. Vaughan

Art Work by Tony Harris & Tom Feister

Published by Wildstorm Comics

Review by Ben Noblitt

Far to often I’ve found that most people cannot or will not appreciate comic books as quality writing, one writer that has been fighting against this stereotype is Brian K. Vaughan. Having already made a name for himself not only in comics with the highly successful series Y- the Last Man, Vaughan has also worked on television shows like LOST, and is making a name for himself in other media. In 2004 Vaughan introduced a new series Ex Machina, winner of the 2005 Eisner for best new series, it it has been a critical success for its publisher Wildstorm Comics.

The title of the series comes from the latin phrase, deus ex machina, which means “god from a machine”. The series follows Mitchell Hundred, a civil engineer, who becomes Mayor of New York City after an unsuccessful career as the world’s first super hero, The Great Machine. Raised by his single mother Mitchell grows up reading about fictional heroes in DC Comics, and so after a mysterious accident gives Mitchell the ability to communicate and control machines he dons a jet pack and a mask and decides to save the world.

The series is set during Mitchell’s term as Mayor, and each issue includes flashbacks to his days as The Great Machine. However the first issue begins with Mitchell alone talking to the reader, presumable after his term, we are lead to believe that his time in office does not end on a high note. Though the story does include superheroes the series does tackle much more serious issues such as censorship and political corruption. The flashbacks often tie into the main storyline as well as shed more light onto the motives and character of Mitchell.

Surrounding Mitchell is a cast of characters that not only progress the story, but also elevate it to a higher level. Though they are all secondary characters, each is developed well over the series and each is given a level of detail beyond most comic characters. There is Rick Bradbury, ex-marine, Bradbury witnessed the incident that gave Mitchell his powers and now works as his body guard. Also Kremlin, a mechanic at Coney Island Kremlin acts as sort of a mentor to Mitchell during his time as a hero. Dave Wylie is Mitchell’s deputy Mayor and acts as a counter balance to some of Mitchell’s crazier ideas. The main females in Mitchell’s life are Police Commissioner Angotti, who holds a grudge against Mitchell for his vigilante days and Journal Moore, a young female intern in the Mayor’s office.

The first 5-issues titled, The First Hundred Days, is about Mitchell’s first few days after he is elected into office, and accounts how he was elected and the end of his superhero days, as NYC is caught in the middle of a terrible snow storm. Hoping to turn his fame as a super hero into a political career, Mitchell hangs up his jet pack and runs for Mayor of New York City as an Independent. It looks as though he is going to be disappointed until Mitchell puts on his mask one more time on September 11, 2001 and saves the second World Trade Tower, after this Mitchell wins in a land slide.

Issues 5-10 titled, Tag, center around the controversy that erupts after Mayor Hundred decides to perform a gay marriage ceremony, as well as delves deeper into the mystery surrounding Mitchell’s mysterious powers. As strange symbols begin to appear all over the city, people begin to start acting strange, even for New York City. The answers to this mystery may lie in Mitchell’s past.

The real strength of this series is the fearlessness of co-creators Brian K. Vaughan and Tony Harris. Not only were the brave enough to tackle the issue of gay marriage, but they also showcase issues like censorship and racism, when a talented young artist uses the N-word in a city sponsored art exhibit. Its topics like this that raise Ex Machina above the average comic, and what makes it special.

It would be a terrible injustice to talk about Ex Machina and not mention the wonderful art work of Tony Harris and Tom Feister. The artwork is just incredible and portrays the characters with a sense of realism and style that fits the series. An interesting fact about Tony Harris’ art work is that  he uses photographs to help plot out and plan his panels. This allows for the much richer sense of realism, which is important in a series such as this.

My favorite part of this series has to be the relationship between Mayor Hundred and Commissioner Angotti. She doesn’t like Mitchell because he was The Great Machine, however MItchell keeps her as Police Commissioner because he respects her. In the series whenever they are in the same scene it is always such a fun interaction because it seems like the don’t like each other but I think each of them respect the other, and they bicker back and forth a lot and she’s always there to keep Mitchell in check.

I’ve often heard this series compared to the television show the West Wing, however I actually feel that this series is more like a much more mature and serious version of Spin City, that is if the mayor could talk to machines. I’ve nevered watched the West Wing, so I can’t comment on whether they are alike.

So if you’re in the mood for some political drama that is funny and serious, and has a super hero twist, than this is the series for you…

Happy Reading

THIS SERIES IS FOR MATURE AUDIENCES

GOTHAM CENTRAL BOOK ONE – IN THE LINE OF DUTY

Written by Ed Brubaker and Greg Rucka

Artwork by Michael Lark

Published by DC Comics

A Review by Scott Carelli

I’ve been an avid comic reader for quite a while. Not as long as others, mind you, but long enough that I’ve had the chance to read a lot of the usual suspects on the thousands of “must read” lists, and I consider myself to be pretty well-versed. Before I started reading, I loved comic book movies and always looked forward to them coming out even if I gathered most of my knowledge from their respective animated series. Before the superhero movie renaissance, I had the toys, I watched the cartoons, and I regularly ran around my house with a towel attached to my back. I’ve always been a comic fan, even before I really knew what that meant, and there’s always been one question that I’ve thought about time and time again:

What would it be like to live in Gotham City?

Now, maybe it wasn’t always Gotham specifically, but just the idea of living in a city that larger than life heroes protect and call home. Whether it’s Metropolis, home of the big blue Boy Scout, or the Marvel U’s New York City, what would life be like in a city where superheroes and villains run amuck. I mean, sure, you get a good idea of what life is like for the heroes, but what about that guy on the street who’s pointing from the street shouting “Look! Up in the sky!” or the millions of people just like him? How do you go about your everyday life knowing that at any time you could be taken hostage by a supervillain? This is something I’ve always wondered, and finally, I have my answer in the form of Gotham Central.

Written by Ed Brubaker and Greg Rucka, Gotham Central follows the lives of Gotham City’s Finest (and not so finest) as they work in a city overrun with the most colorful and violent criminals in the world and where a vigilante wages a one-man war against crime dressed as a bat. The idea of being a cop in a city like Gotham has always been an interesting one to me, where a routine murder investigation can end with a surprise run in with The Joker. It’s just so fascinating. How do these seemingly average people deal with such extraordinary circumstances?

While no one in this book has superpowers, I’d be lying if I said it was filled with “Joe Schmo Nobodies” as the characters in this series are anything but average. To be a cop in a city like Gotham, thought, wouldn’t you have to be a little exceptional? This is a story about the men and women who put their lives on the line every single day in one of the most dangerous cities in the country, but they never get any credit. Why would they when Batman is so much more interesting? The stark reality is that, to be a cop in Gotham, you have to believe in what you’re doing enough that you never need any acknowledgement or praise, and that is remarkable.

The characters in this book are very well-rounded, and only get stronger as the series goes on. This first volume collects the first three story arcs with each writer concentrating on a particular shift at Gotham City Police Department. Brubaker focuses on second shifter Marcus Driver dealing with the murder of his partner at the hands of Mister Freeze, right before his eyes. He becomes driven to bring Freeze to justice, and investigate the unsolved case of his dead partner, without the help of the Dark Knight.

The real gem here, though, is “Half a Life” by Greg Rucka. This five issue story is about Detective Renee Montoya being “outed” as a lesbian to her coworkers and family while at the same time being framed for murder. Not only is “Half a Life” one of the best examples of comic storytelling I’ve come across in a long time, but the character of Renee Montoya, as written here, is one of the strongest and realistic portrayals of a gay character I’ve ever come across in any medium. She struggles with her desire to be happy and free to be the person she truly is, and her fear of being disowned when her devout Catholic family learns the truth. It’s a heart wrenching journey that I couldn’t put down, and I’m not the only one. It won a number of awards, including an Eisner in 2004 for Best Serialized Story.

I think my favorite part of this series is it’s depiction of Gotham City’s villains. Batman’s rogues’ gallery never really seemed that scary most of the time, but it wasn’t until I read this that I realized why. They can’t be so long as Batman’s around. It’s understood that he’ll always save you, and so no matter what, if Batman’s in the room, his villains are never at full strength. You never get to see them through the eyes of their victims, but within the first six pages of Gotham Central, that all changes. I’ve never been more terrified of a man with a freeze gun before reading this book. This series does a phenomenal job at opening your eyes to the fact that you would never want to come across these guys in a dark alley. No matter how ridiculous they might look, Gotham’s rogues are scary. While I’ve gushed about the writing, I think that a lot of the credit for this has to go to the artwork.

Artist Michael Lark is the cog that makes the whole series work. He has a knack for giving life to even the most ludicrous of villains and giving grit and realism to a city that so justly deserves it. Gotham is dirty and corrupt and you can see it smeared across every page. Some would say that his pencils have improved since his work on Gotham Central, but there’s a magic to this series that hasn’t been matched since. These three have reunited recently in the pages of Daredevil, and while it’s good, it just doesn’t compare.

So if you’ve ever wondered what it would be like to live in Gotham, look no further. Gotham Central allows you to visit a city that you never thought you could.

Welcome to Gotham City. Enjoy the trip.

From the orignal post on Sitting Now:

When I was asked to begin writing reviews for comics with a counter-culture spin for Sitting Now, only one comic immediately came to mind: Preacher. Part Western, part Horror story, part Religious Epic, and a lot of weird, Preacher is as counter-culture as it gets.

Created by writer Garth Ennis and artist Steve Dillon, Preacher is the story of a small town Texas minister, named Jesse Custer, slowly losing his faith in the god he’s devoted his life to. In one bizarre instant, his life is changed forever, and with his gun-toting ex Tulip and a hard-drinking Irish vampire named Cassidy, he aims to find out why and who’s to blame. The story that Ennis and Dillon have crafted here is unlike any other, comics or otherwise. It’s done so masterfully well that as an aspiring writer myself, I find it both inspiring and discouraging, knowing full well that nothing I can ever do will be at the quality of storytelling that Preacher succeeded in being so effortlessly.

Reverend Jesse Custer is the perfect protagonist. Confidant but not without his flaws, Jesse never ceases to be interesting, and regardless of the other worldly circumstances he may come against throughout the story, he continues to be an everyman who simply asked God what everyone has asked at some point, “Why me?” The difference is, this is a story about that everyman determined to find the answer, no matter the cost. Jesse is a man of principles, through and through, In his world, no one gets by without answering for the things they’ve done. Not even God.

Jesse isn’t alone in his journey, either. Preacher is filled with a cast of characters that are just as well-rounded. Tulip, Jesse’s ex whom he left to pursue his life as a preacher (for reasons I won’t reveal here), is a damaged and mysterious woman who’s story is slowly told through late into the series. Tulip and Jesse’s connection is as believable as it is heartbreaking. It’s that  relationship that we’ve all found ourselves in at one time or another. The kind of love that never goes away, no matter how many time you hurt each other. Jesse and Tulip are two people who are absolutely fated to be together, and when its not taking Jesse across the world on his search for God, Preacher spends a lot of time focused on their trials and tribulations as a couple.

Then of course there’s the fan-favorite, Cassidy. An Irish vampire who is about as complex a character as I’ve ever experienced in any medium. In a story like this, the sudden appearance of a supernatural being like a vampire should seem out of place, but Ennis makes it work in a way that is commendable. Cassidy, while being a bloodsucking abomination, is still relatable. He’s that guy who just can’t help but make bad decisions. He’s always fated to make the wrong choice, no matter what. It’s Jesse’s friendship that makes him decide to become a better person, the idea that someone believes in him gives him the strength to try, but it never seems like enough. This is his character’s constant struggle, and it makes for the most interesting progression of the series.

A man of God who has lost his faith. A demon who is trying to renounce his evil ways. A woman who just wants to get her life back on track. The kinship  of these three characters is the biggest strength of this series. Ennis writes a convincing portrayal of a modern friendship between three people who can barely get a handle on themselves, let alone be a good influence on each other. But they stick together, despite a few set backs, to the bitter end. And I do mean bitter.

Now, while Preacher is praised as one of the best (albeit, unquestionably adult) comics of the past 20 years, it isn’t without its critics. Most of which write it off as a perverted, ultra-violent illustration of blasphemy. Funny thing is, I can’t really argue with them as Preacher can be all of those things at times. Ennis is showing us, however exaggeratedly,  the evil and ugliness in the world, but is in no way condoning any of it. His constant commentary on religion and spirituality that soaks every page can very easily be construed as blasphemous, but it’s really just meant to be thought-provoking. At the end of the day, this is a work of fiction that should hold no bearing on your actual religious beliefs, and if it does, well I don’t think the comic is to blame for that.

I would also be remiss to not mention the artwork of Steve Dillon. Preacher is as much his story as it is  Ennis’. There is no one on the planet who could possibly draw this book any better. He brings a sort of ugly realism to the series that no other artist would have brought so well. Ennis and Dillon have a natural synergy when they work together. They compliment each other so well, that you wonder why they ever stop. It was like that on Hellblazer, it was like that on Punisher, but it was never any better than when they were on Preacher. I would love to see them work together again (and I hear they are soon with a sequel to their Punisher run), but I think that topping Preacher would be impossible to even attempt.

So, while I’ll admit that Preacher isn’t for everyone (the conservative and the religious spring to mind…), it will go down as one of my favorite series of all time. What Ennis and Dillon created is nothing short of genius, and they should be praised and envied. I know I’ll never have enough good things to say about it. I’ll never stop preaching about Preacher…

… until the end of the world.

Scott Carelli loves comics and other geek-related stuff. He talks about it weekly on his podcast Two Geeks a Mic and a Podcast on Geekshow.us. He also created and produces an audio series called Geek By Night also on Geekshow.us. Check them out!

NEXT TIME: The Walking Dead

Teen Titans #51

Publisher: DC
Writer: Sean McKeever
Artist: Ale Garza

When Geoff Johns announced his departure from Teen Titans a few months ago, I feared the worst. Adam Beechen came on board to write the “Titans East” arc which unfortunately did not ease my worries. It was an arc with a lot of hype and build-up, but ended up falling short of what I had hoped for. Luckily, Sean McKeever took over the book with issue #50 as the new ongoing writer, and things couldn’t be better.

The “Titans Tomorrow” arc was easily my favorite from Johns and McKone’s run on the book. It told the story of a grim future for the Titans as a new “improved” Justice League, where Superman is controlled by Lex Luthor and Batman uses a gun to fight crime. The Titans believed that they had escaped that future, but it seems that their older, eviler counterparts are back to make sure that their future does in fact come to pass.

A standout scene for me is Kid Devil struggling with the thought of trusting his future self (Red Devil), because after all, why would you lie to yourself? But McKeever focus is mostly on Robin throughout this issue and his internal conflict as he fights with his future self, trying desperately to avoid becoming a gun-toting killer.

I can’t write a review of this issue without mentioning Ale Garza’s fantastic pencils. I see a lot of people complain about hit style, but I think it is a perfect fit for this title, and I hope he stays with the book for a long time to come.

Overall, I thought this issue seems to be the beginning of what will be a worthy follow-up to “Titans Tomorrow”.

4 out of 5

Ultimate Spider-Man #114

Publisher: DC
Writer: Brian Michael Bendis
Artist: Stuart Immonen

And here I thought “The Clone Saga” was a fluke…

ULS is back and better than it has been in a long time. For nearly twenty issues, it seems that Bendis had forgotten about this book everyone had liked so much. It was never Spider-Man. It has always been about Peter Parker. Last fall’s “Clone Saga” arc seemed bring Peter back to the forefront, but he was immediately pushed aside for the disappointing “Ultimate Knights” arc. Luckily, Peter Parker is back in full form with “Death of a Goblin”, and this issue just continues to prove why this book is a must read.

After an Osborn-centric last issue, the focus returns to our hero, as he races to get his loved ones to safety. We meet Aunt May’s new boyfriend, whom is obviously going to be playing a role in the near future as he comes off rather untrustworthy. We then switch gears to Spider-Man in all his quipping glory as he chases down a rather naked Electro who surprisingly not interested in fighting. He just wants to get away. The issue ends in a way that only Ultimate titles can: Unexpectedly.

Immonen is right at home as the new on-going artist. Taking over from Mark Bagely’s 110 issue run, would be daunting at best, but he succeeds in spades. After only three issues, I’ve already found myself wondering if I in fact like enjoy Immonen’s artwork more. It is perfectly suited.

For the first time in quite a while, I can’t wait for the next issue of Ultimate Spider-Man.

4.5 out of 5

Justice League of America #13
Publisher: DC
Writer: Dwayne McDuffie
Artist: Joe Benitez

There has been something missing from the Justice League since it’s re-launch last year. I enjoyed Meltzer’s 12 issue run, but there was always something a little off, and after reading the first issue from new ongoing writer Dwayne McDuffie, I’ve finally figured it out: FUN! This issue is the continuation of the story that began in the Justice League of America: Wedding Special. The villains of the DCU have joined forces to form the Injustice League in an attempt to take out every member of the Justice League one by one.

McDuffie’s characterizations are very strong, with each character having a distinctive voice, something that many writers struggle with on team books. He also pumps the issue full of wonderfully humorous banter and more action than you can shake a stick at. With this many heroes and villains in one book, it should be impossible for anyone not to have a lot of fun with this issue. Of course, what do you expect from one of the writer who brought the JLU animated series on a Justice League comic? I don’t care for McDuffie’s Fantastic Four run at all, and it seems very obvious after reading this issue, that the DCU, and more specifically the JLA, is where he belongs.

4 out of 5

All-Star Batman & Robin the Boy Wonder #7

Publisher: DC
Writer: Frank Miller
Artist: Jim Lee

This book makes me feel dirty.

All-Star Batman & Robin is one of the hardest titles to review because it runs such a thin line between “so bad it’s good” and “so bad it’s just really bad”. Miller’s always been known for his dark, twisted noir type writing, but this is just so laughably bad that I can’t help but wonder if Miller has finally lost it. He seems dead set to show “the goddamn batman” as the most horrifically vile sociopath imaginable. The Batman fan in me wants to scream about how much he hates it, but a part of me can’t help but love how absolutely ridiculous it is. I mean some of it is just so bad it’s actually laugh out loud funny. In this issue alone, “The Goddamn Batman” burns some bleach-stealing thieves (seriously, Clorox bleach!) with some thermite, has a quicky with an Irish, cigar-smoking Black Canary (”We keep our masks on. It’s better that way.”), and Dick Grayson is forced to eat a rat he has found in the Batcave. If I took this book completely serious, I think I might be in complete shock, because with every issue, things just get worse and worse. With what looks like the introduction of All-Star Joker next issue, I can only imagine how far it has yet to go.

Jim Lee’s artwork is what really makes this title good for anything but a good laugh. It only seems to get better every issue, while continuing to not remotely match the mood of the book. But, what the hell, right? It’s not like anything about this book is right anyway. Just turn off your brain and imagine you’re reading a Sin City series.

2.5 out of 5

Bullet Reviews

The Immortal Iron Fist #9 (Marvel; Brubaker/ Fraction, Aja)
Why is it that all of Marvel’s best books are about the most obscure C-List characters, while Spider-Man struggles to have anything even resembling a good story. Brubaker proves once again that he is one of the best writers the 616 has to offer. He’s 3 for 4 right now (let’s face it guys, Uncanny sucks…). This issue continues the storyline of Iron Fist being thrown into a “Mortal Kombat”-type competition, one that I was a bit worried about. I assumed I would be bored with such a played-out plot such as this, but Brubaker and company prove once again, they know how to carry a story, and have taken it in a very unexpected direction. (4 out of 5)

Wonder Woman Annual #1 (DC; Heinberg, Dodson/ Frank)
Finally. That’s really all can be said. It’s been nearly a year since Allan Heinberg began his “Who is Wonder Woman” 5-part story, and he have at last gotten the finale in the form of an Annual that reads more like a “Who’s Who of the Wonder Woman Universe”. I tried my best to look past the lateness of this issue, but having it come out after the publication of 10 issues that all take place after it, really hurt the climax of this story. We already know that Diana Prince is Wonder Woman, so why do we care? At least it can be said that Terry Dodson is at the top of his game, the same can’t be said for back-up story artist Gary Frank. All of his characters are obviously cast as notable actors (the first page alone stars Brad Pitt as Nemesis, Angelina Jolie as Wonder Woman, and George Clooney as Sarge Steel), but some are downright fugly (I’m looking at you Donna Troy…). Overall, if it weren’t for Dodson’s artwork, this issue would have been a complete waste of the paper it was printed on. (2 out of 5)

The Astounding Wolf-Man #3 (Image; Kirkman, Howard)
This title would really benefit from a monthly release schedule. As it stands right now, Robert Kirkman’s Wolf-Man has been an entertaining read for sure, but unless something really different happens soon, I can’t see it lasting any longer than his Ant-Man book. This is the story of a rich guy who is bitten by a were-wolf, only to be trained by a vampire to become a were-wolf superhero. It’s actually set in the Invincible universe, but is no where near its equal. Don’t get me wrong, I really do enjoy this book, I just think the premise is just too cool to drag it’s feet for too long. Pick it up Kirkman! I want this book to succeed! (3.5 out of 5)

Countdown to Adventure #2 (of 8) (DC; Beechen/ Gray, Barrows/ Moore)
The second issue of this title proves that Adam Beechen made the right choice to leave Teen Titans. This is easily the best thing I’ve ever read by Beechen. The first half of the title focuses on the space team from 52, and how they are dealing with being back home. Adam Strange has been replaced with a new hero on Rann, a sociopath named Champ Hazard, and must come deal with the entire population of Rann having no respect for the earthman who was once their protector. Animal Man and Starfire are both on Earth, and are each having trouble with their respective powers. All three of these stories seem to be moving toward each other in a very interesting way as it seems that there is some sort of psychological virus outbreak on Rann, causing everyone to act insanely violent. This storyline is really worth the price tag alone, because the second story featuring Forerunner is so uninteresting I didn’t even read it. (3 out of 5)

Avengers: The Initiative #6 (Marvel; Slott, Uy)
With the opening arc finished, this issue features a stand-alone story with fill-in artist Steve Uy. It’s a pretty simple who-done-it story centered around an attack on Initiative drill sergeant The Gauntlet. It’s a good issue that is hindered by the fact that the art is pretty awful. I found myself getting very bored with this issue half-way through, and with a twist ending like this one, I wish the artwork had been able to keep my attention a lot better. I just hope that regular artist Stephano Castelli is back next month. (3 out of 5)

Batman #669 (DC; Morrison, Williams III)
I’m so glad this arc is finally over. I haven’t liked Grant Morrison’s run on Batman at all so far, but this is easily the worst of it. Who cares about the International Club of Heroes? Some obscure team from the 50s. This arc has been given a lot of praise, but I just find myself reading almost like a fill-in story, much like the ones Detective has been publishing between single issues of Paul Dini’s run. It was boring! The only difference is that this isn’t a fill-in. I never would have guessed it had I not known it was written by Morrison, and I think the only reason he has been given so much praise for this storyline is because people are afraid to dislike anything Grant Morrison does. Well, I didn’t like this, and I really haven’t cared for All-Star Superman for close to 5 issues now. So there, take that Morrison! (2 out of 5)

The Immortal Iron Fist Annual #1 (Marvel; Fraction/ Brubaker, Various)
This issue is literally Iron Fist #9.5, as it continues right from where issue 9 left off. This was a good story, though, the artwork is a bit jarring because it so different from Aja’s work on the regular series. This follows Danny Rand as he listens intently to stories of the Iron Fist who came before him, by the man who wrote his biography. It’s a simple story, but should be read as it leads into the next issue. I just wish they hadn’t released the annual and issue 9 on the same day. Is it too much to ask to put a little space between their releases? (3.5 out of 5)

_______________________________________________________________________________________

Green Arrow and Black Canary Wedding Special #1
Publisher: DC
Writer: Judd Winick
Artist: Amanda Conner

Let me begin by saying that Green Arrow is my favorite DC character. I love that he is essentially a light-hearted Batman with a Robin Hood fetish. I also love that the character of Oliver Queen is very flawed. He makes mistakes and huge errors of judgment in both his professional life as Star City’s Green Arrow, his personal life as playboy Oliver Queen, and especially in his on again/off again relationship with Dinah Laurel, the Black Canary. This issue of course focuses on the later.

The issue begins with what I think Judd Winick is best at, a dialogue heavy scene that reminds the reader why these two characters are meant for each other. I really enjoyed this, but Winick switches gears to the rest of the DCU and we learn what everyone else thinks about Ollie and Dinah’s looming nuptials, including a scene that struck me very funny where an apprehensive Wonder Woman chats with Superman who seems to be as giddy as a school girl by the prospect of his two friends finally tying the knot. Everyone in the DCU is coming to this wedding, well everyone except Batman (he’s of course not the social type).

It’s at this point that the book switches gears yet again, this time not for the best. Deathstroke and company crash the wedding and turn it into an all out superhero brawl, the kind one would expect from a Wedding Special. It’s done in a slightly self-depreciative way, causing it to be a bit easier to swallow, but the fact that it was done at all seems way too obvious.

The wedding eventually goes off without a hitch, but it’s the wedding night that is where the big surprise comes about. (*SPOILER*) When the newlyweds are getting ready to consummate their union, Ollie suddenly attacks Dinah with a knife. Dinah, left with little choice, reaches for an arrow and stabs it through Ollie’s throat, killing him. The Green Arrow is dead… again.

Didn’t DC just bring Ollie back from the dead six years ago? Kevin Smith did the honors in 2001’s Quiver. So what’s the deal? Somebody at DC must really hate Oliver Queen (maybe it’s the same person who decided Bart Allen had to die…). Needless to say I’m not a happy camper, but I hope that with the new Green Arrow/Black Canary series beginning next month, we’ll learn that this was some sort of double that Deathstroke switched out at the wedding, and the real Ollie is safe and sound (or ALIVE at least…) in some dark corner of the DCU. But if that ends up being true, then I can only ask, what was the point?(*SPOILER*)

Overall, this issue ended up being a bit of a disappointment. If it weren’t for the great character driven scenes that opened the book, it would have been a complete failure. Here’s hoping the new Green Arrow/Black Canary monthly series is a lot better than this.

3.5 out of 5

The Irredeemable Ant-Man #12
Publisher: Marvel
Writer: Robert Kirkman
Artist: Phil Hester

As you may be able to tell by the cover to this issue, Ant-Man has been canceled. It is a sad day for Marvel comics. Ant-Man was one of the best, and easily the most original book they’ve published since Runaways. Robert Kirkman set out to literally create “The World’s Most Unlikable Super Hero”, therein making a seemingly uninteresting character like Ant-Man into an interesting one. Ant-Man has been a series full of humor and wit that only Kirkman can pull off, and the final issue is no different.

The issue begins with Eric O’Grady, the book’s anti-hero, working for S.H.I.E.L.D. again, and no longer in possession of the Ant-Man suit. Meanwhile, Tony Stark is working with ex-Ant-Man Hank Pym to find an agent who can properly use the new Ant-Man suit to its full potential. Unfortunately, they’re not having much luck, and Tony knows there’s only one person who can do the job. The guy who stole the suit eleven issues ago, Eric O’Grady.

I love that this is how Eric becomes Ant-Man. It’s perfect. This series really ends the only way I think it could have. After twelve issues of lying, cheating, and spying on unsuspecting super heroines showering, Eric decides that he’s had enough of being himself, and wants to become a better person, and he thinks becoming a superhero will be a sort of redemption for all of the completely jerk things he’s done in his life. The final pages, though, prove that it will be a long road to come, but it couldn’t have ended any other way.

Fortunately, this won’t be the last we see of Eric O’Grady. Now that he is the new Ant-Man, he is being shipped off to The Initiative to learn how to be a superhero. I love that book as well, and I think he will be a perfect addition.

4.5 out of 5

Tales of the Sinestro Corps: Parallax #1
Publisher: DC
Writer: Ron Marz
Artist: Adriana Melo

“The Sinestro Corps War” has easily been the best storyline of the year. Over the past few years, I have become more and more wary of huge crossover events, as they very rarely live up to the hype. Especially with the seemingly endless supply of tie-in issues, none of which being as important as the publishers claim for them to be, or hell, even very good. So even with “Sinestro Corps” not only living up it’s hype, but in fact surpassing it, I was still apprehensive about the recently announced Tales of Sinestro Corps titles. But with it’s first installment, focusing on Sinestro Corps baddy Parallax, I was pleasantly surprised.

As anyone who is following the “Sinestro Corps” storyline will know, Kyle Rayner has been possessed by the yellow space bug Parallax, the same thing that possessed Hal Jordan years ago, and took down the entire Green Lantern Corps single-handedly. This issue follows the internal struggle between Parallax and Kyle, as Kyle is trapped inside his own mind, unable to do anything as he watches Parallax fight his friends in the Green Lantern Corps.

Kyle Rayner is a character that has lost a lot in his career as a Green Lantern. The death of his girlfriend Alex was what originally caused him to go from a guy with powers, into a hero. He lost Jade, the daughter of original the Green Lantern, Alan Scott, a little over a year ago. She sacrificed herself so that Kyle could live to become Ion, the Torchbearer. Finally, his mother was killed by a mysterious virus a few months ago that seemed to have no connection to Kyle, but he recently learned that it was actually a sentient virus sent by Sinestro to kill her as revenge for the events of Rebirth.

This issue covers the fear that Kyle has been overwhelmed with recently, and how he will overcome it, and a small detail about Kyle is revealed that makes the issue even more bittersweet.

If you’re a Kyle Rayner fan, this issue is written by the guy who created him, Ron Marz. He’s the only writer to ever really understand Kyle as a character. Tales of Sinestro Corps: Parallax is not a “must read” by any means, but it’s a damn good one.

4.5 out of 5

The Umbrella Academy: Apocalypse Suite #1
Publisher: Dark Horse
Writer: Gerard Way
Artist: Gabriel Bá

Comics have recently become cool. How can I tell? Well with besides the numerous comic book movies getting made (and bringing in a ton of $$), they have become a pop culture phenomenon, being mentioned in everything from The O.C. to reviews in Entertainment Weekly. With this sudden influx of popularity, comic readers have been bombarded with famous people creating comics. From actors like Nicholas Cage and Adam Brody, to filmmakers like John Woo, hell, even porn star Jenna Jameson is making her own comic book. Sadly though, this isn’t a good thing, because none of these people know what the hell their doing and their comics read as such. Most of them start out as a really great idea, but these people don’t know how to flesh out said ideas into anything but dry, lifeless stories. So it’s with a heavy heart that I say, The Umbrella Academy, written by My Chemical Romance’s Gerard Way, isn’t any better.

The Umbrella Academy is about a group of super powered kids who disappear for twenty years and then join forces again after the murder of their mentor, to save the world one last time. It’s a great premise that is bogged down by the fact that Way hasn’t a clue how to properly pace a story. I wanted so much, to like these characters, but he spends no time fleshing out the characters. He just speeds through the events of the issue, causing it to read more like a “previously on…” introduction or cliffs notes then a complete issue. None of these characters have their own voice, and I couldn’t care less what happens next.

It’s bland storytelling, and has no business being published. The only reason it has, I fear, is because Dark Horse knows that every My Chemical Romance devotee with $3 to spend will be rushing to their nearest comic book store to pick it up, never knowing that better things are out there. This is not a good example for first time comic readers. If they’ve never read a comic book before, I doubt they ever will again, and that’s exactly why, when comics are at the top of their game creatively, they’re selling less than ever before. I blame comics like this one for that drop in sales.

Gerard Way, and celebrities like him, should never write the comic themselves. The Umbrella Academy is a great idea that should have been given to a notable comic book writer to flesh out. Leave the celebrity on the book as a producer of sorts, overseeing their respective visions; otherwise you get a story that would have been better suited as a concept album for My Chemical Romance. I mean, Claudio Sanchez of Coheed and Cambria has a great story concept and never tried to write his own comic book… oh wait, scratch that. He did, and it was even worse than this one (http://en.wikipedia.org/wiki/The_Amory_Wars).

Fortunately, The Umbrella Academy isn’t a complete waste of money. Gabriel Ba’s artwork was perfectly suited for the mood of this book. If only it had been written by someone who knew what they were doing, I think I would have really enjoyed it.

2 out of 5

Bullet Reviews

Countdown #32 (DC; Dini, Bedard, Barrionuevo)
Countdown continues to be a book that I enjoy, but no one else seems to. Then again, I didn’t care for 52, while everyone else seemed to rave about it. So maybe I just don’t know what I’m talking about. Most people complain that the book isn’t moving anything forward, and while I do agree with that to a point, I’m not sure what people expect from a weekly series. Dini and company are focusing on five storylines over the course of 52 issues; everything isn’t going to be wrapped up as quickly as they might in a monthly book. Every month equals to about one complete issue per storyline, which is what every other book does, but for some reason, no one but myself sees it that way. So, in light of that, I’m not going to be reviewing Countdown on a weekly basis. Instead, I will review the title monthly, and I will be backtracking starting with the first month sometime next week.

World War Hulk #4 (Marvel; Pak, Romita JR)
Doctor Strange smashes Hulk. Hulk smashes Doctor Strange. Is it sad that pretty much sums up the first half of this issue? A series that started out surprisingly strong has gotten more and more mindless as it goes on. World War Hulk is essentially a disaster movie set in the Marvel Universe, one with little to no character development what so ever. Every issue just seems to be filler, gearing us up for the main event that everyone knew was coming since issue #1. The penultimate issue finally sees the beginning of the dark plans for revenge the Hulk has for his former allies, and we finally hear from the few people who are actually on Hulk’s side of things. Then the issue ends, leading into the final issue that will basically be a 32 page fight between The Hulk and the Sentry. I think this series has been pretty unfulfilling so far, and I doubt the conclusion will be any better. (2.5 out of 5)

The Flash #232 (DC; Waid, Acuña)
How the hell does Daniel Acuña keep getting work?! His artwork is some of the worst I’ve ever seen. The colors are dull, the line work is too soft, and the character designs are atrocious. I can only hope that his run on The Flash will be a short one. I haven’t been crazy about this storyline either (although anything is going to be better than that Bilson/DeMeo garbage from last year), but I have a feeling that Waid is simply using this somewhat lame storyline to introduce us to the new West family. I guess I understand that, but I just wish he had tried a little harder coming up with a better plot than goofy looking sea monsters from another planet. The writing itself has been great so far, I’m just hoping Waid has something special up his sleeve for the rest of this arc. (3 out of 5)

Captain America #30 (Marvel; Brubaker, Epting)
Cap’s still dead, but this series keeps going, and somehow continues to be one of Marvels best books. Every issue seems to be racing toward something that I can only assume is the reveal of a new Captain America, but the journey to that point has been full of twists and turns that Brubaker has executed amazingly well. This issue marks the conclusion of the first Cap-less arc, but it’s hardly a conclusion of any kind. Normally this would be something to complain about, but in this case, it’s something to celebrate. It just keeps getting better and better as things go from bad to worse for our characters. Unfortunately I can’t praise the plot of this issue with out spoiling the hell out of it, as there is some sort of revelation on almost every page. You’ll just have to trust me, it’s damn good. (4.5 out of 5)

Countdown to Mystery #1 (DC; Gerber & Justiniano, Sturges & Segovia)
This new sister series to Countdown to Adventure, features a main storyline about the new Doctor Fate as well as a back-up story featuring Eclipso. I picked up this issue out of morbid curiosity and was pleasantly surprised. The Dr. Fate storyline wastes no time introducing the helmet’s new host Dr. Kent Nelson and giving a brief but thorough look at his tragic life to this point, as well as the Helmet of Nabu. The result is a wonderful launching point for what will hopefully be fascinating new series. The second half was featured a surprisingly interesting story involving The Spectre, Plastic Man, and the return of Eclipso. I’ll definitely be continuing this series to see where it goes from here.. (3 out of 5)

Penance: Relentless #1 (Marvel; Jenkins, Gulacy)
Robbie Baldwin’s transformation from Speedball to Penance was, in my opinion, one of the most interesting parts of Civil War. This new mini-series focuses on tortured life and mind of Penance, constantly dealing with the tragedy (the Stamford disaster that jumpstarted Civil War) that he blames himself for. Jenkins does a wonderful job painting an intimate portrait of such a tragic character as he escapes from Thunderbolt Mountain to find out the meaning of the mysterious numbers that are taking over his every thought. (4 out of 5)

Robin #166 (DC; Beechen, Williams II)
Robin is a book that could be a lot better than it usually is, and most of Beechen’s run has been a bit on the childish side, but I’ve really enjoyed this latest arc. A would-be hero, who calls himself Dodge and happens to be Robin’s age, turns to villainy after an embarrassing confrontation with Robin who tells him that he doesn’t have what it takes to be a hero. Dodge puts together a team of super-villains to take exact revenge on Robin, but soon realizes that he is way over his head. It’s a fantastic premise that unfortunately comes to an end far too soon in this rushed conclusion. It’s still turns out the way I would have wanted it to, but it’s a premise that could have easily turned into a much longer, character driven arc. Williams’s artwork continues to improve with every issue, I hope that he’s on this book for a long time to come. (3.5 out of 5)

Ex Machina #30 (Wildstorm; Vaughan, Harris)
Month after month, Brian K. Vaughan delivers a book that I never have to worry whether it will be good or not. Each arc uses ex-superhero Mayor Hundred as a way to commentate on various social and political topics like drug use, war and sexual orientation. This issue marks the first chapter of a new arc focusing on religion, and it is already very likely it may be the best one yet. (4.5 out of 5)

Birds of Prey #110 (DC; Bedard, Scott)
It seems pretty obvious that Bedard’s issues of BOP are just a placeholder until Sean McKeever takes over the series with issue #113. So for what it is, this issue involving Huntress speeding through town on her motorcycle and stopping a bunch of super-villain fanboys from setting off a bomb is really entertaining. I’m not usually a fan of one-shots, but I was impressed with Bedard’s ability to create such a fun story. (3.5 out of 5)